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Memory
video/animation
‘Memory’ is an experimental animation that explores the potential of digital media and language. Unlike printed media, the screen is a dynamic environment. This environment should not be restricted to the same visual communication principles as it’s static predecessors. I’ve designed this typeface to behave more like the spoken word; capturing it’s audience because of text’s ephemeral quality.
This work was shown at the 'Santa Fe International New Media Festival' and published in the book 'Type: Form and Function' by Jason Tselentis.
‘Memory’ is an experimental animation that explores the potential of digital media and language. Unlike printed media, the screen is a dynamic environment. This environment should not be restricted to the same visual communication principles as it’s static predecessors. I’ve designed this typeface to behave more like the spoken word; capturing it’s audience because of text’s ephemeral quality.
This work was shown at the 'Santa Fe International New Media Festival' and published in the book 'Type: Form and Function' by Jason Tselentis.
Spark Motion Poster
A Motion Poster designed for 'SPARK", a new media, poetry, and art symposium held at the University of Texas at Arlington. Poster designed to loop.
Placed Promotional Video
video/animation
I created this promotional video for the app 'Placed' as part of a collaborative team.
Placed is an interactive historical networking platform that empowers communities by giving people the tools to record and celebrate their past. Conceived and designed by Associate Professor of Design at Texas State University MiHyun Kim, 'Placed' creates a digitally augmented layer over the physical geography of a city, town, or any location. It provides an interactive timeline by which users can jump to specific moments of any location to see images, hear audio, read stories, or upload their own content about that place.
I created this promotional video for the app 'Placed' as part of a collaborative team.
Placed is an interactive historical networking platform that empowers communities by giving people the tools to record and celebrate their past. Conceived and designed by Associate Professor of Design at Texas State University MiHyun Kim, 'Placed' creates a digitally augmented layer over the physical geography of a city, town, or any location. It provides an interactive timeline by which users can jump to specific moments of any location to see images, hear audio, read stories, or upload their own content about that place.
I Am Sorry
poster
Words (text) and their visual representation (typography) lie at the heart of many graphic and artistic communication forms. This connection has a rich lineage that has developed rapidly over the past 100 or so years and includes, but is not exclusive to the fields of Literature, Poetry, Painting, Graphic Design, Motion Graphics, Sculpture, Artist Books, Virtual Environments and Installation. Countless poets, designers, and artists have experimented with words and the different aesthetic forms they can take. As these genres become ever increasingly hybridized text and aesthetics push each other’s boundaries. In other words, what we say and how we say it manipulate each other.
Terrasi creates different typeface styles that are inextricably linked to their mood or tone and this sensability is often established through temporal distortions. By innovating techniques for designing letterforms for time-based media his work of text driven pieces behave like few others. Simply stated, though not simply executed, Terrasi combines hand illustration, calligraphy, digital video, audio, and animation, with more ephemeral materials and analogue processes. The effect on the reading experience becomes undeniable.
Terrasi applies his experimental typography to both design and artistic contexts.
Words (text) and their visual representation (typography) lie at the heart of many graphic and artistic communication forms. This connection has a rich lineage that has developed rapidly over the past 100 or so years and includes, but is not exclusive to the fields of Literature, Poetry, Painting, Graphic Design, Motion Graphics, Sculpture, Artist Books, Virtual Environments and Installation. Countless poets, designers, and artists have experimented with words and the different aesthetic forms they can take. As these genres become ever increasingly hybridized text and aesthetics push each other’s boundaries. In other words, what we say and how we say it manipulate each other.
Terrasi creates different typeface styles that are inextricably linked to their mood or tone and this sensability is often established through temporal distortions. By innovating techniques for designing letterforms for time-based media his work of text driven pieces behave like few others. Simply stated, though not simply executed, Terrasi combines hand illustration, calligraphy, digital video, audio, and animation, with more ephemeral materials and analogue processes. The effect on the reading experience becomes undeniable.
Terrasi applies his experimental typography to both design and artistic contexts.
It Can Wait
poster
This poster uses one of Terrasi's experimental typefaces to warn of the dangers of texting and driving.
This poster uses one of Terrasi's experimental typefaces to warn of the dangers of texting and driving.
Whimcircle Alphabet
poster
This award winning typeface is composed exclusively of circles. All positive and negative space take a circular form.
