Welcome to samarskaya.com, a gateway and accumulation of various projects and initiatives that I have been involved with. Am based in Brooklyn, NY where it is Mostly cloudy this morning. Then becoming partly sunny. Isolated showers. Highs in the mid 80s. North winds 5 to 10 mph. Chance of rain 20 percent. Generally, input exceeds output, but the latest updates on are Staghorn () and out beyond this site GSK seeks approval for world's first malaria vaccine ().
Branding in the works for a Brooklyn-based Lanscaping Co.
Rebranding for Light + Ladder is in the works so gorgeous product shots are yet to come. Light + Ladder is a Brooklyn-based home accessories design house, inspired by Rumi’s advice to “be a lamp, a lifeboat, or a ladder.”
Typographica has released their round-up of 2013 font release favourites, including m’ write-up on Ross Mills’ Huronia.
Rebranding pitch for TuneIn.
A typeface pre-release made for, and in conjunction with, R. Luke DuBois’ video playbill project at The Ringling / Circus Sarasota.
Where I describe how to get into the Communication Arts Typography Annual without submitting anything, and you can read me rambling! And my opinions! Abridged histories!
Brand strategy consultation and product design for Bacardi’s Oakheart.
Activations of Bacardi’s Oakheart and Coke.
Excited to be working with the fine folks at Best Made Co. on a range of custom typefaces for woolen blankets, clothing, camping supplies, axe bags & enamelware.
Episode II of “Perchance” features actress Parker Posey, who amongst countless film roles starred in 1995’s Party Girl; Alexander Provan, editor of online magazine Triple Canopy and a participant in the 2014 Whitney Biennial; and Ksenya Samarskaya, a.k.a. ’Postrophe, who may or may not speak about letters such as Pe, Pi, and P.
Hosted by Prem Krishnamurthy of Project Projects, Paper Monument, and P!, “Perchance” is a talk show with a single organizing principle: all guests’ names (or pseudonyms) must start with the letter “P”.
Like a hijacked episode of Sesame Street or a linguistically-challenged late night show, “Perchance” dedicates itself to the letter P by presenting a polyphony of people within its performative program.
whrw.hn, an event highlighting calendar, is back up and running. I’ve been curating my selections of type, design and other events that pique my interest, and the system is open for all to add and share events as well.
Matchstick, a partial-font with several combined weights-in-one. Suitable for display uses.
Spent the past year consulting on an orchard-worth of typefaces for Apple, with a focus on Latin, Cyrillic & Greek typography for both iOS and OSX. The specific work is mostly shrouded in secrecy, so instead of looking at the type I invite you to read this unrelated post on Apple Tattooing from Nicola’s Edible Geography blog.
Lettering for It’s Not You, It’s Brie. A book of America’s unique culture of cheese, a monthly cheese club & all sorts of other things pressed milk curd related.
Landmark, a new typeface from Hoefler & Frere-Jones, is finally released. Inspired by architectural signage on urban buildings, specifically the Lever House in NYC, the font exhibits shadow and dimensiality. In order to polish the look, we had to employ some subtle optical tricks, so don’t try to pour this one out of aluminum just yet. (Just a couple more waiting in the H&FJ hopper before I can finally talk about them).
Logotype variations for Пятница (friday.ru), created in conjunction with Trollbäck + Co.
I might be here or there otherwise, but I’m usually on Instagram.
AI Software typeface system, created in conjunction with DESIGN:MW.
Officially announcing the fact that I’m now biiiiiicoastal. Jetting back and forth between the bay area and the Brooklyn, so if you are out west and you need me for anything, I am now ever more accessible.
Made In Chinatown is a furniture design studio right here in the heart of Chinatown, New York City. For their branding, we made Made In Chinatown stickers and embossing to place on the back of all their collateral material.
Some photographs of my studio. To see what it looked like when I started, scroll over to April 2009 or glance at the background of the linked-to site. The space is available for photoshoots, or you’re welcome over for some tea, to talk over any collaborations or commissions you might be interested in. Images by Bob Martus, Liz V Photo, Esther Nisanova and m’self.
Exploring issues of Detroit’s history, fortresses, barriers, inside and outside, three nights of dinners were held at the Museum of Contemporary Art, Detroit.
