X&M

Cassandra Carosello

X&M explores different typefaces found in public signage, along with dimension and character construction by turning 2D letterforms into 3D models. The concept is to collect characters from two different typefaces and represent them in a 3D form according to their history. The use of wood is inspired by the Mesquite typeface’s creation as part of the Adobe Wood Type series, and the acrylic is inspired by the contemporary take of the unknown typeface. Metal fasteners are used for an industrial look.

Birch plywood, acrylic, metal
5 x 2.5 x 5 in. (X); 5 x 3.5 x 2.5 in. (M)

Stadia

John Shukin

Stadia is an exercise playing with space and history. Inspired by the massive “paintings” of Julie Mehretu, this piece is meant to be reorganized and reformulated, reconfigured according to each player. Each component was artificially aged to give it the appearance of having a history, something that is intrinsic to all material and space. Drawing on Mehretu’s work, this piece explores how spaces can be made into stadiums, that is, political arenas composed of various actors and acting forces.

Wood
40 in x 20 in x 20 in

Waves

Tia Besser Paul

Sandra Alexandre-Aime

This table evolved from an exploration of water and the formation of waves. The interest lay in the repetitive motion of waves being formed, incorporated into the legs of the table. The desire was to utilize abandoned moving crates and give them a second life. To keep the integrity of the wood, the surface was left blemished, there are still marks such as nail holes and the warps in the wood are intact. This gives personality to the surface and hints at its previous life.

Reclaimed wood, steel
40 x 20 x 20 in.

Throw, Grow and Flourish

Sabrina Emanuele

Christina Gancz

Pam Menegakis

Cassandra Carosello

Alexandra Durand

Sophie Michiko Fukuda

The creation of seed bombs is a way of promoting methods of biodiversity conservation that allow others to be more actively involved in their community. Every part of the product is handmade and is either reusable or has an ongoing positive impact on the environment. The project fully embraces the concept of maintaining continuous life cycles of elements important to our city’s biodiversity.

clay, compost, organic muslin
5 in x 5.5 in

Sweet World

Lindy Li Loong

Milin Li

Sweet World is a low-poly 3D video that demonstrates the various desserts of different cultures. They are represented as three cubes on a plate. The top cube is Patbingsu, a Korean dessert. It is made of shaved ice, syrup, red beans, mochi, and fruits. The middle dessert is a mille-feuille, a European pastry made of layers of puff pastry and cream, topped with a glazed icing. The last dessert is American Jell-O filled with fruit punch. Furthermore, the video includes animated versions of Lindy and Milin who have fun in this crazy, sweet world.

Digital video, Blender

Pigmentower

Philippe Caron

Andy Sherman

Sebastien Giasson

Pigmentower is a creative and immersive video game. The player finds himself in an open staircase tower that seems infinite. He can interact with the position of the stairs in order to make their way up the tower. Each staircase has a unique colour, and the player clicks on buttons to keep in their mix. In order to move forward, the colours must be activated. The object of the game is to find the perfect combination of colours.

Unity 5

Object book

Dina Bakalova

This artist’s book highlights the global issue of green washing. It uses textiles, natural dyes, and transfer paper for the printing of images. The bright colours juxtaposed with the dim and bleached palette stress the controversy behind the glamorous and yet toxic fashion industry. The imagery of dying an endangered species exposes the grave consequences facing us as each new item emerges on the market. The book conveys awareness and reminds people of the not-so-sparkling beauty behind their favourite brands. The list is long and toxic, with companies like Nike, Adidas, Gap, and Armani at the top.

Stich witchery, Aida, bookbinding nails, metal container
10.5 x 5.5 in

Saprophytic Architecture: cleaning up Detroit’s Central Station

Sarah Denis

The project brief was to design a nature-inspired environment that would revitalize one of Detroit’s many vacant spaces. This project works in and around Detroit’s abandoned Central Station, a very important building for the city’s history but neglected since 1988. This project proposes a solution that truly emblematizes Detroit Future City’s mission: it is a progressive taking-over of the complex with closed-loop urban farming and restaurant systems. What about a saprophytic architecture that would work to clean up the host structure by bringing people, money, and infrastructure to the site?

Wood, paper, plastic, metal, ink
36 x 36 x 36 in.

Neo OP

Luis Aretuo

As a daydreamer, Luis spends most of his days thinking of shapes and patterns that pop into his head and move around endlessly. This motion piece represents the styles, influences, and sounds that have shaped his student years, abstract yet relatable. All of it uses 3D software to create two-dimensional pieces that can easily move between both planes and engage the audience.

Cinema 4D and After Effects

Mineral Formations

Dina Bakalova

Anna Luisa Lopes

Carlos Chavez

Felipe Munoz

The concept and fabrication of this coffee table are an interdisciplinary cooperative work between the Design and Engineering departments. The inspiration comes mainly from bio-mimicry, though also some influence from the neatness of Scandinavian design. The table depicts natural formations such as rocks and crystal structures, highlighting the coldness of those sharp-edged shapes through the usage of steel, formed liked the facets of a gemstone. The aim is to entangle the visually appealing with the functional by balancing the bleakness of the steel with warmth and softness of the pinewood.

White pinewood, steel sheets, coating stain, anti-co
36 x 24 x 17 in.

Living River

Hannah Materne

Living River transforms an empty lot in downtown Detroit into an oasis, combatting both human and environmental water crises occurring currently. Living River provides clean drinking water, via taps located under the lip of the illuminated boulders. Their lights increase safety in the park at night. The boulders are intended as play structures and benches. By using pervious concrete and native ground cover, Living River represents an entirely pervious park, allowing water to flow through it freely. This prevents harmful run-offs and allows rainwater to pass through the park and re-enter the water table, filtering naturally in a process standard concrete does not facilitate.

MDF, clay, acrylic paint, embroidery thread, LED
28 x 12 x 4 in.

Letterform Sculptures

Camila Acosta

This project aimed to explore the architecture of letters in the built environment. The constructed characters are the “A” from Ardene’s logo, and the “M” from Clément’s logo. The colour palette is inspired by the CMYK colour model. The materials used are a combination of Plexiglas, glass paint, and steel.

Plexiglas and metal
5 x 5 x 3 in.

