✸ JULIE WAKEFIELD 

this typeface leans into the humanness of imperfection and the tactile. it is inspired by handwriting, block printing techniques, cut paper crafts, and other experimental analog processes of lettering. there is an underlying sense of nostalgia in its textures and shapes, calling back to rubber stamps, vintage signage, and printmaking. it feels as though it may have been carved out of wood or linoleum, cut out of paper, or abruptly drawn with a chisel tip marker.

this typeface is ideal  for projects that want to feel personal and driven by creative flow. it would be at home on creative event posters, zine covers, packaging for artisanal goods, or branding for small businesses. it can also be a strong choice for alternative genre music posters, album art, or greeting cards that want to make a bold yet handmade statement. As a lower-case-only typeface, it serves its best purpose for displays and headers, but may work as body when sized appropriately. 

This brief entails researching articles from Wikipedia and transforming it into a more visually appealing, printed publication. Parameters include a maximum of two typefaces, two colors, and the final dimensions must be within the dimensions of letter-size paper. The only text, references, and images permitted must come directly from the webpage. This 5½ x 5½ inch booklet was printed in a deep purple color on bright pink paper, creating a duotone effect across images and text. The variable typeface "Roster" allows for experimentation with character weight and width. At a glance, the article Tenement may not warrant any initial interest from viewers but in this polished format allows for greater intrigue and engagement with the subject.

Slip cover for vinyl record for a themed playlist of twenty songs. Each song contains words connected to outer space in the song title, artist name, or lyrics.

Perfect bound book containing two found texts about flowers. Despite being published an entire century apart, these texts are more similar than they are different. Descriptions of well-known flower species from Wells, combined with Ingram's pairings of flower names to British literature and poetry, this book offers a unique dive into early botany, taxonomy, and metaphor. In parallel with standard 18th century press printing, this book contains 26 digitally-drawn "printer's ornaments". The cover is made of soft, green felt; alluding to the trimmed hedges, walls, and paths that were idealized in landscape design of Baroque botanical gardens.