This work was published on the cover of issue 14 of Grafik Tasarim (Turkish Graphic Design Magazine), in Bruce Willen and Nolen Strals 'Lettering and Type', and 'Design Elements Typography Fundamentals' by Kristin Cullen
This award winning typeface is composed exclusively of circles. All positive and negative space take a circular form.
This work was published on the cover of issue 14 of Grafik Tasarim (Turkish Graphic Design Magazine), in Bruce Willen and Nolen Strals 'Lettering and Type', and 'Design Elements Typography Fundamentals' by Kristin Cullen
Understanding
video/animation
Here a conversation is asking for tolerance and patience. We live in a world of different cultures, languages, and ideas. We need acceptance of the 'other'.
Words (text) and their visual representation (typography) lie at the heart of many graphic and artistic communication forms. This connection has a rich lineage that has developed rapidly over the past 100 or so years and includes, but is not exclusive to the fields of Literature, Poetry, Painting, Graphic Design, Motion Graphics, Sculpture, Artist Books, Virtual Environments and Installation. Countless poets, designers, and artists have experimented with words and the different aesthetic forms they can take. As these genres become ever increasingly hybridized text and aesthetics push each other’s boundaries. In other words, what we say and how we say it manipulate each other.
Terrasi creates different typeface styles that are inextricably linked to their mood or tone and this sensability is often established through temporal distortions. By innovating techniques for designing letterforms for time-based media his work of text driven pieces behave like few others. Simply stated, though not simply executed, Terrasi combines hand illustration, calligraphy, digital video, audio, and animation, with more ephemeral materials and analogue processes. The effect on the reading experience becomes undeniable.
Terrasi applies his experimental typography to both design and artistic contexts.
Here a conversation is asking for tolerance and patience. We live in a world of different cultures, languages, and ideas. We need acceptance of the 'other'.
Words (text) and their visual representation (typography) lie at the heart of many graphic and artistic communication forms. This connection has a rich lineage that has developed rapidly over the past 100 or so years and includes, but is not exclusive to the fields of Literature, Poetry, Painting, Graphic Design, Motion Graphics, Sculpture, Artist Books, Virtual Environments and Installation. Countless poets, designers, and artists have experimented with words and the different aesthetic forms they can take. As these genres become ever increasingly hybridized text and aesthetics push each other’s boundaries. In other words, what we say and how we say it manipulate each other.
Terrasi creates different typeface styles that are inextricably linked to their mood or tone and this sensability is often established through temporal distortions. By innovating techniques for designing letterforms for time-based media his work of text driven pieces behave like few others. Simply stated, though not simply executed, Terrasi combines hand illustration, calligraphy, digital video, audio, and animation, with more ephemeral materials and analogue processes. The effect on the reading experience becomes undeniable.
Terrasi applies his experimental typography to both design and artistic contexts.
Poem #_
video/animation
"We can describe this work in terms of a balance – a dynamic balance -- between what it presents to its viewer and what it evokes from the same viewer. On the one hand, the work presents us with an objective phenomenon, and that is the complex pattern of movement produced by simple forces of wind and water. At the same time, this provokes a subjective response – and that is a viewer’s involuntary effort to read and to make sense out of the spontaneously formed sequences of letters even though they are thrown together by chance. The way this balance is produced, is by intelligently using the inherent properties of simple materials; that is, the tray of water, the cut-out transparencies, and the overhead projector.
As we watch the piece, we can track the steady flow of letterforms across our field of view. Just like the flow of water through a rocky streambed, the flow is irregular on a micro-scale, but regular on a macro-scale. Each individual fragment takes an unpredictable path; but if you take them all together in their totality, these comprise a regular, consistent flow. This combination of predictability and unpredictability has connotations of similar phenomena in nature. For comparison, we could think of slow-moving geological formations, or of blood cells through a blood vessel.
The counterpart to the objective phenomenon of the work is our subjective response to it, and that is our interpretation of the shapes as letters, and the meanings produced by the way they combine and recombine as they flow. Of course we recognize these forms as letters (not abstract shapes). But our response to the chance combinations of the letters depends more on the individual perspective of each viewer, which is shaped by personal habits of reading and thinking. In explaining this aspect of the work, the artist refers to Beckett, cummings and Nabokov. Some viewers might recognize these allusions; others may recall newspapers, books or magazines. The indeterminate nature of the combinations leaves space for a range of responses.