Lampada

Samantha Dicriscio

Lampada is a lamp created solely from wood, hollow inside, strong on the outside. It was created to touch upon the concept of “eternally yours”, a companion through life, or an object that can be passed down. The manipulation of the lamp and lighting was created to give each user the freedom to change it whichever way they feel fits within their lifestyle. This creates a whole different effect and meaning to the overall look. With the lamp comes an interactive graphic piece accentuating different parts to enhance the user experience.

Wood, LED, paper
20 x 5 x 13 in. (lamp), 7 x 4 in. (book)

Erosion

Hannah Materne

Erosion is a design research-creation piece acknowledging the agency of rock. Based on Hannah’s accumulation of natural objects from the sacred space of her cottage, Erosion considers her differing relationship to the rock from the city versus from the lake. The emerging poem is scientifically accurate, based on the specific geology of Lake Wah Wash Kesh. It considers the feel of the crystallization from magma, and what it might be like in a sealed room, in the palm of a human. The image of the sacred space brought forth in the text tells its story with its physicality.

Digital print
22 x 30 in.

Increscent

Hailey Turcato

Increscent is an adjustable and customizable lamp. It gives a choice to the user to add more or less light, thus allowing the amount of electricity used to be controlled. All the pieces can be reorganized to customize the shape of the lamp. Increment was made using 3D printing and CNC milling. It uses electromagnetic connections to attach each piece.

ABS Plastic, Russian Birch Plywood, Birch Wood, Magnets, LED
5 x 9.5 in.

Slow Cookbook

Laurence Pilon

Jessica Maher

The intention of this project is to reconnect individuals with the provenance of the food we consume on a daily basis. The writing, the design, and the printing of Slow Cookbook address the notions of slow food, local food, while also highlighting many important sustainability practices. Furthermore, food waste can be countered by raising awareness within our communities, thus empowering individuals through knowledge of what they consume daily.

Screen-printing, paper
8.5 x 11 in.

Game therapy, Feng shui edition

Katerine Dennie-Marcoux

Alexis Dionne

If colouring mandalas can be a Zen and relaxing activity, so can furnishing a virtual room with colours and the five elements. Using a few important key elements of Feng Shui, the object of the game is to help the characters be happy by giving them a chance of a better life by arranging their living room space. Take this opportunity to relax.

Computer

Les plantes sauvages du Québec

Anne Moncion

́Emile Archambault

Marie-Pier Larose

Fanny Marcoux-Lebeau

Francis Leclerc-Charron

Every person, as a consumer, politician, and instigator of social change, can model their lifestyle towards having a net-positive impact on the environment and a personal wellbeing. Quebec has no fewer than 10,000 plant species native to various environments. Picking wild plants can become a gratifying activity for it supplies healthy, highly diverse, and free food. It is a splendid opportunity to discover things about our environment and to share the fruit of these adventures with our loved ones, creating new standards in our nutrition system. Until then, perhaps the weeds in our gardens, which we shamelessly pull out, can possess new potential.

Website

Average Joe

Maria Mahdessian

This project is a stop-motion animation that portrays the life routine of Average Joe, which consists waking up, eating, going to work, watching television, and sleeping, all without any excitement. Years pass by in a flash without a change and without Average Joe truly enjoying his life. At the end of the animation, there is darkness, which represents his final spiritual and physical death. This project’s intention is to show that life is a journey of adventures and experiences through which a person can feel truly alive. The skeleton symbolizes death and the use of grey scale represents a boring, plain, and uninteresting life.
Audio: “Living Fully Now” by Alan Watts.

Digital, skeleton dummy

Doors

Francis Goodship

Doors is inspired by Thomas Demand’s piece named Abgang (Exit). Abgang evokes a very strong sense of mystery with a very minimalist aesthetic and construction. The familiar construction of stairs, placed in an infinite blank space, pushes the question of where they lead. Doors attempts to recreate this sense with another familiar structure. This project consists of a series of ajar doors in closed-off rooms that serve to replicate the intrigue and frustrations in Demand’s pieces. The open door brings viewers to look inside only to find the intrigue is perpetuated to what seems to be a near infinite extent.

MDF
10 x 17 x 9 in.

Derelicte

Sandra Alexandre-Aimé

Sabrina Emanuele

Anna Luisa Lopes

Cassandra Carosello

Emilie Kehm

This project evaluates a current social issue while using the context of a wearable. The concern lays with current consumption habits taking over consumer culture. This dress was made to comment its emergence in the post-war era and how it resulted in negative environmental outcomes. The many pockets serve as storage for the daily waste an individual produces. This action changes the elegant shape of the dress and how they are seen. The way they feel about themselves also changes, making them more mindful of their personal daily waste.

Organic Linen
34 x 24 in.

Stripped

John Shukin

Julie Tremblay

Jeremy Karl

Tess Kuramoto

Lucas LaRochelle

Stripped is an exploration of identity and first impressions through the lens of clothing. By making transparent apparel, attention is focused on how many stereotypes and conclusions we, as everyday strangers and passers-by, draw from what we put on our bodies. By removing the substance from these signifiers, these conceptual containers, we are forced into a state of discomfort, searching elsewhere for ways of categorizing and understanding. Suddenly, the body becomes packaged within this plastic, stripped of its outward “face” and displayed as imperfect and raw.

Plastic, string
Two outfits

Boxed Light

Emilie Kehm

Boxed Light is made to accompany those prone to change spaces, for it is a design effortlessly integrated in diverse environments. Its simple, minimalist design enables it to be easily compacted in order to avoid any damages when being transported. It incorporates the notion of practicality and sustainability, repurposing an existing object for a new design.

Wood, recycled glass bottle, LED
10 x 5 x 5 in.

/.\

Julie Tremblay

Sandra Alexandre-Aimé

Cory Landels

John Shukin

Alexey Lazarev

Ketlin Martins

Inspired by Japanese stone gardens, /.\ is a wearable and transformable garment bag that recreates the intimacy and meditative characteristics of nature. Although the stone garden is intensely controlled (raked into a precise pattern), this garment provides the wearer with an experience that brings one in closer harmony with nature by evoking a quasi-spiritual state of being, of proximity, and of attention to nature.

Linen, screen-print, rock
40 x 40 in.

Senescentis Felix (Happy Aging)

Tia Besser-Paul

Luis Aretuo

Marie-Andrée L’Italien

Johnson Ta

Alexey Lazarev

Senescentis Felix explores the stigma around aging and ways to create a positive discussion around it. It was developed through research of people’s perception and the different kinds of aging. This wearable is a step towards the embracement of wrinkles. It encourages its wearer to play with its pulley devices to create deep, dense wrinkles along their own neck. The more intense the wrinkles, the more interesting the piece becomes. This wearable acts as a platform for discussions between the wearer and the people that interact with them.