SIEGE: AT TABLE, WITHIN + WITHOUT, a collaboration with Leon Johnson and Justin Novak. A sequence of three meals, Siege traces the original footprint of the city and offers it as a sustained allegory. The dinners bring together a culinary history drawn from the ribbon farms with formal echoes of the fortification of occupied land, tactical posture, and the ethos of retrenchment, withdrawal and attrition.
Every now and again, it’s important to take a reprieve and a retreat to re-engage with the world, discuss creative practice, and come back refreshed and with a new outlook on the creative process. This year, with a charming group of fellow explorers, we set out upstate for a long weekend of ice fishing, cabin wonderment, and cross-lake off-road ice skating.
Wash, Look Away. A typeface for Steve Lambert and his Capitalism Sign tour.
Working on a re-brand for The Coeur d’Alene Art Auction, the largest auction house specializing in Western and American artwork. In figuring out their branding I’ve been negotiating the terrain between fine art and true Americana ruggedness, developing a type that resonates as strong, classic yet distinctly unique. Based on American type speciments around the turn of the century.
whrw.hn is a social network for events, meant to catch all the droplists of postings that flickr on twitter and in conversations and putting them into a neatly organized calendar listing.
Symmetrically down to the day, and exactly four years later, I am satisfied to announce that I have officially concluded my tenure at Hoefler & Frere-Jones. I’ve had the opportunity to learn about the microscopic intricacies of letters, the spaces between them, and contribute to the drawing and success of a number of typefaces. Some already public, some still waiting in their pens to be released.
The list of typefaces that I've worked on include the design of Exchange, Ideal Sans, Retina, Sentinel, Sterling, Unnamed № L and Verlag. I’ve additionally contributed to the development of typefaces such as Archer, Forza, Gotham, Historical Allsorts, Numbers, Shades, Tungsten, Vitesse and Whitney.
By popular appeal, I am working on recreating in real, physical, edible space a concept dinner that’s existed mostly as a one-liner for the past year and a half. That dinner is FIRST DATE.
Because, what’s a first date if not a chance to truly, scrupulously assess the person you’re sitting across from? And, isn’t the better opportunity to do that a situation where neither of you is exactly sure how to act, where the protocol hasn’t been laid out as a passive groove? With that in mind, comes a dinner inspired by all of the delicious platters I’ve been presented and confounded by. The udon noodle that wraps itself entirely throughout the oversized bowl and never stops. The whole crab goading me with it’s shell and flashbacks of eighties movies with it flying across the room. The four-tier sandwiches that are at least twice as big as my mouth. The unwieldy lettuce leafs that landed from the likes of James and the Giant Peach. All absolutely delicious, and all an adventure in eating.
Planned as an intimate dinner for twelve. Scheduled for early February 2012.
Always planning away for a potential, unprecedented apocalyptic decline, at fourteen I negotiated a series of contracts with my friends for their souls. These were kept merely as tokens in my back pocket. An extra layer of protection in case I ever needed to untangle myself out of a proverbial, or literal, deal with the devil. Some of them are water damaged, but all that I've found are here, scanned in as much of their entirety as possible.
Just picked up three slots in the For Print Only design awards: for Mio Tokida, Eighties Bangs & I Ruv Ru cards. With thanks to the wonderful printers that worked with me on these projects for doing such a stellar job, IST Printing & the ACU-Line Corporation.
For pickling aficionados in the Brooklyn area, I’m starting a pickling social for the exchange of jarred goods and recipes. We'll meet a couple times per season, barter our various batches, sip on well-garnished martinis and chat about whatever vinegar-infused secrets we've discovered. If you’re interested in participating, shoot me a note to get on the e-mail list for our next meeting.
Pickled Pink is a Kent Pickle Them All™ Production.
In a lovely repeat of 2009, H&FJ was once again selected as a honoree for the National Design Awards. In addition, fellow colleague in the field and type maestro Matthew Carter was awarded the Lifetime Achievement Award. Congratulations to all selected and involved, it is a very fine group. Check out the National Design Awards site for details.
H&FJ Released Ideal Sans this morning. A handmade typeface for a machine-made age, Ideal Sans is a Humanist sans twenty-one years in the making. Drawn with almost no straight lines, very few symmetries, and every opportunity to resist formulaic rules, Ideal Sans projects warmth, craftsmanship and humanity.
