2018-12-17-Home

[vc_row][vc_column][vc_tta_accordion style=”flat” shape=”square” color=”black” c_icon=”” active_section=”” no_fill=”true” collapsible_all=”true” css=”.vc_custom_1545098646539{background-color: #ffffff !important;}”][vc_tta_section title=”Hi! My name is Gabe” tab_id=”1545096185595-5839cfe3-bde6″][vc_column_text]& I am a graphic designer.
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I aim to provide visual identity and communication design to arts and culture organizations, higher education, nonprofit and charities. My design is process driven, collaborative. I aim to be critical and equity-focused.

My interests are custom typography, image making, design systems and print production.

Contact me for a project, a question, idea, or a beverage of any temperature.[/vc_column_text][/vc_tta_section][vc_tta_section title=”☛ contact me” tab_id=”1545096185604-eaef5766-4ce7″][vc_column_text]hello@gabewong.com
phone. (780) 803–2591[/vc_column_text][/vc_tta_section][vc_tta_section title=”work. sfu teaching and learning centre, rebrand” tab_id=”1545098268946-a3a0b09e-95c5″][vc_masonry_media_grid grid_id=”vc_gid:1545100394110-4517f09d-65f1-9″ include=”280,279,278,277,276,275,274,273,272,269,270,271″][vc_column_text]How does one design a brand within a brand? How do you create a voice that is independent yet fits within a larger context? Such was the dilemma with Simon Fraser University’s Teaching and Learning Centre (TLC). Many departments made their own logo and rejected many of the branding guidelines provided by the university’s existing system. This was the initial problem with the TLC old brand, which looked disconnected from the university. My approach to the problem was to create a more strict brand guideline under the existing SFU guidelines but to also make it dynamic. This rebrand achieved that by using a responsive system of grids based on the document size and a four-square system of photographic images and flat icons/pictures. This system portrays the TLC’s diverse offerings of programs, reports, and marketing materials consistently and dynamically.[/vc_column_text][/vc_tta_section][vc_tta_section title=”work. mile zero dance, various printed materials” tab_id=”1545098271802-c5cedeef-7fb6″][vc_masonry_media_grid grid_id=”vc_gid:1545100394110-45b88c83-893c-4″ include=”617,618,619,620,621″][vc_masonry_media_grid grid_id=”vc_gid:1545100394111-41db185e-fc8a-9″ include=”172,171,170″][vc_masonry_media_grid element_width=”12″ grid_id=”vc_gid:1545100394112-135631ef-a0ba-1″ include=”179″][vc_column_text]The work of Mile Zero is extremely diverse and experimental, focusing not only on dance but also in installation, sound and environment. However, for all of its experimentation, they remain accessible to the public. The tone of their yearly publication/program must have the same tone, a mix of refinement and curiosity, play and introspection.[/vc_column_text][/vc_tta_section][vc_tta_section title=”work. undp/n-peace, book cover and collateral” tab_id=”1545098272611-289889e6-8a8f”][vc_masonry_media_grid grid_id=”vc_gid:1545100394112-e8fd6e50-cd1c-6″ include=”643,642,651,653″][vc_column_text]From N-peace.net: “N-Peace is a UNDP Asia-Pacific flagship initiative founded in 2010 to commemorate a decade of UNSCR 1325 implementation via the Women, Peace and Security (WPS) agenda.”

The concept behind this year’s illustration focuses around the idea of peace as process through movement. In the foreground, a woman and a man stand in discussion. Their discussion of peace is represented through young branches springing from their mouths. Around them are seven birds in flight representing the seven programming countries of N-Peace (Afghanistan, Pakistan, Sri Lanka, Myanmar, Nepal, Indonesia and the Philippines). These birds are a metaphor of the peace dove, swooping in to pluck twigs from the conversations of the peacebuilders below them, thereby carrying away the fruits of their negotiations to their home. Behind them, the grey and turbulent wind represents the inherent complexity of peace processes.[/vc_column_text][/vc_tta_section][vc_tta_section title=”work. making connections, typeface design” tab_id=”1545098273418-564f4f38-6c3d”][vc_masonry_media_grid grid_id=”vc_gid:1545100636240-f0eeb6f8-1848-10″ include=”245,244,243,230″][vc_column_text]The overall idea for this project was based on an idea that graphic design stems primarily from the written language, and ultimately to typography. With that in mind, a brand, campaign, and culture can be held entirely through a typeface which embodies its values and purposes (i.e. culture represented through calligraphy). The design of this typeface reflects an experimental yet human approach. Its design is based off human proportions, using the size of the head as a base unit. The proportions of the typeface informed the margins, leading, type scale and also offered a visual theme of undulating lines for the images.[/vc_column_text][/vc_tta_section][/vc_tta_accordion][/vc_column][/vc_row]