Tattooed Tramps | Olof Eythorsdottir

What is Tattooed Tramps?

Tattooed Tramps is a community, a movement and a critical piece where I want to shine a light on the perception of women in our society through the lens of tattoos. The project started to take shape as I read multiple comments describing tattooed women as crazy, heavy drinkers, unreliable and so on. I read comments where women were considered less likely to get a partner if they had tattoos … as if that is the only reason women exist. Women are criticized for almost anything they do, makeup, nails, hair … tattoos are just one of many things.

The objectification of women suggests that they only exist to please others. The full identity of women is discarded and value is determined by their body alone.

Tattooed Tramps is on Instagram to create a sense of community, where viewers can submit their stories and experiences as tattooed women. This allows for quick and easy sharing of stories, as well as a platform to promote and advertise upcoming events and goals for the movement.

Click here to visit the instagram

The website serves as the main hub for the project, or an archive of sorts. You can access the written portion of Volume.1 of the Tattooed Tramps publication for free on the website. I would also like to use the website as a space to write specific posts that surround the subject of tattooed women in our society.

The publication is split into two parts, written content on the left and photography on the right. The content features interviews and quotes and opinion pieces relating to the subject. The ideal place to sell the publication would be at Artbook fairs or similar venues.

Click here to read through Volume.1

Future Goals

I can see Tattooed Tramps going into many different directions. One idea is a podcast. Regular photoshoots with different themes. Perhaps documentary-style storytelling. All I know is that I want to continue exploring the possibilities of Tattooed Tramps.

Why Tattooed Tramps?

Tattoos are a hobby of mine, and something I hope to practice in the future and be more involved with. As a woman, I experience objectification or criticism regularly. If not directly then through social media, comments and public discourse. I should wear makeup so I don’t look lazy, but not too much because then I’m a slut. “Your hair is so beautiful and blond don’t dye it blue!” “Tattoos ruin natural beauty”… Women do not exist to be pretty. Women can’t seem to win, no matter what they do they are criticized, and through my project, I hope to bring people to the understanding that women are individuals, allowed to do whatever they please to or with their bodies. A tattoo on your body will not change your value as a person.

I knew I wanted my grad project to be tattoo related. My initial research was looking into the stigma around tattoos, and if there was any stigma. The answer is yes, but I also noticed women were judged more than men for their tattoos. I narrowed my research to women and tattoos and came across some bizarre opinion pieces and incredibly sexist articles. A lot of it suggested that tattoos ruin a woman’s beauty, that they are an eyesore. Tattooed women were also labelled alcoholics, overly sexual and so on. 

I decided to interview some tattooed women about their experiences as well as reflect on my own. I mostly spoke to students at Emily Carr but also interviewed two tattoo artists, Sally (Bebop Ink) and Nikki (Liquid Amber) while in the early stages of my research. The interviews were used to help shape the project, but also as content gathering. With consent from the participants I have shared some of their quotes on instagram. A full interview with Becca Schile, a student at Emily Carr can also be read in Volume.1 of the Tattooed Tramps publication. 

Along with the interviews I wanted some visuals. This came in the form of photography. I scheduled a photoshoot on February 8th, 2020 and advertised it around the school some days prior. The goal was to show tattoos in a different light, and highlight the artistic aspect of tattoos while also celebrating women’s bodies. The response I received was incredible, I received a lot of messages from tattooed women wanting to participate. We only had space for about half of the women that reached out. However, this inspired us to plan future photoshoots with different themes and props. Each model was scheduled for about 20 minutes which turned out to be almost too short. More time with each model would have been better and something I will watch out for in the future. 

The publication was one of the biggest struggles I dealt with throughout the project. The stories I had received from the interview were powerful and deserved to be heard. The photos from the photoshoot also turned out incredible. Trying to puzzle the stories and images together without one overshadowing the other was difficult. My solution was to separate the images and the stories. They are a part of the same volume but the written portion is its own “booklet” on the left and a photograph “booklet” on the right. 

I am thankful for all the connections I made through this project and appreciate the trust of the participants, to share their stories and their tattoos. Tattooed Tramps will continue, with more volumes in the future, Instagram content and conversations. There is a lot of work to be done to break down the objectification of women.