Organza silk, cotton, transparent thread
30 x 20 in.

Nef pour quatorze reines, Polytechnique Memorial Proposal

Julie Tremblay

John Shukin

Although the soil is never fully fertile, we must still plant seeds of hope for women around the world.
Nef pour quatorze reines is a proposal for a memorial commemorating the Polytechnique massacre. It is an attempt to help reflect on the tragedy, but also to provide a seed of hope and a way to move forward. Made using predominantly burnt cedar, the memorial comprises a seating area surrounding an inner sanctum filled with plants, offering an opportunity for meditation and renewal.

Burnt wood sticks, MDF, Plexiglas, FIMO paste, soil
15 x 11 x 6 in.

Speak

Laurence Pilon

Quebec has a complex history of linguistic conflicts still affecting the present multicultural society. “Speak White” refers to a racist expression used by English authorities in the late 60s to regulate French-Canadian workers. It is also the name of a poem, written by Michèle Lalonde after the Quiet Revolution, that critiques the ethnic and linguistic tensions. Quebecer Marco Micone, born in Italy, wrote “Speak What” years later in response to Lalonde’s work, suggesting that intolerances prevailing in the province are now directed against immigrants.

Ink, Paper, Poetry
2 x 24 x 36 in.

U & I

Jade Brisson

Edward Nyamenkum

Frédérique Pelletier

Gabrielle Vaillancourt

Tea interacts with three different senses: taste, smell, and touch. Tea is also a culture and experience, which is why the tea bags are bound in pairs. This encourages the receiver to share the moment of enjoyment of a warm cup of tea with a loved one. The tags are perforated so they can be split in two like a wishbone. They contain seeds meant to be planted, adding another level of depth to the ritual of tea, one that continues beyond a cup.

Fabric (cotton), tealeaves, wood
16 x 12 in.

Women of Syria

Fanny Marcoux-Lebeau

This book of photographs shows the situation and condition Syrian women refugees must face daily. The book layout is minimal in order to focus solely on the beautiful portraits taken by Adnan Sharbaji and Giulio Magnifico. An image is worth a thousand words. The little amount of information is also chosen to engage the viewer in doing their own research, especially when we are constantly being fed false information from several media outlets. The book was also done in the hope to give agency to these women.

Mayfair, Strathmore paper
5 x 8 in. (closed), 10 x 8 in. (open)

Uprooted – The Syrian Refugees Crisis

Joey-Christophe Gravel

Uprooted discusses the Syrian Refugees Crisis. Evolving from deep conceptual and content research, this project is a social study, divided into several age groups, that focuses on the challenges of being a refugee. These people’s constant struggle is reflected in the book through a simple and efficient design, captivating photographs, and the informational content. The book is entirely handmade.

Paper
6.5 x 8 in. (open), 13 x 8 in. (closed)

L’Exil

Laurie Goudreau

L’Exil is based on a series of testimonies to create a shared story, a path that occurs too often. The book shapes itself following the media’s awareness on Syrian refugees in 2015. L’Exil rises from the realities of political conflicts, social crisis, and torn lives, in order to depict a portrait of refugees. Often raw, often poetic, this identity search, once seemed lost, lives in various emotions. L’Idéologie encourages the reader to reflect on their own identity and to write their own story.

Academia paper, sewing thread
4 x 5.5 in.

Therefore Lamp

John Shukin

Therefore Lamp is an attempt to make a friend out of an object and to imbue it with as much agency and character as possible. This light is finely crafted, but also hides a secret and a cheeky personality. The hope was to give an object such individuality, or at least the potentiality for it. Thus, a long-lasting and sustainable relationship between the user and the lamp might be formed.

Wood, aluminum, paper
60 x 30 in.

Je suis malade…

Stéphanie Bélanger

It is a book about the different phases of acceptance of a person suffering from a critical illness. The illustrations and the writing style are somewhere between childhood and the point of view of an adult. In some way, this book is about the child that hides in the depth of our being and who is scared. They show us the negative counterparts and the difficulties met by the adult who does not know where to hide their sorrow. Illnesses are present like those monsters that haunt us in our childhood, which we did not see but that were true in our eyes.

Recycled paper, string
4.5 x 4.5 in.

I AM

Mariana Leyton

I AM The concept behind this piece is inspired by the “art process” which refers to an artistic movement where the end product is not the principal focus. The process in “art process” refers to the process of the formation of art, the gathering, sorting, collating, associating, patterning and actions created by it.
By being concerned with the actual doing the actions themselves can be considered a piece of art on their own. In this case, the process became as important as the final product. My intention is to express art as a creative journey or process rather than a deliverable or end product.
To create this poster a first scanned my fingerprint, later I vectorized it and created an stencil 15 inches by 25 inches. Once printed I proceeded to stamp my fingerprint with black pigment and I took a picture every time I placed my finger on top of the stencil. With over 500 photographs I created a stop motion video to show the process. Once I covered up all the edges with my finger print full of ink I removed the stencil and obtained this beautiful composition. I’m currently working on a series of this poster.

Paper, stamp, ink
20 x 30 in.

Show&Hide

Laurie Goudreau

Murielle Dufort

Marie-Élaine Grant

́Émile Archambault

Show&Hide reflects on the contradiction and tension that lies in the function of body wear in our society. Clothing has a duality between decency and dare, between unveiling and isolation. Sometimes geometric and cold, this unisex outfit hides the face and torso, creating an isolated space. Other times organic, fluid, and bold, it reveals the body and its figure. Show&Hide questions the real function of body wear in its extremes. Until what point are we willing to hide behind a piece of fabric? Contrarily, to what extent can we reveal ourselves to draw attention?

Tinted wool, recycled leather, magnets
2 x 1.5 ft.

The Survival Kit

Lauralyn Lamarche

John Bigsby

Sydney Cornett

Louise Heng

The Survival Kit is part of a collaborative research project. The challenge was to create a transportable, collapsible, and personal creative space, open to customization, sharing, and multi-functionality. The group was inspired by their own needs of organization. After researching the problems with traditional organization methods, the item that was created could be transported and shared between peers. The result is a multi-functional backpack with detachable compartments. Its concept comes from the shape of the cocoon or seashell with its numerous layers.