Because creativity oft flourishes when at rest, I’ve organized a retreat held in upstate New York. Housed in a converted 1913 cider mill, which was itself converted from a much earlier cotton mill, the location was inspiration enough on its own. To add to the charm, spent the long weekend engaging in masterly mealmaking, across-the-border fireworks, polar bear style swimming and skeet shooting at the Orvis shooting grounds.
Currently preparing a presentation on TYPE vs. LETTERING, as well as some assignments on working with type for my upcoming trip up to Bennington, Vermont as a visiting-typographer. I’ll be discussing what goes into a typeface, how one goes about designing from start to finish, the different approaches I take when I’m designing a font versus when I’m working on a lettering job, and the questions that good type & lettering answer.
Update: Having just returned, I now want to do my undergrad all over again. I was completely seduced by the the beautiful facilities, vista and architecture of the Bennington campus. Especially the design of the VACA building(s), which were all of a Scandinavian modernist air assembled out of cement, charred wood and Futura. Simultaneously, I’d love to be teaching more again and am looking forward to future opportunities. The students that I had the fortune of interacting with were all absolutely delightful, inquisitive and well-informed. It was a privilege to impart whatever letter knowledge I could in a four hour period.
Just completed the identity for video editing & mastering unit Eighties Bangs.
The first objective in designing these cards was to illustrate the company name, Eighties Bangs, in a style that was true to form, reminiscent and memorable. Simultaneously it needed to remain restrained enough to be suitable and professional in contemporary settings. After sifting through type of the era, a custom fatface was designed that would resonate with the decade without aligning the firm to any one specific product of the past. In the printing, the light reflective holographic foil served the dual purpose of cueing the eighties and connoting video light emitting from a black screen.
Printed in the UK using holographic & white foils on GF Smith Colorplan’s Ebony.
Having just participated in a script workshop with Richard Lipton, as organized by Type@Cooper, I’m now sufficiently closer and more adept at writing roundhand, using fat markers and keeping my wrist moving for eight hours at a time. In addition, it was fascinating learning more about what went into the production of Bickham Script, and glancing at all of the beautiful specimens that were brought in.
I Ruv Ru is the creative playspace and upcoming portfolio of an enigmatic Russophile & graphic designer. Primarily residing online, the founder of I Ruv Ru was nevertheless interested in a brand and a card that could pique the interest of those he meets. We went with a thick brush lettering for the name, with a dot between the Ruv and the Ru to signify that it doubles as a url. For the production we wanted something with a hint of valentine, amplifying the cutesey-love theme, without toeing over the line into kitsch.
Printed in white foil on GF Smith Colorplan’s Candy Pink with a gravure quilted pattern underneath.
H&FJ floated up to the top of the crop in this year’s list of most innovative companies by Fast Company. Flattered & looking forward to striving ever further, here’s what they had to say in summation of their list: “That world (of 2025) will be ruled by the kinds of companies on this list. They’re nondogmatic, willing to scrap conventional ideas. They’re willing to fail. They know what they stand for.” Thanks, Fast Company!
WJN is a heating and air conditioning business that came to me with a specific brief for something strong, simple and old-timey. Oh, and to encompass it all in a shield -- which I've customized with hints of metal boilerplates crossed with glimmers of an ice cube. Custom monogram lettering and Univers.
Mio’s upcoming jewelry line was composed out of strands of chain, delicately and precisely linked together. In working out her identity design, I was excited about the possibility of having her card be an inverse of her final product, as if the chains could've been gathered from the missing punches of the card. The lettering treatment was hand arranged out of 318 2pt dots, which were then die-cut out of polished thin steel.
These cards are at their best backlit, or with the cityscape showing through the perforations. Or, perhaps hovering or leaning, leaving elongated shadows of the type underneath. We've gotten amazing response back for them so far, and am looking forward to extending the design to the rest of her branding and packaging.
Four H&FJ fonts were amongst the twenty-three selected into the MoMa archives. As always, exceptionally proud of the work of H&FJ and my colleagues there, with an extended congratulations to everyone else selected.
Hague-Visby is an umbrella label for the collaborative work of MES and I. The identity was designed as a treaty of our two respective styles, with the work carried out under the Hague-Visby brand encompassing branding, gallery and artists’ catalogs and visual-data driven websites.