There is an engaging tension between the letters’ existence as material objects, and the lightness and transience they display in passing across the field of view. The material, tactile properties of the piece are fundamentally important, and suggest that it should be viewed in contrast to purely digital works. On the other hand, the transparency and mobility of the light, delicate-seeming letters suggest a freedom from material mass, and evoke a dreamlike, imaginative state. It could be seen as counterintuitive that it is able to achieve such delicacy using such simple, lo-tech elements. The capacity of this work to keep these forces in a balanced tension accounts for its hold on those who observe it."
Above (edited for website) commentary for Poem #_
provided by Dr. Benjamin Lima, art historian, critic, and editor, The Athenaeum Review, University of Texas at Dallas
"We can describe this work in terms of a balance – a dynamic balance -- between what it presents to its viewer and what it evokes from the same viewer. On the one hand, the work presents us with an objective phenomenon, and that is the complex pattern of movement produced by simple forces of wind and water. At the same time, this provokes a subjective response – and that is a viewer’s involuntary effort to read and to make sense out of the spontaneously formed sequences of letters even though they are thrown together by chance. The way this balance is produced, is by intelligently using the inherent properties of simple materials; that is, the tray of water, the cut-out transparencies, and the overhead projector.
As we watch the piece, we can track the steady flow of letterforms across our field of view. Just like the flow of water through a rocky streambed, the flow is irregular on a micro-scale, but regular on a macro-scale. Each individual fragment takes an unpredictable path; but if you take them all together in their totality, these comprise a regular, consistent flow. This combination of predictability and unpredictability has connotations of similar phenomena in nature. For comparison, we could think of slow-moving geological formations, or of blood cells through a blood vessel.
The counterpart to the objective phenomenon of the work is our subjective response to it, and that is our interpretation of the shapes as letters, and the meanings produced by the way they combine and recombine as they flow. Of course we recognize these forms as letters (not abstract shapes). But our response to the chance combinations of the letters depends more on the individual perspective of each viewer, which is shaped by personal habits of reading and thinking. In explaining this aspect of the work, the artist refers to Beckett, cummings and Nabokov. Some viewers might recognize these allusions; others may recall newspapers, books or magazines. The indeterminate nature of the combinations leaves space for a range of responses.
There is an engaging tension between the letters’ existence as material objects, and the lightness and transience they display in passing across the field of view. The material, tactile properties of the piece are fundamentally important, and suggest that it should be viewed in contrast to purely digital works. On the other hand, the transparency and mobility of the light, delicate-seeming letters suggest a freedom from material mass, and evoke a dreamlike, imaginative state. It could be seen as counterintuitive that it is able to achieve such delicacy using such simple, lo-tech elements. The capacity of this work to keep these forces in a balanced tension accounts for its hold on those who observe it."
Above (edited for website) commentary for Poem #_
provided by Dr. Benjamin Lima, art historian, critic, and editor, The Athenaeum Review, University of Texas at Dallas
Bottled Up
artist book
The work ‘Bottled Up’ is an exploration of emotion, psychology, and desire as they relate to a strained and extended relationship. The texts in the piece are fragmented conversations, emails, inner thoughts, memories, and justifications as they pertained to the mystery of the unfulfilled expectations of this relationship. By revealing only small portions of text at a time this book allows the viewer to have an experience filled with disorientation, confusion, frustration and ultimately an impression of clarity and satisfaction. The project also represented an opportunity for Terrasi to explore kinetic typography and non-linear narrative by means of a media that are not digital.
The work ‘Bottled Up’ is an exploration of emotion, psychology, and desire as they relate to a strained and extended relationship. The texts in the piece are fragmented conversations, emails, inner thoughts, memories, and justifications as they pertained to the mystery of the unfulfilled expectations of this relationship. By revealing only small portions of text at a time this book allows the viewer to have an experience filled with disorientation, confusion, frustration and ultimately an impression of clarity and satisfaction. The project also represented an opportunity for Terrasi to explore kinetic typography and non-linear narrative by means of a media that are not digital.
Identity Crisis
video/animation
In ‘Identity Crisis’ the terms definition is visually explored through the type. Periods of uncertainty and confusion pervade through the text. However it is in this period of uncertainty and confusion that the mind often operates most holistically. The imagination runs wild with possible interpretations. Both the artist and the audience are operating at the highest creative and interpretive levels.