100% organic cotton canvas, screen-printing
14 x 19 in.

Helvetica No More

Alyssa Zwonok

This poster is designed for a lecture held at Concordia University by type designer Rainer Erich Scheichelbauer. The large modular typeface and small cursive font were designed in Illustrator, inspired by handwriting and sketches. Ideas of space, movement, and the construction of typographic forms were explored in a neutral colour palette with a pop of turquoise to emphasize important information. The focuses of this project were expressive type, concept development, poster composition, and information hierarchy.

Poster
24 x 36 in.

Helvetica No More

Eliza Nguyen

The Design department hosted a talk at Concordia on why Helvetica may not be such a great typeface after all. The keynote speaker was Erich Rainer Scheichelbauer who hails from Vienna. He spoke about his love for typography and his disdain for Helvetica. The custom vector typeface for “Helvetica” in the poster serves as a fun and playful means to contrast the neutrality of the Helvetica typeface. It also serves as a way to showcase the “melting” and “disintegration” of the typeface. The colours are bold and vibrant to grab the attention of the viewer and reinforce the idea of making a statement.

Paper
24 x 36 in.

Helvetica No More!

Maya Moufawad

This project is a post-conference poster called “Helvetica No More”. The concept is to distort the typeface Helvetica and represent it in a different way. The manipulation is exaggerated to make a point that Helvetica is overused, and shows that it is not necessarily the most legible or the best solution. Bold colours for a bold message.

Paper
33.11 x 46.81 in.

Helvetica No More

Samantha Dicriscio

Helvetica No More is a poster designed to play with the idea of using different typefaces within the design world. The talk was presented by Rainer Erich Scheichelbauer, a type designer, teacher, writer, and translator. He brings forward the idea of “letting go of Helvetica” and demonstrates what today’s variety of typefaces can do and how accessible they are. This poster displays Rainer’s ideas by breaking apart a typeface, scattering it across the page, and showing off the elegance of different typefaces other than Helvetica. We are at the dawn of the new era of typeface design.

Paper
34 x 24 in.

YMCA’s cooking class

Kira-Alexandra Gwilliam

The project consists of finding an internship in a non-profit organization and participating in one of its programs. Kira chose the passport program for education at the YMCA. Her role consists of teaching young people between 13 and 17 years old how to cook once a week every week. She teaches them basic techniques, simple and healthy recipes, as well as the artistic presentation of dishes. Kira thinks it is an important project because cooking is a basic skill that is slowly being lost. It is a crucial skill for young people to have in order to have a better diet.

Postcards
4 (8) postcards, 6 x 4 in.

Subbacultcha

Francis Leclerc-Charron

Subbacultcha had its initial life as a poster in a contest for the alternative rock band The Pixies. As part of a course, it was transformed into a series of postcards reflecting a designer’s ethos statement.

Poster, postcards
4 postcards, 24 x 36 in. (poster), 6 x 4 in. (postcard)

Orange Julep

Fanny Marcoux-Lebeau

Julie Tremblay

Murielle Dufort

This project is a rebranding of Montreal’s famous Orange Julep in order to revive it and attract a larger clientele. The juxtaposition of pastel colours with a touch of humour creates a playful identity engaging Montrealers to rediscover the place and build new memories, while enjoying an orange frappe. The branding itself is catchy in order to grasp the attention of both newcomers and regulars.

Illustrator, Photoshop, screen-printing, paper
3 posters, 13 x 19 in., 11 x 17 in. (t-shirt)

Brandon Grotesque Folded

Edward Nyamenkum

Based on Brandon Grotesque Black, Brandon Grotesque Folded takes inspiration from folding paper to create a layering typeface. By overlapping the different type styles and by playing with different combinations of colour, fills, and strokes, paper-folding effects can be visually mimicked in a 2D environment. This typeface was developed by experimenting with folding paper letters, recreating the process through a 3D rendering software, and importing the resulting vector shapes into Illustrator and Glyphs.

Paper
9 x 12 in. (book), 24 x 36 (poster)

Copy

Laurence Pilon

Copy is an experimental, typographic project that focuses on the existing interrelation of content, form, and material. It is based on the idea of deterioration and of censure. The typeface was created by generating data loss with a photocopier. It is used in the context of Nicole Brossard’s poetry to illustrate women’s censored speech. The author’s feminist text “E muet mutant” (Silent Mutant E), published in 1975, deals with the oppression of the female literary discourse in Quebec.

Paper, ink, poetry
24 x 36 in.

I Love Myself

Sam van der Walde

I Love Myself is a compilation of blog entries written throughout the semester about the lessons Sam learned as a graphic designer and how they link to her life as a twenty-something-year-old. The entries are used to showcase the typeface Eva, a modern and geometric sans serif. Eva has two weights, regular and display, for legibility and versatility.

Paper
7 x 9 in.

Gabrielle – The font booklet

Maya Moufawad

Gabrielle – The font booklet consists of a typeface and its specimen booklet. Strong and feminine, the typeface is inspired by a black, lace dress. The idea was to create something similar to modern serif typefaces such as Didot, but with a little more fire. It is primarily for typeface because of the small details of each letterform.

Paper
5 x 6 in.

Neige Typeface

Marie-Pier Larose

Neige is a handmade typeface that was inspired by the observation of snow falling in the surrounding environment. With soft colours and thick traits, Neige’s booklet emulates the forms created by ice crystals coming in contact with flora and by the burial of the landscape under the snow. The characters have irregular outlines with a consistent large stroke. The letters’ rounded lines often finish with curved tips, for better interlocking typography.

Paper, ink
6 x 6 in.

Galaxix

Cassandra Carosello

Inspired by constellations, Galaxix is a sans-serif typeface constructed with linear and circular forms. Because of its unique details, this typeface is best suited for large headings or display type. The concept of the project was to find inspiration in physical or digital objects/elements and develop a typeface based on it. Based on geometric angles and the list of star signs, Galaxix was developed with a futuristic/science-fiction style. A specimen booklet illustrates the typeface’s complete development.

Sketch paper, matte cardstock, inkjet
6.25 x 5 in. (closed), 6.25 x 18 in. (open)

Alain Ducasse Stationery

Christina Gancz

Sarah Denis

Alain Ducasse Stationery is a speculative rebranding of a five-star Parisian restaurant, Alain Ducasse au Plaza Athenée. The restaurant is very high-class and prides itself on the transparency of its cooking methods: every meal showcases all its individual components. The restaurant is also proud of knowing the origin of all its foodstuffs and developing a stable network of trusted food providers.