Ólöf (pronounced O-luv) is born and raised in Kópavogur, Iceland and currently located in Vancouver, British Columbia where she will graduate with a Bachelors in Design from Emily Carr University of Art and Design (2020). Her latest design work focuses on social movements and female empowerment. Ólöf wants to continue focusing on societal issues in her career and use those skills to create positive change.

Side Dish Cover Photo

Side Dish: Coffee | Triet Pham

Side Dish is a series of mini-monographs dedicated to the topic of food and how the history of everyday foodstuffs can reflect the flow of history. Each publication is dedicated to a specific dish or ingredient, whose historical path — its origin, how it came to be, the methods of cooking, etc. — is traced and visualized with typography and images.

Side Dish Spreads Display

Volume 1 of Side Dish examines the French colonial influences on the Vietnamese cuisine, with the first issue focusing on the historical route through which coffee had established its current significance in the Vietnamese cuisine. From a drink with Islamic religious meanings to a highly sought-after commodity of colonial practice, coffee’s history reflects multiple political, social, and cultural shifts that have happened during the journey from its original birthplace in Ethiopia to its current cultural significance in Vietnam.

Side Dish Cover
Side Dish Inside Page
Side Dish Inside Page
Side Dish Inside Page

How Side Dish came to be

Food is a universally familiar yet complex and multi-layered medium that can reflect the socio-cultural changes happening around us. The introduction of new ingredients to a cuisine results in new flavours and new ways of cooking. The process of colonization has greatly altered many cuisines with the distribution of native ingredients from one geographical region to another. These social, cultural, political, and historical shifts have resulted in the subsequent changes to food practices from cultures that bore the influence of these shifts.

I am interested in examining the invisible and hidden truths behind the everyday food items. Prompted by the relationship between food practices and social, cultural, and historical shifts, this project examines the different external cultural influences on the social lives and food practices in Vietnam through history, starting out with the history of coffee. With food bearing both physical and emotional significance, Side Dish explores how we can document, learn about and reflect on history — whether of the world or of our own culture — through the transformation of food.

Vietnamese workers harvesting coffee berries on a plantation in Tonkin, 1931, photo from L’Indochine by Henri Gourdon.

Coffee plants were brought to Vietnam during the French colonization era.

Audience & Bilingual Publication

The publication, written and designed in both Vietnamese and English, targets Vietnamese and people of Vietnamese descent as the main audience. I want to ensure that the project is linguistically accessible to both Vietnamese and people of Vietnamese descent who may not be fluent in reading Vietnamese text. Side Dish is a reader-friendly, comprehensible, and accessible resource for the readers to learn more about the Vietnamese culture and history through the examination of Vietnamese food.

Side Dish Biligual Photo

An inside page of Side Dish, with a botanical drawing of the coffee plant.

Content research

Swipe for more ↔

Precedent research & initial readings.
Photos of food with colonial history in Vietnam.
Research in the General Sciences Library of HCMC.
Research specifically on the history of coffee.

Visual research

Swipe for more ↔

Old newspaper & printed ephemera.
Historical visual & typographic research.
Type explorations & test prints.

Final publication

The publication is to be printed on the Risograph printer with fluorescent orange ink, with the images and black text inkjet-printed in CMYK.

Size: 6.8 × 11 in.
Saddle-stitch binding with staples
Cover: yellow cover-weight newsprint
Inside: Canson 30lb newsprint

Roslindale Deck, by DJR.
Garamond Premier Pro, by Robert Slimbach.
Halyard Micro, by Joshua Darden.

Side Dish Flip Through

About Triet Pham

I am a communication designer from Ho Chi Minh City, Vietnam, currently based in Vancouver, BC.

My work includes visual identity, print & publication design, creative direction, and type design. I’m interested in collaborative projects that use design as a means to examine cultural identity and address social issues.
LinkedIn — Triet Pham


I would like to thank my instructors — Katherine Gillieson, Jon Hannan, and Gabe Wong, for all the helpful support and advice during my concept development and design process. Thank you, Doan Truong, for helping me proofread and edit the Vietnamese translation of the text. A big shout out to all my studio friends for all the thoughtful feedback as well as the brainless banter! And most importantly, I’d like to thank my parents for giving me this opportunity for higher learning, and especially for going on fieldwork and taking all the documentary photos of Vietnamese food for me, while I am in Canada!