The design for a series of ten artists’ catalogs and an accompanying website for the Churchill Arts Council in Fallon, Nevada has been progressing steadily. The site just went live, and the first three catalogs are available to order. Re-visit as additional artists and works are added throughout the year, featuring such west-coast artists as Mary Ann Bonjorni, Robert Brady, Lee Brumbaugh, Linda Flemming, Elaine Jason, Christine Pinney Karkow, Walter McNamara, Michael Moore, Bob Morrison, Elaine Parks and Harry Reese. Designed in collaboration with MES. Funded by the Andy Warhol grant for the arts.
My new calling cards just came in fresh off the print line. Foiled in white and black on GF Smith Colorplan’s Smooth Cool Blue, in extra thick 540gsm and set in a custom-drawn modular seven-segment type. Simple and unpretentious, these are easy to hand out in any situation, with an extra kick for those that remember using pager codes from the nineties.
With Alex Livingston, the challenge was to create a card that could function for someone with two positions within the film and television world. Designed as a thaumatrope (akin to a rudimentary flip-book) and visually referencing both film posters and blackscreen end credits, the card spins on its horizontal axis to sequentially play the roles our hero is available for.
Typeset in Univers and H&FJ’s Gotham, the card was printed in white foil on GF Smith Colorplan’s Ebony stock, and hand-assembled at the studio.
Today’s Elastic-City type walk takes place all the way out in Brighton Beach, and I will say that it’s definitely worth the subway trek or the bike ride out there. I picked that location as it uniquely allows me to talk about type in a cross-cultural and bi-lingual fashion.
As we stroll down a couple of the main strips, petrushka-pastries in hand, we’ll touch upon topics which include the history of western typography, the divergence of cyrillic and latin glyph forms, how cyrillic shapes have evolved and adjusted throughout the ages, and what happens from the view point of a type designer as the alphabets come back to sit alongside each other more and more in today’s world.
Am preparing my presentation and knowledge kit for a one-day type workshop to be held at MCA in Portland, Maine. The presentation will cover the theories behind type design and the issues that individual fonts came into place to address. Examples shown will include unique technological needs and the drawing solutions that were developed to accommodate them, practical layout issues that various type solutions simplify, as well as historical and stylistic connotations that certain typefaces carry. A lettering exercise and critique will follow. Only available to students registered in GD353 Design Issues & History.
Pia was looking for something that matched her hairstyling ways; A little bit disco, a little bit mod, and always with an eye towards the future.
Silkscreened reflective silver on Navy Blue Plike, these cards have the texture of super-smooth rubber, and shift their look for daywear and for going out at night. Set in Herb Lubalin’s Avant Garde with some custom tweaking and manual kerning. Contact info set in H&FJ’s Verlag.
Commissioned by Elastic-City, I’ve a series of Brooklyn-based type walks coming up later this autumn. The official description follows:
The ‘Swashbuckler Sashay’ explores the typographic elements suspended on the buildings, sidewalks and shelves surrounding us. As we walk, we’ll investigate architectural lettering; the embossed, the painted, the lit and the engraved. We'll stop to talk about the concerns that address someone constructing urban signage, the narratives that come up with time and super-imposition, and the clever or peculiar visage that results.
Always jumping at the chance of a birthday to be able to make a custom project for an audience of one, with the ability to be on-target in a way that no mass-design project could ever arrive at. (The answer to Sagmeisters question, as thoroughly tested over the past fifteen years, is yes, you can definitely touch someone’s heart with graphic design.)
For this year’s March, the gift of a round-trip flight needed to be able to be presented subtly and slyly without too much build-up or fanfare. Thus, a gift card that could fit into a standard envelope was created. Printed as a lenticular print and typeset in Gateway A2, the card shifts between New York (JFK) and Reykjavik (KEF), referencing terminal departure/arrival boards, with an extra hint of an area map underneath.
Taking my hand, and my eye-loupe, to the craft of micro-printing and rough newsprint with refinements and additions to a whole range (about 56 styles) of fonts serving the Wall Street Journal.
Today was my first day taking Advanced Russian Grammar & Composition at NYU, with thanks to Prof. Belodedova. In reviewing the accompanying reading matter, I’m looking forward to the combination of history, literature and poetry that the class weaves in, and, in a pique to my typographic sensibilities, re-exploring the divergent punctuation rules and symbols that the writing system adheres to.