Stationery
Paper
24 x 12 in.

Helvetica No More type talk poster

Desislava Davidova

This poster is based on Rainer Erich Scheichelbauer’s typography talk entitled “Helvetica No More.” The poster had to be expressive while the concept had to reflect the idea behind the talk. A limited palette of maximum four colours had to be used and no figurative illustrations or photographs were allowed.

Paper
24 x 24 in.

Le Sol Est…

Alyssa Zwonok

This series of posters was designed for an SDGQ contest to raise awareness of the importance of healthy soil. It uses earth-grown vegetables to illustrate possible negative consequences. To avoid overgrazing, land must be cultivated using a crop rotation system. Water infiltration systems are encouraged to help in the event of heavy rainfall and run-off. Populated crops and humus-rich soils are essential in protecting vegetation from harsh winds.

Paper
24 x 34 in.

Alain Ducasse Stationery

Alyssa Zwonok

Samantha Dicriscio

The Plaza Athenée is a luxurious five-star hotel in Paris, with a five-star restaurant named after the head chef Alain Ducasse. The stationery represents this restaurant. The specific, luxurious ingredients Alain Ducasse uses in his dishes are brought to life within the design. The stamping of the pears, peppers, and caviar is a compelling addition to the stationery; it adds an upper-class feel to the overall look. The stationery is also printed on a paper with a slight frosted shine to push the luxurious feel.

Stationery paper
10 x 25 in.

Suburbia

Bianca Su

Suburbia is a piece that triggers conversation about the contrast between two common images of the suburbs: one of monotonous residential scenery and the other of a family life. The framed typography sits in a box that may suggest an unchanging and isolated depiction of the suburbs. By way of translating this duality of isolation and new life into visual type in space, the “ouvert” sign displays a decaying typography, yet shows liveliness. This open lit sign welcomes its viewer while conveying a feeling of neglect.

Masonite, acrylic, paint, LED
7 x 16.5 x 4 in

Année internationale de la protection des sols

Anne Moncion

This three-poster series was created for an SDGQ competition to publicize an exhibition at the McCord Museum about the International Year of Soils. The hand-drawn illustration, paired with the watercolour, accentuates the materiality of the theme. Furthermore, the hourglass as a symbol is used in three different ways and serves as a reminder of the urgency of changing our exploitation methods, from deforestation and the usage of pesticides in farming to the overharvesting of agricultural lands.

Numerical print, ink, watercolour
24 x 36 in.

2015 – Année Internationale des Sols

Joey Christophe Gravel

This three-poster series was designed for a contest organized by the Société des Designers Graphiques du Québec (SDGQ) to promote 2015 as the International Year for Soils. The concept is to bring attention to the critical situation of soils, while encouraging a change in our habits, through a simple but communicative and efficient design. The evocative and self-referential visuals at the core of each poster, the consistency of the layout, and the simplicity of the colour palette in relation to the subject are key elements to convey the main message.

Paper
24 x 36 in. (1) x 16 x 24 in. (2)

International Year of Soils

Dina Bakalova

This series is composed of three posters created for the International Year of the soil, declared by the 68th United Nations General Assembly and under the auspices of the SDGQ, the Bibliothèque et Archives Nationales du Québec, the McCord Museum, and Publicité Sauvage. They seek to raise awareness of the importance of better soil management on a global scale to contribute in food security efforts, hunger eradication, adaptation to climate change, and reduction of poverty, through sustainable development.

Paper
24 x 36 in. (1) and 16 x 24 in. (2)

Cityscape to Sacred Space: A Visceral Sculpture Map

Hannah Materne

Mel Palapuz

This sculpture map is the physical manifestation of the visceral and emotional experiences while crossing from the chaotic cityscape of Boulevard René-Lévesque into the sacred space of the cathedral Mary Queen of the World. The bead, representing the human, is pulled along a wire path as it travels from the chaos of the street, through the imposing vertical threshold of the modern city, and finally, into the warm hearth of the illuminated sacred space. The journey, repeated in the opposite direction, draws out a shred of fabric from the sacred space, showing that the experiences of each space colour one another.

Wire, aluminum, clay, foam core, fabric, LED
10 x 4 x 8 in.

EHS campaign poster series

Philippe Caron

The Environmental Health and Safety Department of Concordia University selected this poster series for their 2013 lab safety campaign. This series explores the relation between typographic and photographic compositions, merging the two together. A vigorous colour, a striking model pose, and a refined composition quickly attract the attention of the viewer. The series was printed offset on a five-colour press. Each accent represents a unique spot colour, while the rest is printed in black.

Paper
4 posters, 18 x 24 in.

We Don’t Think in Binaries

Jeremy Segal

This installation explores the increasingly blurry dichotomy that exists between our natural, biological selves and the mesh of computational technology in which we are embedded. Using glitch art methods, the video’s code is directly manipulated in text form, producing visual noise. The sound is a direct sonic reading of the video’s code. This project aims to extend the definition of typography in digital media, shifting it towards the code itself.

Acrylic cube, iPhone 6S+, mannequin hand, grass rug, soil, lights
8 x 8 x 8 in.

Bulgaria in tiny snippets

Desislava Davidova

The idea behind this website was to create a more personalized guided tour of Bulgaria. All pictures on the website are originals. The website includes major tourist attractions, as well as places that are more uncommon and that would not be found in basic guides. The site is divided in three sections: Sofia (the capital), the mountain, and the sea. All across the website are handwritten notes activated through the hovering effect, making it a more personal experience.

www.hybrid.concordia.ca/de_david/bulgariaintinysnippets/

Website

3D heart

Anna-Maria Van Kosenstram

The project required research about how printing helps in surgery, specifically for parts of the human body having been damaged. This 3D-printed heart is based on chest X-rays from a cat scan. The intertwining future of 3D printing and medical procedures is an interesting topic of study.