Terrasi wants to create text where ambiguity reigns and the function of the work is a bit counter intuitive for the audience.
In ‘Identity Crisis’ the terms definition is visually explored through the type. Periods of uncertainty and confusion pervade through the text. However it is in this period of uncertainty and confusion that the mind often operates most holistically. The imagination runs wild with possible interpretations. Both the artist and the audience are operating at the highest creative and interpretive levels.
Terrasi wants to create text where ambiguity reigns and the function of the work is a bit counter intuitive for the audience.
We Are All Connected
video/animation
"The statement 'We are all connected' cycles through several languages in this animation. The phrase refers to many things; our connected international political climates, our shared natural environment, our social technologies, our economies. The list goes on. I am concerned the majority of people on this planet do not see or choose to ignore these connections. Countries are continuously withdrawing from larger beneficial unions and hiding in seclusion with a me-first / my country first attitude. Manufacturing industry continues to grow in spite of environmental ramifications in the name of profit. Personal isolation and depression grows even as our technologies allow for us to connect with ever-greater ease. The problems of one country ARE the problems of the world. My animation (and poster of the same theme) serves as a warning. Regardless of what we may believe we ARE ALL CONNECTED and the freedoms and conveniences we enjoy on this planet are fragile." - Tore Terrasi
"The statement 'We are all connected' cycles through several languages in this animation. The phrase refers to many things; our connected international political climates, our shared natural environment, our social technologies, our economies. The list goes on. I am concerned the majority of people on this planet do not see or choose to ignore these connections. Countries are continuously withdrawing from larger beneficial unions and hiding in seclusion with a me-first / my country first attitude. Manufacturing industry continues to grow in spite of environmental ramifications in the name of profit. Personal isolation and depression grows even as our technologies allow for us to connect with ever-greater ease. The problems of one country ARE the problems of the world. My animation (and poster of the same theme) serves as a warning. Regardless of what we may believe we ARE ALL CONNECTED and the freedoms and conveniences we enjoy on this planet are fragile." - Tore Terrasi
A Beautiful Face
poster
Words (text) and their visual representation (typography) lie at the heart of many graphic and artistic communication forms. This connection has a rich lineage that has developed rapidly over the past 100 or so years and includes, but is not exclusive to the fields of Literature, Poetry, Painting, Graphic Design, Motion Graphics, Sculpture, Artist Books, Virtual Environments and Installation. Countless poets, designers, and artists have experimented with words and the different aesthetic forms they can take. As these genres become ever increasingly hybridized text and aesthetics push each other’s boundaries. In other words, what we say and how we say it manipulate each other.
Terrasi creates different typeface styles that are inextricably linked to their mood or tone and this sensability is often established through temporal distortions. By innovating techniques for designing letterforms for time-based media his work of text driven pieces behave like few others. Simply stated, though not simply executed, Terrasi combines hand illustration, calligraphy, digital video, audio, and animation, with more ephemeral materials and analogue processes. The effect on the reading experience becomes undeniable.
Terrasi applies his experimental typography to both design and artistic contexts.
Words (text) and their visual representation (typography) lie at the heart of many graphic and artistic communication forms. This connection has a rich lineage that has developed rapidly over the past 100 or so years and includes, but is not exclusive to the fields of Literature, Poetry, Painting, Graphic Design, Motion Graphics, Sculpture, Artist Books, Virtual Environments and Installation. Countless poets, designers, and artists have experimented with words and the different aesthetic forms they can take. As these genres become ever increasingly hybridized text and aesthetics push each other’s boundaries. In other words, what we say and how we say it manipulate each other.
Terrasi creates different typeface styles that are inextricably linked to their mood or tone and this sensability is often established through temporal distortions. By innovating techniques for designing letterforms for time-based media his work of text driven pieces behave like few others. Simply stated, though not simply executed, Terrasi combines hand illustration, calligraphy, digital video, audio, and animation, with more ephemeral materials and analogue processes. The effect on the reading experience becomes undeniable.
Terrasi applies his experimental typography to both design and artistic contexts.