Just signed a lease on 800 sq ft of raw industrial loft space to paint, construct, design and luxuriate in. As soon as I get a tub and a sink, I’m golden. Until then, you can find me lounging on the roof overlooking the 360° eight-bridge and infinite-cityscape vista.
H&FJ has been selected as a honoree in this year’s National Design Awards, the first typeface designers ever recognized by this prestige. Feel honored and privileged to be working there, per usual.
Sketches and installations for M. Created 2001 – 2011 Anno Domini.
Posters are fresh and hot off the press for BLUE HAMMER: A Trans-Historical-Burlesque Dinner Theater.
BLUE HAMMER is a performance project that unfolds in a late-night cable television studio, between two live broadcasts: a cooking show, HOT POT, and BLUE HAMMER, presented by a host named Vin Pays who professes to have toured Africa during the Mau-Mau uprising in Kenya and the Belgian occupation of the Congo. A guest joins him, the former leading-lady of the African tour [and of Hammer Horror films] named Tabula Rasa, who appears only to disrupt and dispel, an angel of death whose memories of Africa are harder to maintain than Vin's nostalgia. The performance features three live video feeds, including GP S analysis, a prototype portable kitchen, and custom porcelain bowls.
The project is put together by the Creative Material Group. I want to send additional thanks to K-gun for being my model for the posters and perfectly channeling the vixen noir.
Completed the design work on Sterling Display, a calligraphic typeface with all sorts of beautiful new swashes and ligatures enclosed. Based on the lettering of Reynolds Stone, Sterling is a custom project for Tiffany & Co. from H&FJ. Not available for retail.
Am honored to be selected as one of the twenty four artists and curators around the city to partake in Anton Vidokle’s Night School. Night School is an artist’s project sponsored by the New Museum in the form of a temporary school. It consists of a yearlong program of monthly seminars and workshops, drawing upon a group of local and international artists, writers, and theorists to conceptualize and conduct the program.
Presentations and workshops will be held by: Boris Groys, Martha Rosler, Liam Gillick, Maria Lind, Tirdad Zolghadr, Carey Young, Okwui Enwezor, Hu Fang, Zhan Wei, Xu Tan, Paul Chan, Rirkrit Tiravanija, Natascha Sadr Haghighian, Thomas Keenan, Avery Gordon, Walid Raad, Jalal Toufic, Raqs Media Collective, Jan Verwoert.
In a continuation of my attempts to get at design by thoroughly learning all of its tool-tips and end-points, as aligned with serendipitous chance... I wanted to announce that I’ll now be abandoning my prior plans and will be joining Hoefler & Frere-Jones to learn the intricacies of type design.
A New York City Raticorn. Typeset in Courier.
I’m excited to announce the upcoming opening of R.T.T.M.T.T.I.C.I.T.M.O.A., an installation art piece that I participated on in collaboration with the Flux Factory. Answering the question of “What would Tatlin’s Tower be like if it was an ongoing construction in a 1,500-square-foot room with 12-foot ceilings and was designed to be a nice place to spend a day in?” -- the installation features video, theater, a kafeteriaria, a radio station, and much much more. And, of course, with custom lettering in the Constructivist style. As quoted in NY Press: “Very clever. But also very fun.”
Back in New York, and enjoying partaking in all of the co-working experiments happening around the city. Sharing office space, internet and inspiration with brilliant tech nerds that are working on all their various projects has been completely inspiring. If you’re interested in sharing desk space, banter or projects... holla.
I’m off to Burbank to be a live-in designer working on Snoop Dogg brand rolling papers & associated paraphernalia. Please hold my mail, I’ll return in three months. Stories will follow.
Infix is a reverse-graffiti public art project selected to be part of this year’s Art in Odd Places (AiOP). The project aims to instill a two foot sense of reprieve into Manhattan’s Lower East Side by literally peeling away the commercial messages that we’re surrounded and bombarded by. Deconstructing the layers of the urban fabric, Infix reveals the area’s bygone visage by systematically digging down to uncover the origins of either twenty minutes ago or twenty years ago. In slicing through the city’s skin, it aims to offer a new keyhole to gaze through.
Pleased to have been selected to the shortlist-of-three finalists to work with Gaiker in the Basque Region recasting generational heirlooms. Residency as set up and organized by Disonancias.