2015
Powder 3D printer
4 x 2.5 in.

The Deep Fried Ice-cream Theory

Jade Brisson

The website explores the Rosetta, Cassini, Juno, and Curiosity missions, and their impact on our understanding of the universe and the overall importance of space exploration. It is a one-page website with scrollable interactive elements that help enhance the user experience and stimulate the viewer with beautiful imagery taken from the NASA website.

www.hybrid.concordia.ca/ja_bris/web_deepfried/

Web site

Meet Bram de Does

Gabriel Galindo

Meet Bram de Does is a short motion graphic documentary narrating Bram de Does’ biography and his most famous typographical creations completed through his design career. Born in Amsterdam in 1934, Bram de Does is a graphic and type designer. He proved his talent for type design between 1980 and 1982, when he was asked to produce an exclusive typeface for phototypesetting equipment.
Script development and documentation, illustration, and animation developed by Gabriel Galindo. Voice-over by Jeffrey Smith. Music “Never Give Up” by Wade Marshall.

Animation
Video projection, AfterEffects, Illustrator
1920 x 1080

STREET ART: MTL

Mel Palapuz

STREET ART: MTL is part photo-documentation and part city mapping. It poses many questions: How do different styles of street art in Montreal exist based on their respective neighbourhoods, if they exist at all? What is street art really saying to us?

Book
Glossy cardstock, paper
8.5 x 5.5 x 0.25 in.

Before Effects

Francis Goodship

Tam Vu

Since AfterEffects is typically used as a post-production tool, it is interesting to use it for the opposite, creating all the video animations as preproduction. A box was constructed to allow the juxtaposition of the animations in real time, which in effect leaves room for error. This sort of imperfection is an attempt to broaden the common spectrum of video animation.

Glass, iPad, screen
12 x 17 x 6 in

The Race Booklet

Alyssa Zwonok

Samantha Dicriscio

Tess Kuramoto

The Race Booklet was designed for a short experimental play written by Concordia professor Dr. Louis Patrick Leroux. The text is complimented by original illustrations and photographs. The booklet itself focuses on the layout, the text-image relationship, and the content structure. It is printed in black only with an accented bright yellow on the cover. The typesetting emphasizes both legibility and the meaning of the text, supporting the desired atmosphere.

Book
Paper, ink, thread
6 x 7.5 in.

I Digitalove

Johnson Ta

Abejane Lou Alvarez

This is a speculative project that critiques our society’s carefree approach to sharing personal information on the Internet. Set in 2056, it is a world where the death of a person is missed more virtually than physically. In order to comfort a family member, a lover, or a friend, an online company called “I Digitalove” creates an Artificial Intelligence based on that individual’s social media and online footprint. The AI becomes the perfect individual; it has the same memories and psychological and behavioural patterns. Hence, it becomes possible to continue communicating online with loved ones that have died.

Paper
8.3 x 11.7 in.

Mrs Eaves

Camila Acosta

This book was a collaborative project where every student was responsible for designing a signature for his or her assigned typeface. This signature presents Mrs Eaves, a typeface created by Zuzanna Licko in 1996. The delicate and feminine approach to the design reflects the nature of the typeface itself, as well as the woman that inspired its creation. Each student designed individual dust jackets and endpapers; the book was bound using a sewn binding technique.

Signature
Paper
5 x 7 in.

Perception + Colour

Edward Nyamenkum

Perception + Colour is a two-part book on theories of perception and colour. This accordion saddle stitch book takes references from well-known design books to explain their theory in a fun and whimsical manner. By using photographs of fruits to illustrate each example, Perception + Colour manages to convey important information with an interesting and playful twist.

Book
Paper
2 books, 5 x 9 in.

The Cocoon, or the Phone Removal Treatment

Alexandra Durand

Nomophobia is the anxiety felt when separated from our mobile device. Set in a speculative future, this project The Cocoon is meant to be a treatment for this condition. By knitting a physical cocoon for your mobile device, not only are you cutting yourself from it, but also enjoy the meditative craft of the process. Since it is not permanent and can be undone at any time, the project brings forth the idea of the Second Law of Thermodynamics: in a system in which no external forces act, disorder will increase.

Yarn, knitting needles, cardboard, paper
8 x 8 x 3 in.

The Echo Game

Marie-Pier Larose

Marie-Élaine Grant

Julie Tremblay

The project consists of a publication that reflects as well as enhances the echo and the game found through the exhibited pieces. The game is represented through the vibrant colours of the alternated cover designs. The echo is reflected through the rigid grid layout, allowing titles and paragraphs to be disposed in a repetitive manner. The catalogue’s creation takes into account the gallery’s context – visitors come without being familiar with the artists or the exhibition. They can easily find their way by using the index page and exhibition plan on the cover or by consulting the introduction at the centre of the pamphlet that orients them towards the desired artist.

Exhibition catalogue
Paper, ink
8 x 10 in.

Future Tomb

Jamison Lightfoot

Cemeteries contain gravestones from centuries ago, showing crumbling and deterioration, to the modern laser-cut ones, pristine and photorealistic. Gravestones from a hundred years ago have begun to return back to nature, weathered from years of harsh winter, while the graves of the present may remain long past their owner’s death. Furthermore, tombs of the future may exist in binary, devoid of tactility or materiality. This typeface aims to take inspiration from the structure and form of bevelled stone. However, it is brought to the digital and deconstructed, so as to understand the progression of the medium of mortality.

Vector Illustrator (Adobe), ink print
24 x 34 in.

The Echo Game Exhibition Catalogue

Desislava Davidova

Maria Mahdessian

Mariana Leyton

The structure of this book is carefully thought out to underline the concept of an “echo”. Starting with the table of contents, little thumbnails, arranged in a tight grid, represent each artist, thus echoes of their work. The concept is repeated to display the captions of each artwork in every artist’s section. Furthermore, the artist’s name reappears on the exact same spot as in the table of contents when it is shown on his or her page. The shape of the thumbnails is also used in the cover design, making the concept complete, inside and out.

Exhibition catalogue
Printed on paper, perfect binding
9 x 10.5 in.

Dee & Ampersand

Alexandra Durand

This project sought to experiment with items that are typically 2D, in this case letters and other glyphs, by bringing them into a 3D context. These two characters are meant to be an exploration of materiality and texture. The letter “D” is knitted and stuffed; appearing soft and squeezable, while the ampersand, embroidered using French knots, creates texture and plays with tactility. Both letters are made with what are considered artisanal crafts, pushing against the idea of mass-production. These two sculptural pieces are unique; even if they were to be redone, they would not be the same.

Wool, synthetic stuffing, canvas, embroidery thread, foam
5 x 5 x 5 in. and 5 x 5 x 1.5 in.