3D Typography A-Z
video/animation
‘3D Typography’ is a typeface that was designed to exist in an interactive (virtual) three-dimensional space. The letters retain the same quality of legibility regardless of the angle from which they are approached. With this new approach to letterform making comes potential new systmes of reading. In such virtual environments direction is relative to the user / avatar. Reading in a left-to-right manner isn’t so simple. As such the letters explore different reading experiences ranging from an in-to-out system to a physically interactive (tactile) one. On an aesthetic level, regardless of legibility, beauty and tranquility is found in the forms of the letters.
This work is published in the book 'Type: Form and Function' by Jason Tselentis
‘3D Typography’ is a typeface that was designed to exist in an interactive (virtual) three-dimensional space. The letters retain the same quality of legibility regardless of the angle from which they are approached. With this new approach to letterform making comes potential new systmes of reading. In such virtual environments direction is relative to the user / avatar. Reading in a left-to-right manner isn’t so simple. As such the letters explore different reading experiences ranging from an in-to-out system to a physically interactive (tactile) one. On an aesthetic level, regardless of legibility, beauty and tranquility is found in the forms of the letters.
This work is published in the book 'Type: Form and Function' by Jason Tselentis
3D typography environment
virtual world design
‘3D Typography’ is a typeface that was designed to exist in an interactive (virtual) three-dimensional space. The letters retain the same quality of legibility regardless of the angle from which they are approached. With this new approach to letterform making comes potential new systmes of reading. In such virtual environments direction is relative to the user / avatar. Reading in a left-to-right manner isn’t so simple. As such the letters explore different reading experiences ranging from an in-to-out system to a physically interactive (tactile) one. On an aesthetic level, regardless of legibility, beauty and tranquility is found in the forms of the letters.
This work is published in the book 'Type: Form and Function' by Jason Tselentis
‘3D Typography’ is a typeface that was designed to exist in an interactive (virtual) three-dimensional space. The letters retain the same quality of legibility regardless of the angle from which they are approached. With this new approach to letterform making comes potential new systmes of reading. In such virtual environments direction is relative to the user / avatar. Reading in a left-to-right manner isn’t so simple. As such the letters explore different reading experiences ranging from an in-to-out system to a physically interactive (tactile) one. On an aesthetic level, regardless of legibility, beauty and tranquility is found in the forms of the letters.
This work is published in the book 'Type: Form and Function' by Jason Tselentis
3D Type VR Flythrough
video/animation
‘3D Typography’ is a typeface that was designed to exist in an interactive (virtual) three-dimensional space. The letters retain the same quality of legibility regardless of the angle from which they are approached. With this new approach to letterform making comes potential new systmes of reading. In such virtual environments direction is relative to the user / avatar. Reading in a left-to-right manner isn’t so simple. As such the letters explore different reading experiences ranging from an in-to-out system to a physically interactive (tactile) one. On an aesthetic level, regardless of legibility, beauty and tranquility is found in the forms of the letters.
This work is published in the book 'Type: Form and Function' by Jason Tselentis
‘3D Typography’ is a typeface that was designed to exist in an interactive (virtual) three-dimensional space. The letters retain the same quality of legibility regardless of the angle from which they are approached. With this new approach to letterform making comes potential new systmes of reading. In such virtual environments direction is relative to the user / avatar. Reading in a left-to-right manner isn’t so simple. As such the letters explore different reading experiences ranging from an in-to-out system to a physically interactive (tactile) one. On an aesthetic level, regardless of legibility, beauty and tranquility is found in the forms of the letters.
This work is published in the book 'Type: Form and Function' by Jason Tselentis
We Are All Connected
poster
Words (text) and their visual representation (typography) lie at the heart of many graphic and artistic communication forms. This connection has a rich lineage that has developed rapidly over the past 100 or so years and includes, but is not exclusive to the fields of Literature, Poetry, Painting, Graphic Design, Motion Graphics, Sculpture, Artist Books, Virtual Environments and Installation. Countless poets, designers, and artists have experimented with words and the different aesthetic forms they can take. As these genres become ever increasingly hybridized text and aesthetics push each other’s boundaries. In other words, what we say and how we say it manipulate each other.
Terrasi creates different typeface styles that are inextricably linked to their mood or tone and this sensability is often established through temporal distortions. By innovating techniques for designing letterforms for time-based media his work of text driven pieces behave like few others. Simply stated, though not simply executed, Terrasi combines hand illustration, calligraphy, digital video, audio, and animation, with more ephemeral materials and analogue processes. The effect on the reading experience becomes undeniable.