Currently in dialogue with Amy and Stijn regarding a potential FutureFarmers residency. Our calendars are clashing right now, but let’s hope that they find a space enough to house me and we can make something out of it. Until, check out their inspiring work.
Identity and website design for Still(e), a short narrative by Susan Schwarzwald about the Holocaust and disappearance. The identity uses the assumed ‘Jewish’ typeface of the time, and fades the German translation into the background.
The site in turn was engineered as a ruminative dark gray tableau, keeping with the silent and thoughtful feel of the movie. Either scroll horizontally or click through to view video excerpts, quotes and stills, and watch the hidden moments whirl by as if from a speeding train. Excited about the patchwork of ultra-simple code bits that came together to make this website happen, by far my best technological feat to date.
Update: Still(e) Site no longer live.
Conversations aren’t flat, they live in space. Are they whispered? Yelled? Are you leaning in as you talk or pivoting away? Exploring these dynamics is an infographic printed in the latest issue of Is/Not magazine. -- Asking the always pertinent question of “is bigger really better?”
The magazine initially intrigued me in its format, which is published as a 192 cm by 143 cm paste-up to be pasted up on walls throughout Australia. In this issue, a 192 cm chart at the bottom allows you to explore your conversations in real-space.
Extrapolating from Edward Hall’s study of Proxemics, the type-illustration charts the dialogue excerpted from Harlequin novels and plots them against catalogued intimate, personal and social distances, their varied significance, and the waning and waxing of our different receptors as categorized by vision, touch, sound, scent and heat.
Ask your friends and strangers to talk to you in front of the map, and gauge how you compare.
Ligature Laboratories is a loose network of creatives, joined in an effort to spur dialogue and cooperation that would result in a stronger end product than any of the members would be able to achieve on their own.
With members coming from all different backgrounds and locations, and with the sole underlying theme being that all projects would be a collaboration of merging ideas, the initial logotype of a fused globe was created. The amalgamated globe later expanded to being part of a whole set of labratures, a variation of any two sub-species abstractly joined into one.
The business cards were printed for all founding members, as well as blanks for the swath of extended potential memberships. Cards printed on Neenah Classic Crest Super-Smooth Duplex in Classic Cream / Solar White. Typeset in Helvetica Rounded and ITC Franklin Gothic.
Sufferable Fragments is a short film on movement & relocation. Taking cues from packaging and shipping containers, the film employs label iconography and packing peanuts as an allegory to the disembodied and disheveled feelings that re-starting one's life can provoke.
Commissioned by the Creative Materials Group and filmed as a collaboration with Brendan Griffiths, the film will be screened in Portland, OR later this month.
Sarina’s website just went live. Designed as a simple showcase for a handful of biological illustrations, the site was drafted to resemble the book foldouts that the images are meant for.
+Rosebud’s 6th issue just came out, focusing on the concept of the IDEAL. Inside, you’ll find a set of my illustrations exploring the vast array of options and decisions we all encounter in this day and age.
Investigating the ever-expanding feeling of being in the hot seat of choosing (or the illusion of choosing) our fate, the illustrations present the reader with a fill-in-your-own flowchart of options, dead ends, consequences, and taxidermied housecats. Designed those that are no longer contempt with just one life, that want preemptive certainty of choosing the right options, or for those that simply want to live all nine lives simultaneously.
My site (2004.samarskaya.com) just got featured on Netdiver under “Portfolio's +++ ”. Super pleased to be selected amidst all of the other beauties on there, and thought I’d use this as an opportunity to talk a bit more about what I was thinking in its design.
The first wall that I kept running into amidst all my sketches was that I was making a site for work that was inherently impossible to truly showcase in two dimensions and seventy two dpi. With most of the features being installations, there was so much that went into it that was important: the projected video that was meant to get interrupted by shadows as part of “8”, the controlled humidity in the bathroom and the soundtracks propped behind locked doors as you walked down the hallway to get there as part of “...waking from the house”, the prepared curry and performances that were all a visceral part of “the gift”. All of the lowered ceilings, cold air vent depositories to nowhere, camouflaged entrances and interactive aspects, I didn’t know how to begin trying to shoehorn all of that into a browser.