'Hapa' - A Collection of Conversations

‘Hapa’ explores stories and experiences from biracial Asian adults who identify with their cultures. By having conversations about culture and belonging through food, we can question what it means to be living in ‘two worlds’ and how that affects a beings core identity. This project is split into two books: a magazine and an accompanying recipe book.

'Hapa' Softcover Magazine

If you don’t know, ‘hapa’ is a slang word meaning a person of mixed heritage, with some roots in Asian or Pacific Islander ancestry. It’s also a term to say that your children, or your next of kin, are half-white, and it has been used as a derogatory word for someone who is half ‘white-foreigner’ with mixed-blood (or half-breeds). I use the term ‘hapa’ as a time to redefine the term and claim it back, in a sense. I want it to express belonging and self-acceptance; two halves of two different worlds is still a whole person.

'Hapa' Accompanying Recipe Book

Readers would first read an interview section from the magazine, then make a food recipe that the participant provided in the recipe book. Each recipe has a unique and beautiful story and this allows the project to be more interactive for the viewer. The book itself has many interesting recipes to attempt as well.

Access & The Infinite Font | Tyler Hawkins

Project icon

Ceramic is the first font shaped to each user’s unique visual impairments.

One billion people worldwide experience some form of low vision, categorized as sight between 20/40 and 20/200 and including cataracts, uncorrected visual distortions, visual pathway disease, macular degeneration, diabetic retinopathy, and glaucoma. Low vision varies widely in cause and degree but often shares similar expressions: a variety of blurs in the visual field.

A number of typographic strategies have been used to aid low vision in several typefaces. So far, all have been static, unchangeable. The recent introduction of the variable font format, Opentype 1.8, allows near infinite end user control of purpose built font characteristics. Ceramic uses the variable font format with low vision typographic strategies to adjust to each users’ requirements.

Demonstration of letter variation.


I chose to build a sans serif based on evidence suggesting that simplicity can aid legibility by reducing visual detail. A literature review by Thomas Bohm, titled Letter and Symbol Misrecognition in Highly Legible Typefaces was the primary source. It highlights several typographic strategies for low vision: increased punctuation size to clarify sentence structure; open shapes to minimize confusion by blurring (to differentiate between c and o for example); increased differentiation between similar characters (l and I, O and 0 etc…); and heightened stems in specific characters (b, d, h, etc…) to differentiate word shapes. These became the primary strategies.


The project consists of four primary deliverables. The first is the master variable typeface built with a number of typographic strategies in a variety of expressions. Technically there are 200 trillion unique iterations of the typeface. Practically, there are likely hundreds of useful versions. I chose to name the project Ceramic for its reference to moldable materiality. AccessFont seemed too direct.

Nearly full alphabet of the Ceramic Font in medium weight, average low vision strategies.


A website shapes the master typeface to individual users’ needs, producing a range of tailored font files (bolder weight headlines and book weight body text fonts). The program is based on a 20 questions/ binary tree model. Users click through a series of A/B comparisons of different versions of the font in varying lengths of similar passages, eliminating irrelevant sections of the design space. Legibility is complex and involves reading speed, comprehension, familiarity and preference. I was not interested in testing comprehension and so repetition was used to increase familiarity and a simple hourglass mechanism was included to encourage users to voluntarily time their reading.

Browser Extension

The browser extension sets the Internet in each user’s unique fonts and includes spacing controls. Websites used below to demonstrate include: Its Nice That; Mediated Matters, and Faber Futures.

Type Specimen

Finally, I designed a type specimen/ ‘reader’ to demonstrate Ceramic’s potential in print. Text Source: Wikipedia

Next Steps

Currently this project is a prototype. The master typeface is functionally complete and able to be tailored. The website and extension are designed for production, but not yet built.

Ceramic needs user testing. Given that the scope of the project was not insignificant and the target audience’s needs varied widely, it was decided early on that Ceramic would be based on established secondary research. The project needs improved spacing controls. It may also need to be renamed.

I want to thank The Shumka Centre and The Health Design Lab at Emily Carr for helping to explore options for production, testing, and release.