Oyster Board

Annabelle Daoust

This functional object is the result of a reflection about craft and design, functional and aesthetic, as well as the boundaries of distinct practices and the way they intermingle. The curves of the board are an inspiration of the oyster itself. Designed to be set on a standard dinner table, the oyster-shucker works in a standing position, at working station height. The board serves as an oyster tray and a condiment rack. The Oyster Board is designed for kitchen parties where guests and their host gather around the board for an enjoyable evening.

2015
Birch, aluminum
14 x 10 x 9 in.

Holis

John Shukin

Holis is a handmade screen-printing machine. Created with the intent to produce cards of all sorts (business, birthday, Christmas), this micro-printer empowers the individual to be creative and to share that creativity with someone else. Holis is about small-scale runs and homemade vibes, about charming, warm, and imperfect design.

2015
Wood, steel
20 x 14 x 10 in.

Morfología

Camila Jordan

The idea was to create a puzzle that is both aesthetically appealing and functional. This lamp’s design is inspired by nature, more specifically the organic shape of a tree trunk. The line of thought behind it is that light is an essential component for life in nature, as are trees. Playing with the concept of it being a puzzle, this lamp can be taken apart and put back together with different piece configurations and angles.

2015
Birch plywood and metal
70 x 15 in.

Standing Point

Gabriel Galindo

To place, to organize, to distribute, to charge, to stay organic; this structure keeps all your important belongings organized in one place. It is inspired by the round shapes of water drops and allows in its structure the placement and organization items such as watches, wallets, and keys. Furthermore, the structure allows you to place and charge your phone at the top.

2016
Plywood
6 x 18 in.

The Amazing Pinball Machine

Lauralyn Lamarche

Bianca Bertocchi-Caissy

Rebeka Pelaez

Sidney Cam

The task of this project consists of creating a functional game based on the concepts of sustainability. Instead of using plastic, the pinball machine is made from any recycled material: unused toys and discarded pieces of wood. The Lego pieces can be moved around to set the difficulty level. The object of the game is to insert a rolling marble inside one of the colour-coded holes (blue, red, or white), which amount to different values. The player with the most points at the end of the round wins the game.

2013
Recycled wood, toys, magazines, and plastics
16 x 20 x 5 in.

Fluid Surface Controller

Etienne Surprenant Legault

This project seeks to take the interaction between the controller and the player to the next level. The new surface created for the game controller deforms and changes shape directly under the players’ fingers. It sends an organic feedback via force push as opposed to the mechanical feedback from the vibrations. This project engages touch in a new way and that needs to be felt.

2016
Game controller, electromagnets, arduino board, ferrofluid
6 x 5 x 2.5 ft.

Tangible Physics Engine

Nima Navab

This application enables the user to bridge the line between the physical and the virtual world by tracking real-life objects and assigning items to them in the application. By doing so, the chosen objects become registered as object-oriented within the code. This allows for all sorts of phenomena, events, and special effects to occur in the built environment, in real-time. Furthermore, if additional real-life objects are placed into the frame, new interactions/relations can occur between them, demonstrating the code’s ability to control action flow while encouraging participation.

2016
Wood, found objects, metal, Plexiglas
48 x 72 in.

Origin

Julie Chaffarod

Origin is a virtual reality project that explores First Nation spirituality. This immersive audio-visual experience absorbs the user in an interactive environment exploring the four sections of the medicine wheel, an emblematic symbol of the aboriginal culture. Made in collaboration with an Atikamekw painter, Julie-Christina Picher, this digital piece also aims to further integrate First Nation art into the contemporary art scene.

2016
Virtual reality
10 x 10 in.

33

Julie Chaffarod


33 is an audio-visual, interactive installation that highlights the poor media coverage of immigrants’ deaths trying to cross the Mediterranean Sea. When motion is detected, the audio-visual content mutates to express the tragedy and violence of these events. Generative visual effects disintegrate the organic content, leading to silence and the installation’s statement.


2016
Projection and sound
10 x 10 ft.

(UN) DONE

Milin Li

Kara Stone

Amanda Tom

(UN) DONE is an intimate, non-linear narrative game that follows a couple’s relationship as they tie and untie each other while wearing capes with attached ropes. Tying lets the players hear a happy memory, taking turns listening to one side of the story. Untying allows them to hear ways people change, grow apart until they drift away. Special charms symbolize the category of the memory. The ropes on the cape are made with conductive threads, wire, and yarn that are attached to a LilyPad Arduino. The two transmit and receive signals from each other to communicate which ropes are tied, untied together and sends the data to the computer to trigger the corresponding audio chips of the story.

2015
Macramé, threads, fabric, arduino
70 in.

Chinatown

Sam van der Walde

The goal of this info-graphic project was to create something attractive and easy to understand while maintaining the essence of Montreal’s Chinatown with an updated style. The info-graphic poster shows facts about Chinatown in comparison to other Chinese communities in Canada. The origami fortune cookies are meant to act as a souvenir that visitors can take home after frequenting Chinatown. They each contain a bag of tea with a fact about a local business to encourage visitors to explore and discover new places.

2016
Paper, cardstock
7 x 9 in.

The Case for Shelter

Emilie Kehm

Josephine Crochon

Camila Jordan

Jordana Rosentzveig

The project strives to inform the consumer of the relation between a computer and the shelter that protects it, in comparison to the individuals who need to find a place to be protected. Inspiration comes from the intricate design of electronic components that compose pathways, similar to the streets of the city of Montreal. The design and statement inside these laptop cases seek to bring awareness and implant a thought in the community about the unexpected turns in life.

2015
Wool felt, linen, buttons, leather, elastic band
13 and 15 in.

Privilege

Sandra Alexandre-Aime

Danielle Thompson

Alexandra Durand

Sophie Fukuda

Privilege is meant to highlight our place in society and make us more aware of the things we take for granted. It is meant to show the user their situation of privilege. This item was made in the context of 5 Days for the Homeless, a countrywide fundraising event for local not-profit organizations participating in fighting homelessness.

2015
Organic canvas, recycled leather and recycled winter coats
20 x 12 in.

Handmade puppets with pillows

Sabrina Emanuele

Kira-Alexandra Gwilliam

Sunny Liu

Cassandra Carosello

Dina Bakalova

Emily Hines

Kimberly lam

Felipe Munoz

Sarah Maier

The puppets were created as a project for community engagement involving the Montreal Children’s Hospital. A play pack consists puppets, pillows, and colouring books created for patients. The goal is to give them an opportunity to channel their creativity through play and to have something they can turn to as a distraction. Together, the different elements act as items that children and their parents can use during more difficult times.