With so many aspects of the original work being concealed, I thought I’d take it a step further and make the browser’s limitations a part of the design. The menu bar was going to be the centerpiece (easy to find and use!), placed atop of the content. It was aiming to expose the fact that you were viewing a barred experience, and hint that there was more there than meets the eye.
The site was then coded by hand, and skinned with my favorite overused office patterns of the 1990s. In the same way that the installations themselves were often a throwback and a contemplation of recent history, so the site would attempt to ruminate on the recent history within web and digital design.
After a couple of varied fits and starts (architecture agencies, nightclub interiors & retail exhibition design) I’ll be signing on to join Earth Pledge at their beautifully, sustainably remodeled headquarters in Murray Hill. As their designer, I’ll get to promote all the things I’m proud to advance out in the world: green roofs, sustainable materials for fashion and building, organic local farming & anaerobic digestion.
I’ve left Oregon. Now, post landing in La Guardia, I’ve been spending my time swimming through this New humid city of York, waiting for my gills to form. I’ve printed and showcased some resume parcels and as well as portfolio stacks to go along with them if needed. Hopefully there’ll be some interviews and big decisions coming up, but in the meantime, nothing but black and white and pink all over.
Dead Skin Press, a portfolio website featuring letterpress, tabletures & installation art. Stunning work from the artist Megan O'Connell.
The branding for the project takes its cues from the theme that went into it. 1950’s technology, digital optimism, and imprecise corruption into readable gibberish.
The project itself is a real-time translating machine, listening in to all that takes place in the gallery and spitting out its mis-interperted and biased version on an endless loop of official receipt tape.
Recluse is a computer program that is best exhibited amidst computer labs and cramped offices. The lil’ gumdrop-dudes tended to gather together and mill about on any given computer screen. But, if anyone was to try to approach, they’d run off the edges of the screen and seamlessly enter the screen next to it, engaging in a never-ending game of tag with the viewer. Created in collaboration with Charlie Olson.
Because I figured the best way to learn how to excel at designing for print was by going into the trenches, and because the owners of this offset press shoppe are so well-read, witty and activist, you’ll be able to find me this summer designing promotional wares and overall assisting at Pinball Publishing. If you’re in Portland, stop by and say hello.
A fundraiser done in conjunction with the Factory Studio and this year’s BFA group. Inspiration was taken from the group name of “Panacea”. Medical spittoon vessels were cast in porcelain, and adhered with the above logomark and fill line. Done in a run of 750.
Registry of Existence. Created in collaboration with Daniel Bissell and Britt Tvenge.
For a group installation exhibit of eight artists, reductively titled “8”, a tactile, archaeological eight was drawn-up. For the invitations, in a play on reversing the standard textures, a rough matte ink was laid atop a high-gloss reflective photo-paper.
For an installation that focused on themes of home, memory, quotidian matter and nostalgia entitled “...waking from the house”. The invitations were printed in an edition of eight, each quoting a different captured moment. Custom stamped with dark coffee cup rings. Designed in collaboration with Daniel Bissell.
Having moved into the flat of a recently deceased gentleman, for a period of time we were still receiving mail in his name. It was mostly government paperwork, Social Security statements, and other highly confidential yet equally impersonal data collection. Observing all these inhuman remnants, I wondered what it would be like if instead of documenting financial credits and debits, an organization jotted down people’s idiosyncrasies. Those glimmers of personality and memory, all that which makes us unique, an identity divergent from the simple fact that one has $82.19 left over in a checking account. Thus, later, as a part of the William Ryan installations, a fictional government entity entitled the Ministry of Observations was created. A entity which tracks all of those lost moments, habits, decisions and preferences that makes all of us uniquely us.
For a group photography exhibition entitled “Photography, Collections”. The branding was designed in reference to library collections, with library catalog card postcards. Printed in inkjet-printer-black on manilla, with a circular punch.
I felt it apt that the chronologically first, and linearly last, post on this site talk a bit about what was before and what exists elsewhere. While log.samarskaya.com is a written record on my work with an emphasis on branding, lettering and identity (with a smattering of design and print art here and there), the work that I was involved with directly prior was narrative installation art. Some of these early posts touch on the branding or print segments of an installation without going deeper into the work that was exhibited. If you’re curious in those works, an archive of an older site that covers them from a macro viewpoint still exists at 2004.samarskaya.com.