Tyler Hawkins

Tyler works with identity design often for health and outdoors companies. He also makes websites and motion graphics. He’s into adrenaline sports and piano driven rap. He’d like to thank Chris Hethrington for advising this project, and Quinn Keaveney for type and production guidance.

u/s_as_(me)mes | Alex Westcott


This project further explores how we use written and visual rhetoric to articulate and perpetuate cultural identity within the context of a digital age. 


To me as a communication designer but also as a person existing in the world, language is interesting. It’s at the heart of everything that we say, do, behave, think, perceive or interpretit’s important. Languageboth written and visualis inherently meaningful, and can be both influential and powerful. This project further explores how we use written and visual rhetoric to articulate and perpetuate cultural identity within the context of a digital age.

What's a Meme?

A meme is a unit of cultural information that can take the form of an idea, behaviour, or
phrase that is replicated and transmitted from one person to another through use of rhetoric.

What's rhetoric?

Rhetoric is the art of persuasive speaking or writing and can be used as a tool to investigate the ways in which visual or written language is used to form identity.

Why am I doing this?

During a deeper investigation of communication and language within the conditions of digital Western society, the meme as a mode of communicating cultural information came up in casual conversation with a studio mate. The meme came into the discussion jokingly, but eventually became the focus of this project. It has been said that culture can be reconstituted through language by means of communication, perpetuation and transmission, and the meme seemed a compelling, current example of that idea in action. 

The research began with drawing upon the potential parallels between the Internet meme, politics, propaganda, and pedagogy and the roles they play in mobilizing cultural information. While memes can be light and funny and enjoyable, there is substantial precedence to suggest that they are far more than that. They are rhetorical and cultural texts that can have problematic social or political implications, and we should take them more seriously.

All internet memes have several distinguishing features, regardless of their format...

Feature one

The first is distinct recognizability. The transmission of memes online is of a higher quality and accuracy in its derision because digitization enables lossless transfers of information.

Feature two

The second is longevity which refers to the reality that information can be stored indefinitely in numerous archives in digital space. So a meme once put online will be transmitted between users in high fidelity, quickly circulated in other places on the Internet but not at your discretion: when you delete the original, it’s never really gone.

Feature three

The third is replicability. The number of memetic derivatives made within a unit of time is increased because the Internet facilitates effortless and speedy diffusion of content.


Memes have become a large part of cultural discourse. 

Based on the meme’s original, pre-internet definition as being an agent of cultural transmission and unit of cultural inheritance, it could have been almost anything. In the early 70s a meme was a book, or a song, or something like religion and legal policy. Not pictures of cats saying things.

Scholars in the field of communication considered memes largely irrelevant prior to the 21st century. Now that 59% of the global population actively uses the internet, the investigation of internet memes and their capabilities is becoming even more important.


The form, why?

Throughout the process of this project, questioning the motivation behind making a book over perhaps another more digital form confronted me regularly by peers, mentors or savy outsiders—this was valuable feedback, especially given the subject matter of my work and it was taken into consideration on more than one occasion this year. So, why I’ve addressed the problem space in this way is a valid question.

In the simplest way possible, I decided to make a book because often the online world (which is very real) feels ever-changing, intangible and fleeting. This book contrasts the way we use written and visual rhetoric to articulate and perpetuate cultural identity or information in a digital age by existing in a physical form that is, only what it is. Chronicled in the form of a timeline, this book archives some of the ways that memes, from their “origin” in 1976 to January of 2020, have propagated or circulated themes of racism, sexism, homophobia, stereotyping and othering. Us As Memes documents some of the most long-standing and defining issues of human life since the very first differentiation of “us” and “them”.

Thanks for taking a look. :)

If you'd like to see my process work, or a digital copy of Us As Memes, as it has yet to be printed, please get in touch.

SWAP: Shop With A Purpose | Kasia Lajlo

“Illuminating the clothing swap system as a vehicle that narrates stories about second-hand items, that ultimately opens up a space for consumers to think critically about their relationships with clothing.”

