The 2018–2019 season showcases the typeface Louvette, utilizing its range of optical sizes and weights, with the Italic Banner and Display used for the composer names and dates, down to the Text styles used for performer names, bios, and supplemental information. The concert program use of Louvette Deck for composer name, with song titles and movements set in Louvette Text. The opening concert poster, which features works by Huang Ruo, makes use of Source Han Serif for Huang’s name in Chinese, scaled to a smaller point size to harmonize with Louvette.

The programs for Carolyn Pennypacker Riggs’ performances were designed to serve as a poster on one side, announcing the performance, and a program on the reverse side, listing information such as the names and order of pieces performed, words and lyrics from selected pieces, and credits for performers, costumes, etc. The typesetting of the lyrics follows their performance, for example call and response pieces such as Who Do U Want 2 Love use different widths of text to indicate individual vs chorus lyrics. There in the Inbetween and A Journey That Wasn’t have songs which are sung in a loop so the words are typeset in an oval shape with no beginning and no end. And A Journey That Wasn’t additionally includes backwards text for lyrics which are sung backwards. The programs also include photography from the artist which relate to the specific, such as costumes, masks and sculptures used in the performances.

Kaksikko design wooden furniture and ceramic tableware. The goal for the pamphlet was to let these products take center stage through austere, atmospheric photography, minimal information, and generous white space. The print design stays harmonious with Kaksikko’s product design in its use of bold, unadorned typography, carefully chosen materials, and emphatic minimalism with just the right amount of warmth.

We developed a flexible identity system, using big bold typography in a playful way to showcase the composers around which the programs are built. The circular and diagonal forms move like melody and harmony, working as a counterpoint to the rhythmic gridded elements.

The logo mark is built of geometric shapes which get deconstructed and rearranged for each poster and application. For the printed materials such as posters, flyers, and programs, we use Pennypacker for big bold headlines, in both wide and compressed widths. The website uses Dunbar Low for its largest text. The very low x-height of this typeface gives it lots of vertical movement and an expressive, lyrical quality. For body copy and navigation Dunbar Text provides solid and complementary accompaniment.

We developed a flexible identity system, using big bold typography in a playful way to showcase the composers around which the programs are built. The circular and diagonal forms move like melody and harmony, working as a counterpoint to the rhythmic gridded elements.

The logo mark is built of geometric shapes which get deconstructed and rearranged for each poster and application.

The website uses Dunbar Low for large headlines. The very low x-height of this typeface gives it lots of vertical movement and an expressive, lyrical quality. For body copy and navigation Dunbar Text provides solid and complementary accompaniment.

Identity and website design for CJType.com, an independent digital type foundry.

The site includes e-commerce for selling digital fonts as family packages or individual styles.

The first release for CJType is the Dunbar series, including Dunbar Tall, Dunbar Low and Dunbar Text families. For promotion of this release, we built a Dunbar “mini-site” to show off the design features, research, and process.

More than just eye candy, the site includes meaningful content via an essay by typographer and professor Indra Kupferschmid on the history of geometric sans serifs, which helps to contextualize this release and provide meaningful background information.

Polaris: A Typographic Popup is a collection of typographic designs by CJ Dunn for MORI, a design boutique in Honolulu.

The collection of graphics was printed live in MORI’s retail store for the opening. Screen printing was done by Travis Sasaki and customers were able to choose which graphic would be printed on which object so each item was made just for them.

I created a series of posters called “Pangram Pattern Poster Project” which are available at the Cooper Hewitt Design Museum Shop in conjunction with the museum’s “How Posters Work” exhibition. They are also available to purchase online via shop.cooperhewitt.org.

From their site:
The “Pangram Pattern Poster Project” by CJ Dunn illustrates a sampling of “pangrams” used for proofing typefaces throughout the design process. These hilarious phrases, although seemingly obscure and abstract, are a common sight for designers. Typographer, CJ Dunn has created a DaDa-esque poetry and visual pattern from some of his favorite pangrams, set in a chronological sampling of iconic sans serif typefaces.

After doing some brush lettering test, I refined the script with pencil before drawing the final vector art. I paired my script with D’amico Gothic from Photo Lettering which I found to be a perfect fit.

I drew the masthead for Good Times, a weekly publication in Santa Cruz, California. Roger Black lead the publication redesign and the internal team came up with the initial masthead sketch. Roger then reached out to me to re-space and re-draw the masthead based on this sketch, balancing the weight, harmonizing the slope and improving the flow between connecting letters.

Initial process notes: