At the onset of the project, we were given access to The Kitchen’s archive to get a better understanding of what came before us. Apart from their logo changing a bit, the style of graphic design didn’t vary much, to the degree that it was often difficult to guess what decade things came from. We saw this as an opportunity to do something that felt distinctly of the time and place we were in. Having just come out of quarentine, we (for better or for worse) had all become accustomed to a lot more virtual interactions with art, and each other. We liked the idea of somehow signaling that, rather than try and distill two iconic and wildly different artist’s work down to a graphic style.

We started skewing type to create spatial depth, and devised a rotating carosel, a virtual architecture of sorts, that would become the central gesture.

We used the spatial skew approach on printed materials as well and introduced OCR-A, one of the first typefaces ever designed to be read by machines. 

The program doubled as a poster, featuring a matrix of documents from The Kitchen’s archive and the honoree’s past work, organized across a few key words. The same matrix (free of content) was used as a backdrop projection in the event space.


(Proper documentation of print materials to come)


Aaaaaand, we used a night mode version for the after party with Black Beyond.