Key Words: Fashion Sustainability, Clothing Swaps, Consumerism, Stories, Value

This project began with the idea of giving the clothing swap concept a systemized identity, and turned into a poetic representation of swapping clothing through storytelling. Swap Stories: Vol. 1 features 11 individuals who share an interesting story about a clothing item they cherish, as well as information and research about the fast-fashion industry and how to become more sustainable when it comes to consuming fashion. The concept behind these stories is that they would be shared in a clothing swap setting, where all people involved in the swap would have an opportunity to feature their item in the publication, and pass on their story along with their item. As more items get swapped, more stories are collected overtime-and this idea shows that clothing has the potential to be seen as more than just the items we wear, but lived experiences, memories, emotions and a piece of an individual. There is so much more to a used object than what may appear; unless we are aware where the item came from, we have no idea of its history and what it once meant to somebody else.

Problem Space:

• Clothing can often be interpreted as quick, single-use, throwaway items

• People don’t always know the full story behind an item, or are curious to learn more about it

• Not all consumers are accustomed to buying second-hand items, or associate them as negative

• Clothing Swaps aren’t the most popular form of consumption, and are usually initiated within friend                      groups or small gatherings


• To educate the audience about fashion sustainability and alternatives to consumption

• To communicate the clothing swap system as an identity that is clean, organized and fun

• Target consumers who aren’t used to the concept of used clothing and who would consider it otherwise

• To shine light on second-hand clothes to view how a story can change the interpretation of it

• To share people’s clothing stories and to inspire others to take action


• A visual identity for the Swap System

• Swap logo/wordmark

Swap Stories: Vol. 1 Print Publication

• Creative writing/editing based off of interviews

• Printed clothing tags

• An online platform and social media page

• Illustration

• Photography

• Swap “swag”

I redefined the idea of the Clothing Swap by creating an organized system, where participants would submit their items with a story attached to it, and that story would be transmitted into the Swap Stories publication, onto a clothing tag that would be printed for that item, and would feature a unique QR code for each item’s story to be accessible online during a Swap.

Each story is told from the clothing item’s perspective, a unique twist given to the project so there is more emphasis on the idea of clothing being alive and animated. With this approach, more value is placed on the item, and the idea of it living through its own personal journey for us humans to understand.

As my focus was to create a visual identity, I wanted to integrate my own illustrations and photography into the final execution. With each interview I conducted for the publication, I photographed each person wearing their item, and eventually created illustrations of the person and their garment. The blue and cream colour scheme was chosen as the Swap’s visual aesthetic, as it suggests the identity be universal, non-binary and inclusive for all audiences. I chose to use a clean + minimalist aesthetic as clothing swaps can sometimes be thought of the opposite, therefore communicating it as nice and simple was the ultimate goal.


Read the entire publication here

View the SWAP website here

View the full process book here


Kasia is a 21 year old communication designer from Vancouver, BC who is passionate about sustainability, critical design and creative expression.

The majority of her work involves the integration of illustration with design, and as an interdisciplinary designer she also enjoys experimenting with photo documentation, layering, colours, patterning and typography. Logo design, brand identity, and publication design are her areas of focus, however she is always eager to learn new methods + practices. Ultimately, her goal is to communicate stories and create meaningful work that will last.

Say Hi! | Megan Carpick

building foundations of community at Emily Carr

Say Hi!

My name is Megan Carpick, and Say Hi! is my graduation project for my degree in Communication Design. It is a program aimed at helping foundation students at Emily Carr find community and make friends. Say Hi! is a brand, an attitude, and a suite of social tools designed to foster friendship, curiosity, knowledge, and engagement. Check out my website at the link below!

my portfolio

Why Say Hi?

In all universities, including Emily Carr, there are students who feel isolated from their new community, which severely impacts their mental health, university experience, and academic performance. My project aims to create physical tools to help first-year students to bridge the awkward gap of silence between themselves and their classmates in order to form meaningful friendships, feel less isolated, and improve mental health & wellbeing. I find that physical interventions make it easier for students to communicate face to face.

This project was conceived as an answer to the question: How might design provide support to first year students at Emily Carr through practical information and prompting interaction, while fostering an attitude of friendliness, courage, curiosity, and optimism, fostering confidence and community. Say Hi! is simple, friendly, courageous, youthful, engaging, and joyous. The main goal of Say Hi! is to make the transition to university easier, whether you are from out of town, a commuter, or a local student. It encourages students to reach out, take advantage of every opportunity, and be part of their new community.

Welcome Package Tote

This tote bag contains the Say Hi! welcome package. Every Foundation student receives one at orientation.

(Click on the images for the full view.)