Terrasi applies his experimental typography to both design and artistic contexts.
Words (text) and their visual representation (typography) lie at the heart of many graphic and artistic communication forms. This connection has a rich lineage that has developed rapidly over the past 100 or so years and includes, but is not exclusive to the fields of Literature, Poetry, Painting, Graphic Design, Motion Graphics, Sculpture, Artist Books, Virtual Environments and Installation. Countless poets, designers, and artists have experimented with words and the different aesthetic forms they can take. As these genres become ever increasingly hybridized text and aesthetics push each other’s boundaries. In other words, what we say and how we say it manipulate each other.
Terrasi creates different typeface styles that are inextricably linked to their mood or tone and this sensability is often established through temporal distortions. By innovating techniques for designing letterforms for time-based media his work of text driven pieces behave like few others. Simply stated, though not simply executed, Terrasi combines hand illustration, calligraphy, digital video, audio, and animation, with more ephemeral materials and analogue processes. The effect on the reading experience becomes undeniable.
Terrasi applies his experimental typography to both design and artistic contexts.
Dance Of Typography
poster
Words (text) and their visual representation (typography) lie at the heart of many graphic and artistic communication forms. This connection has a rich lineage that has developed rapidly over the past 100 or so years and includes, but is not exclusive to the fields of Literature, Poetry, Painting, Graphic Design, Motion Graphics, Sculpture, Artist Books, Virtual Environments and Installation. Countless poets, designers, and artists have experimented with words and the different aesthetic forms they can take. As these genres become ever increasingly hybridized text and aesthetics push each other’s boundaries. In other words, what we say and how we say it manipulate each other.
Terrasi creates different typeface styles that are inextricably linked to their mood or tone and this sensability is often established through temporal distortions. By innovating techniques for designing letterforms for time-based media his work of text driven pieces behave like few others. Simply stated, though not simply executed, Terrasi combines hand illustration, calligraphy, digital video, audio, and animation, with more ephemeral materials and analogue processes. The effect on the reading experience becomes undeniable.
Terrasi applies his experimental typography to both design and artistic contexts.
Words (text) and their visual representation (typography) lie at the heart of many graphic and artistic communication forms. This connection has a rich lineage that has developed rapidly over the past 100 or so years and includes, but is not exclusive to the fields of Literature, Poetry, Painting, Graphic Design, Motion Graphics, Sculpture, Artist Books, Virtual Environments and Installation. Countless poets, designers, and artists have experimented with words and the different aesthetic forms they can take. As these genres become ever increasingly hybridized text and aesthetics push each other’s boundaries. In other words, what we say and how we say it manipulate each other.
Terrasi creates different typeface styles that are inextricably linked to their mood or tone and this sensability is often established through temporal distortions. By innovating techniques for designing letterforms for time-based media his work of text driven pieces behave like few others. Simply stated, though not simply executed, Terrasi combines hand illustration, calligraphy, digital video, audio, and animation, with more ephemeral materials and analogue processes. The effect on the reading experience becomes undeniable.
Terrasi applies his experimental typography to both design and artistic contexts.
Experimental Type
poster
Words (text) and their visual representation (typography) lie at the heart of many graphic and artistic communication forms. This connection has a rich lineage that has developed rapidly over the past 100 or so years and includes, but is not exclusive to the fields of Literature, Poetry, Painting, Graphic Design, Motion Graphics, Sculpture, Artist Books, Virtual Environments and Installation. Countless poets, designers, and artists have experimented with words and the different aesthetic forms they can take. As these genres become ever increasingly hybridized text and aesthetics push each other’s boundaries. In other words, what we say and how we say it manipulate each other.
Terrasi creates different typeface styles that are inextricably linked to their mood or tone and this sensability is often established through temporal distortions. By innovating techniques for designing letterforms for time-based media his work of text driven pieces behave like few others. Simply stated, though not simply executed, Terrasi combines hand illustration, calligraphy, digital video, audio, and animation, with more ephemeral materials and analogue processes. The effect on the reading experience becomes undeniable.
Terrasi applies his experimental typography to both design and artistic contexts.