2015
Organic muslin, felt
7 x 9 in.

Hamac Urbain

Stephanie Belanger

Charlotte Krzentowski

Catherine Martial

Hamac Urbain begun as a project seeking to raise funds for the event 5 Days for the Homeless in January 2015. Today, it has morphed into a young company that advocates values of responsible, local, and social consumption. Hamac Urbain also gives a second life to many materials that can no longer be used for their first intended purpose (rock climbing ropes and harnesses). For every sold hammock, $2 is given to Dans la Rue.

2015
100 % cotton, recycled climbing ropes and cherry wood
Folded city bag: 103 x 63 in. (open) 13 x 15 in. (closed)
Interior chair: 40 x 47 x 24 in.

Paradoxanity

Lindy Li Loong

Milin Li

Julian Glass-Pilon

Li Zhi He

Lucas Brunet

Felix Soumpholphakdy

Sean Celestrial

Dror Ozgaon

Paradoxanity won the Best Game Design award in the Ubisoft Competition in 2015. It was also nominated for Best Prototype, Best Art Direction, Best Quality of the 3C’s, and Best Technical Challenge and Innovation awards. Paradoxanity is a cooperative game featuring Xeno and Vulk, who use their time and gravity power to save a planet from evil creatures. When working together, they can travel through time, and therefore switch between the past and the present to restore peace in the world.

2015
Video Game

Doubt

Sasathorn Bhirom

Zachary Hershman

The purpose of Doubt is to explore possible mindsets a person goes through when experiencing doubt. The installation features a narrative whose outcome will depend on the user’s decisions. The user is presented with three storyline tangents to choose from. Each tangent is beneficial for one of the three characters of the story. All try to dissuade the user from siding with either of the other two, even chiming in and asking the user to reconsider their decision, causing the user to doubt.

2016
Wooden stands
5 x 5 ft.

Longhand

Le Nguyen

Maria Mahdessian

Mel Palapuz

Julia Panchyzhna

Hailey Turcato

Longhand is an attempt to explore the complexity of our identities and how we can express them in a moment in time. Stemming from Taiye Selasi’s TedTalk on the 3R’s – Rituals, Restrictions, and Relationships – identity is much more than “where” we are from, it is where we are a “local”. With this in mind, Longhand aims to explore identity through gestural expression at a specific moment: how do people express their identities through writing and contributing to a greater, public space at Concordia’s Spectrum Year End show? By interacting with the piece the participant is encouraged to contribute, play, and question this very intention. #LONGHANDPROJECT

2016
Translucent paper, wire, indigenous rocks
20 x 4 x 10 ft.

Falling Utopia

Milin Li

Charles Hanna

Julian Glass-Pilon

Joseph Gabereau

Falling Utopia is a one-player mobile game. The concept is to save people leaping to their deaths from a floating city. The user, as the main character, needs to maneuver a cannon and shoot parachutes towards those falling. As soon as the parachute hits them, it is activated and they slowly fall to safety. There are three levels in this game. As each level is passed, the fire in the city grows fiercer, signifying the next level, and the difficulty increases. At each new level, people with more complex falling mechanisms are introduced to keep the player on their toes and give variety to the game-play.

http://cargocollective.com/milin/Falling-Utopia

2015
Digital Game
6.23 x 3.07 x 0.29 in.

Canis Minor

Milin Li

Hope Erin Phillips

Amanda Tom

Canis Minor is an experimental game that explores loneliness, death, and communication over time. As the player drifts through space without any control, their only hope is to intercept messages or to send out their own. However, the player soon realizes that they are playing a dog sent into space as an experimental subject with no chance of returning home. Death is unavoidable.

2015
Digital Game

VS

Philippe Caron

Are you left or right? Liberal or conservative? Such questions continuously fuel debates in our democratic society. It defines and segregates us. We never seem to agree on one universal idea. As long as we have a leader, we seem to move along quite nicely. However, all leaders are ephemeral, which occasionally brings us along conflicting axes. This web piece is a wicked and cynical approach to provoke a debate between the two parties. Using a JavaScript library called Enchant, the game has historically conflicting figures fight for their opinions forever, relentlessly, and purposelessly.

2015
Website

Rush of Progress

Alexander Kozina

Rush of Progress is an interactive experience about the evolution of the human species. The user begins as a primate, but a wily one that must find nourishment and survive in the hostile savannah. The willingness of the users to journey beyond their comfort zone to continue living will spur the evolutionary gears, and they will slowly become more and more physically and mentally advanced. But beware! Should they cannibalize other simians in order to quickly acquire food, this unexpected source of pressure will spur their own evolutionary growth, making them significantly more hostile and dangerous and the long-term journey of survival more difficult.

2016
Unity Version 5.3.3, Photoshop

Collective Design

Abejane Lou Alvarez

Luis Aretuo

Tia Besser-Paul

Marie-Andrée L’Italien

Johnson Ta

Communities are built through the efforts of each member. Every person contributes by sharing skills and ideas, and drive to help enrich one another. This mutual support leads to the empowerment of each member, which creates positive environments for him or her to grow in. As a community, we thrive, we succeed, and we build bonds that will take us to the next stage of our journey. With this visual time capsule, we celebrate the community that brought us together and that has given us the tools we require to go forth and build greater communities.

2016
Canon EOS Rebel T3i, Adobe Premiere and After Effects

Future Sounds

Mel Palapuz

Sam Lu

Future Sounds is an interactive website featuring an interview with Chapel Sound Crew from Vancouver, promoting Asian-Canadians in Electronic dance music (EDM) and Remix music.
Background visuals by Beeple.

2015
Website

Peekaboo

Eliza Nguyen

Peekaboo is an intervention in the public/private spheres of the web, over which users may or may not have control. It is inspired by Michel Foucault’s theory on the power of the observer via the Panopticon. This website brings forth those ideas and gives the user an experience with a camera that invades their personal space. The Internet is open source and straddles the notions of public and private. Once the user has entered the site, they can choose to use the camera as a tool to either engage or disengage with the rest of the world. If they decide to take a photo, the image will forever be published on the Internet for anyone to see.

2014

Website

20 in x 12.5 in