Foundation Survival Guide

Full of information and advice, this handbook answers all the questions Foundation students have about their new school. This 24-page guide is the cornerstone of the Welcome Package, and contains "Stuff You Should Know," "Advice from Seniors," blank templates for your school schedule, maps of the school, and space for notes.

A look inside the Survival Guide.

Shareable Candy Pouches

A small, resealable holographic baggie filled with a handful of skittles. Perfect for offering to a new classmate to strike up dialogue or for sharing with a new friend.

Icebreaker Passport

A booklet consisting of 10 quick prompts to help students strike up a conversation with peers. At the back, there is a space to redeem a free hot drink from the cafeteria upon completion.

A look inside the Icebreaker Passport.

Icon Stickers

Brand stickers in all colours– trade them and display them! These stickers represent the say hi! brand and attitude– if you see one, it’s ok to say hi.

Community Convo Decks

These Community Convo Decks are not included in the welcome bags, but rather are located around the school in communal areas (the library, the foundation lounge, the cafeteria). They each include 50 conversation prompts. Pick one up and get talking!

Monthly Event Calendar

One of the biggest barriers preventing students from having a rich extracurricular life was simply the lack of centralized event information.
Distributed in the Foundation Lounge at the start of every month, the Say Hi! Event Calendar condenses all the news about events in the school and city for students to get informed and get out there.

Foundation Feedback Box

This box is a permanent fixture in the Foundation Lounge. Students are welcome to voice comments, concerns, and ask for specific help they need. It removes the fear of asking for help face to face; for example, a student can ask for information on student counselling services and can leave their email for a response.

Foundation Table Tents

These colourful table tents live on the Foundation Community Table in the Cafeteria, marking a safe communal space for first-years to sit, eat, meet, and mingle.

Thank you for checking out my Graduation Project! You can see more at my portfolio website, here.

Pressed Ephemera | Christine Fwu

Pressed Ephemera

A Critical Look into “What Used to Be”

Pressed Ephemera examines the intention, meaning, and care behind printed precedents. It is a research and process based project that begins with an exploration of how history has affected the ideals and aesthetics of print design in each time period. The project then moves into the most meaningful and important aspect: the making & the experience. In order to capture the limitations of the past, I went on a journey of following old processes. Each period and its printing method has been meticulously researched, explored, and printed with different materials. The results are a series of intriguing and handmade ephemera.

View the presentation here.

View the process book here.

View the journal here.

The final project piece are two Pressed Ephemera metal stamps that I made for the foil stamping process! This logomark can be used on cards, and it would be used on the cover of my process book.

In this project page, I will take you through Ikigai Exercises that led me into my project, to creating Printed History pieces that take on the design styles of each period, and the Old Processes that show my process and experience of making. Then finally, the final Multimedia Posters and Process Pieces & Tags are displayed. The Postcards at the end are takeways for the project that give a sneak peak into the design styles and experiences of making from the multimedia posters.

I hope you will enjoy diving back to a time when creation was well thought out, cared for, and meaningful. Hopefully you will find appreciation and curiosity in being immersed in all of the printed ephemera, as much as I did.

Print, Handmade Processes, Research & Process,
Typography, Creative Direction, Critical Design,
Exhibition Design, Experience Design

Core Typeface
— Adobe Jenson Pro: Robert Slimbach, based on Nicolas Jenson (1470)

metal stamps: magnesium die + aluminum block
foil stamper · assorted metallic foils

Ikigai Exercises

Below are four project exercises aimed at exploring my thesis idea and diving right into making generatively. Ikigai is also known as “the meaning of life”; if one succeeds in each of these four sectors then one would lead a fulfilled, rewarding, and valuable life as a whole. These mini projects helped me to to reflect on the value and importance of my project through making. Through these explorations, I became certain that I wanted to do this project.

What You Love

I really love flowers and my thesis looks into design styles of the past. So I made a floral Tetley tea box redesigned in old style.

Paper packaging was popular in the past as they could be reused and recycled. Tin packaging was also used abundantly as they could be kept around the house to hold other objects. For future explorations, I could create a stencil and paint on a tin can or box.

What You’re Good At

I am good at planning, organizing, and making calendars. For this exercise, I made a daily challenge calendar of design’s past with prompts everyday to explore this topic.

