https://whosirisgu.com/walking-shop 2026-03-25T19:56:11+00:00 always 0.5 https://whosirisgu.com/manifestos 2026-03-25T19:56:11+00:00 always 0.5 https://freight.cargo.site/t/original/i/P2855285606026033913106547595831/Manifestos.png https://freight.cargo.site/t/original/i/A2855305438046800581950651750967/Manifestos1.png For me, being “creative” is not a label rooted in talent, but a state of continuous choice. I am learning to live with uncertainty, to accept the slowness and repetition of inspiration, as well as the doubt and revision that inevitably come with making. Rather than chasing a constant flow of good ideas, I care more about whether I have the patience to bring vague feelings into clarity gradually. At the same time, I am rethinking the weight of expression. Not every idea needs to be realized, and not every work needs to be seen. Restraint, judgment, and the ability to leave space are all part of the process. I hope to be honest with my inner voice while remaining sensitive to the world outside, finding my own position somewhere in between. This manifesto is not a definition, but a direction I continue to calibrate. https://whosirisgu.com/whiplash-bloom 2026-04-03T03:23:18+00:00 always 0.5 https://freight.cargo.site/t/original/i/R2852437497123133439578345036343/Typeface-poster.jpg Whiplash Bloom Inspired by the Crocus and Whiplash line, organic and stylized. https://freight.cargo.site/t/original/i/H2852437621122147103053950999095/type-design-editorial-01.jpg Whiplash Bloom Inspired by the Crocus and Whiplash line, organic and stylized. https://freight.cargo.site/t/original/i/Z2857347317353244785000093047351/A4-Tyepdeisgn-poster.jpg https://freight.cargo.site/t/original/i/J2857347559725015169469891729975/Typeface-disign.png https://freight.cargo.site/t/original/i/M2857348591635878652782209129015/IMG_2230.JPG https://whosirisgu.com/gap 2026-03-25T19:56:11+00:00 always 0.5 https://freight.cargo.site/t/original/i/C2852430050320124835622034070071/IMG_6180.jpg The letterforms embody the tension between constraint and expansion — inspired by wild vegetation growing through urban cracks, surviving within limitation yet asserting presence. The work explores rebirth not as sentiment, but as structure. https://freight.cargo.site/t/original/i/Z2852433565753036450598704634423/Untitled_Artwork-1.png https://freight.cargo.site/t/original/i/Z2852433565789929938746123737655/Untitled_Artwork-2.png https://freight.cargo.site/t/original/i/T2852434526072086183844252211767/Untitled_Artwork_.png https://whosirisgu.com/cage 2026-04-04T18:49:57+00:00 always 0.5 https://freight.cargo.site/t/original/i/D2852424871950128463876704426551/IMG_6180.jpg https://freight.cargo.site/t/original/i/Q2852424871987021952024123529783/poster2.png A poster “The strategies High Modernist designers concocted to advance the cause of anonymous typeforms, under the guise of legibility or historicism, are generally misread. Conventional post-modern grumbling imagines a hygienic programme aimed at stripping the world of decoration. But Modernist promotion of characterless or timeless typeforms is in fact a self-serving endeavour to protect the precious commodity of originality ascribed to the designed object. If artistic originality is key to the notion of Modernism, the Modernist object must, by its very nature, speak of the genius of its maker. The authority of the designer lay in his or her ability to manipulate standard forms into images which told of individual originality. As letterforms have become more personal and, in themselves, more intimately connected to their makers, the authorship of the designed object is increasingly muddled. If a poster is designed using a typeface that is clearly identified with Neville Brody, is the genius of the design in the letterform or in the arrangements of the letterforms? Who is the author of the work? Whose originality is paramount? At the same time, the genius of the type designer is dissipated as his or her fonts become widely available, allowing their signature style to be easily appropriated. As typefaces increasingly become design statements in themselves, the crisis of design authorship intensifies. As Krauss puts it, ‘a prison in which the caged artist feels at liberty’.” https://freight.cargo.site/t/original/i/F2865623402430098812921155410487/CAGE--FONT-DESIGN.png https://freight.cargo.site/t/original/i/V2865623402466992301068574513719/CAGE2.png In the project, I focused on developing a font that escapes the clichés of modernist theory and can express emotions clearly, balancing Culture and freedom of expression, reflecting Monotype's rich heritage while incorporating contemporary design trends. My design process included extensive research on font structure and typographic history, and was inspired by a paragraph in Eye Magazine's Beyond typography, "The caged artist", aiming to break the conservatism and restrictions of fonts. Cage is the keyword of the entire project and the entry point of my design. https://whosirisgu.com 2026-04-03T03:23:18+00:00 always 0.5 https://freight.cargo.site/t/original/i/G2852381396147186711141588392503/IMG_6190.jpg https://freight.cargo.site/t/original/i/T2852414921315206503101823965751/.png