Using the form of an advent calendar, which was first made in Germany in 1851, everyday is an open door to a new challenge that was helping me to direct my research.

What The World Needs

When thinking about what the world needs, I realized that much of the general public lacks appreciation and curiosity. To generate more of this, I decided to create a little exhibition that includes a typewriter, old books and objects, and an interactive section with metal type and foil stamp samples.

I made a Retro & Vintage Night poster, along with tickets to this little event. I also made a Little Book of Oldstyle Designs to showcase design styles through periods of time.

What Makes You Money

For what can me money, I was thinking about how dissemination to a wider audience can get people to start seeing the value in old objects and ephemera.

The website mockup I have created includes the history of each of the periods, designed in the style of that time. It would also have a shop section where people could purchase old style objects and ephemera.

Printed History

These Printed History (digital laser prints) showcase the design styles and history of each period. My project timeline begins with the Renaissance period (1400–1600), through to the Enlightenment period (1700), and ends off with the Decorative Arts period (1800). Through my research, I looked into the printed forms that existed each period, designed in that context, and included its history as text for these printed pieces of ephemera.

Old Processes

The Old Processes (handmade prints) display the printed history pieces that are remade by hand through Letterpress & Etching, Silkscreen, and Cyanotype. Through my experience of making, I learned to take time and to think critically about each design decision I was making. I became more careful and thoughtful in my work throughout all of these processes.

Letterpress & Etching · Process

Silkscreen · Process

Cyanotype · Process

Posters & Process Pieces + Tags

These multimedia posters invite you to interact and engage with each period and their handmade prints! The process pieces + tags will take you through numerous iterations, and they embrace the imperfections that are a result of these handmade processes.

Note: Many other print processes exist in each of these periods, but these are the ones I have chosen due to accessibility and my interest.

digital prints: colour laser prints
handmade prints: letterpress & etching, silkscreen, cyanotype

Multimedia Posters

Process Pieces & Tags · Letterpress & Etching

Process Pieces & Tags · Silkscreen

Process Pieces & Tags · Cyanotype

Postcard Takeaways

These postcards are the takeaways at my exhibition. The portrait ones with Design Style talk about type and how aesthetics were affected by history and ideals of the time. On the other hand, the landscape ones with Old Processes
talk about the making process with each of the printing methods.

Christine Fwu

I am a communication designer with a focus in print & publication design, visual identity, creative direction, and typography. I am driven by the generative process of design, its multifaceted nature, and the meaningful conversations that are produced from it.

My interest lies in leveraging critical thinking and history to inform my practice and design. The intrinsic meaning and beauty in handmade processes intrigue me and I am always looking for opportunities to integrate them into my ideation and production. In creating purposeful designs and systems, I enjoy using story-telling and co-design methods for engagement and collaboration.

OwnSneaker | FuHui Li



This is an app development project about sneaker and sneaker culture, which provides an information integration platform for sneaker lovers, and interested people to know sneakers. The “Own Sneaker” is an app about various aspects of sneakers, including different brands of sneakers information, sneaker reselling platform, social communication,  Information Integration, and additional DIY servers. My primary target audiences are people who love sneakers in Canada, DIY lovers, and different types of consumers. The two main functions in this app are providing people to get various channels of getting sneakers and the DIY program of sneakers, which helps people to create the unique sneaker they love, create the only one in the world.


It combines the Jordan brand logo I designed, and to highlight the characteristics of the sneaker app, I added LACES on both sides of the logo as an ornament. In the middle of the logo font, I added the eyes of the little monster I designed before to make the logo look more distinctive.


Considering illustrations is the first step of the whole process. The illustrations provide the incipient of direction that the project will go. They are vivid by combining the form of monsters, and each of them will have a personal characteristic in further design. They are also part of the branding since they will be used as the DIY shoe container illustration design and other accessories.



DIY Section is the core part of this app, and it is also the original intention of my design of this app, to let more people know about sneakers, design and love sneakers. At the same time, to make them not follow the mass consumption completely, I try to shift the attention of consumers from consumption to design and promote their rational consumption.

On the home page of the DIY system, you will first see the three most popular shoe designers with the most clicks and orders, then the “Art Gallery” section, and finally four different categories of DIY shoe demand. The design of the home page is classified by modules to make the interface cleaner.

The “Art Gallery” section is a social platform where users can post their works and videos. It is also a learning platform. This section will be equipped with some DIY sneaker tutorials every day so that users can better understand the culture of DIY sneakers, and learn how to create their sneaker.


The Artist Information page includes the basic information of the artist, such as the design methods he is good at and the brand. Under the basic information part, it also has the highest number of hits. In the “Artworks” section, users can see the previous designer works by selecting different brands. All works are categorized by brand, which helps users quickly check out their favorite brands.





Sprout | Sanya Arora

Sprout: A design for Communities, Food Systems, and Activism.

Sprout aims to build a network of communities, that engage in conversations about our relationship with food, and ways we can change this relationship. It stems out of the belief that a consumer’s behaviour can impact the economy and the entire lifecycle of the food industry. What is demanded, is what is supplied. By purchasing certain products from specific vendors for instance, we influence how and what other vendors sell.

The result of a year long grad project, Sprout encapsulates my interest in social and environmental change through design, with my passion for writing, and food. Heavily based in research, the project explores the concept of meta-design where the designer’s role is to design the context in which users feel empowered to create their own unique solutions.

Sprouting Discussions and Igniting Change.

The toolkit is employed by post-secondary institutions around the world to begin discussing their unique relationships with food, and ways it can be improved.

The print materials guide communities through a discovery of the various stages in the larger food system, and helps identify where their acknowledgements and actions can make a difference. With the underlying principle of meta-design, the content uses probes and interactive narratives to make users come to their own unique solutions because there is no singular correct answer that can be dictated by the designer.

A website prototype was created to ensure the project reaches audiences where print material might be hard to disseminate, and to give easier access to numerous resources enabling further discussions.

A promotional video was created to amplify the objectives of the project as well as convey the project’s organic, human, community- and people-driven principles.


The Process

A project that started out as wanting to help individuals make a shift to a more sustainable lifestyle, eventually built into something I couldn’t have conceived of a year ago. With a growing passion for social and environmental change through design, I wanted to invest my time in a project that tried to bring about this change. Four intensive weekly exercises of exploring what I love, what I am good at, what the world needs, and what would make me money, led to a passion project exploring building supportive communities to discuss food systems.

Intrigued by new concepts such as meta-design, I spent most of my year in research and analysis, building a strong foundation for what it was I wanted to achieve and convey through the project. Some of the major milestones in my process of reaching the final deliverable were :

  1. Researching and Analyzing Food Systems;
  2. Understanding Meta-Design;
  3. Building a Framework (for effectively incorporating meta-design into the project);
  4. Co-Creation Workshops (to validate my research and incorporate diverse perspectives);
  5. Writing Content (that was approachable, understandable, and interactive); and
  6. Iterative Design

View my process book here for a detailed look at the fun yet gruelling behind the scenes of Sprout.

A Reflection of the Year

Over the course of my four years at Emily Carr, I have heard numerous times that no design is ever complete. There is always the itch to improve something, to have spent more time on certain aspects, to change things up a bit, and I am no stranger to this. However, I am proud of what I have achieved.

A mostly self-directed project, I have come to realize my work ethic, my organization and time-management skills, but most importantly my passion. This project has given me great insight into what design means for me, and what I want to do with the tools I have been employed with. I have gained an interest for research, and laying an emphasis on design thinking to realize creative solutions to complex problems.

Looking back, I realized that almost instinctually, I was able to utilize my interests and incorporate them into the project. With a passion for food and creative writing, I built a design project that allowed me to highlight these passions, as well as hone an interest in community-driven design for social and environmental change.


Sanya Arora is a communication designer based in Vancouver, Canada. Having grown up in a prescribed educational system, she constantly battle those qualities by pushing her boundaries and exploring different, creative, and innovative opportunities in her design practice. She is passionate about design’s power to inform and influence people to take action, and how it can provide individuals with tools to make change for the better. She likes to incorporate diverse perspectives, collaborate with multiple stakeholders, create community-driven projects, and design with people rather than for people.

When she’s not toggling between 4-5 softwares on her laptop, she likes to cook and eat while pretending she is a cook and critic on Masterchef; buy notebooks just for the paper quality; indulge in amateur journalling; partake in creative writing; and think about her next meal.