Words (text) and their visual representation (typography) lie at the heart of many graphic and artistic communication forms. This connection has a rich lineage that has developed rapidly over the past 100 or so years and includes, but is not exclusive to the fields of Literature, Poetry, Painting, Graphic Design, Motion Graphics, Sculpture, Artist Books, Virtual Environments and Installation. Countless poets, designers, and artists have experimented with words and the different aesthetic forms they can take. As these genres become ever increasingly hybridized text and aesthetics push each other’s boundaries. In other words, what we say and how we say it manipulate each other.
Terrasi creates different typeface styles that are inextricably linked to their mood or tone and this sensability is often established through temporal distortions. By innovating techniques for designing letterforms for time-based media his work of text driven pieces behave like few others. Simply stated, though not simply executed, Terrasi combines hand illustration, calligraphy, digital video, audio, and animation, with more ephemeral materials and analogue processes. The effect on the reading experience becomes undeniable.
Terrasi applies his experimental typography to both design and artistic contexts.
I Disagree With You
poster
Words (text) and their visual representation (typography) lie at the heart of many graphic and artistic communication forms. This connection has a rich lineage that has developed rapidly over the past 100 or so years and includes, but is not exclusive to the fields of Literature, Poetry, Painting, Graphic Design, Motion Graphics, Sculpture, Artist Books, Virtual Environments and Installation. Countless poets, designers, and artists have experimented with words and the different aesthetic forms they can take. As these genres become ever increasingly hybridized text and aesthetics push each other’s boundaries. In other words, what we say and how we say it manipulate each other.
Terrasi creates different typeface styles that are inextricably linked to their mood or tone and this sensability is often established through temporal distortions. By innovating techniques for designing letterforms for time-based media his work of text driven pieces behave like few others. Simply stated, though not simply executed, Terrasi combines hand illustration, calligraphy, digital video, audio, and animation, with more ephemeral materials and analogue processes. The effect on the reading experience becomes undeniable.
Terrasi applies his experimental typography to both design and artistic contexts.
Words (text) and their visual representation (typography) lie at the heart of many graphic and artistic communication forms. This connection has a rich lineage that has developed rapidly over the past 100 or so years and includes, but is not exclusive to the fields of Literature, Poetry, Painting, Graphic Design, Motion Graphics, Sculpture, Artist Books, Virtual Environments and Installation. Countless poets, designers, and artists have experimented with words and the different aesthetic forms they can take. As these genres become ever increasingly hybridized text and aesthetics push each other’s boundaries. In other words, what we say and how we say it manipulate each other.
Terrasi creates different typeface styles that are inextricably linked to their mood or tone and this sensability is often established through temporal distortions. By innovating techniques for designing letterforms for time-based media his work of text driven pieces behave like few others. Simply stated, though not simply executed, Terrasi combines hand illustration, calligraphy, digital video, audio, and animation, with more ephemeral materials and analogue processes. The effect on the reading experience becomes undeniable.
Terrasi applies his experimental typography to both design and artistic contexts.
Compost Series
poster
Designed for International Compost Week.
Words (text) and their visual representation (typography) lie at the heart of many graphic and artistic communication forms. This connection has a rich lineage that has developed rapidly over the past 100 or so years and includes, but is not exclusive to the fields of Literature, Poetry, Painting, Graphic Design, Motion Graphics, Sculpture, Artist Books, Virtual Environments and Installation. Countless poets, designers, and artists have experimented with words and the different aesthetic forms they can take. As these genres become ever increasingly hybridized text and aesthetics push each other’s boundaries. In other words, what we say and how we say it manipulate each other.
Terrasi creates different typeface styles that are inextricably linked to their mood or tone and this sensability is often established through temporal distortions. By innovating techniques for designing letterforms for time-based media his work of text driven pieces behave like few others. Simply stated, though not simply executed, Terrasi combines hand illustration, calligraphy, digital video, audio, and animation, with more ephemeral materials and analogue processes. The effect on the reading experience becomes undeniable.
Terrasi applies his experimental typography to both design and artistic contexts.
Designed for International Compost Week.
Words (text) and their visual representation (typography) lie at the heart of many graphic and artistic communication forms. This connection has a rich lineage that has developed rapidly over the past 100 or so years and includes, but is not exclusive to the fields of Literature, Poetry, Painting, Graphic Design, Motion Graphics, Sculpture, Artist Books, Virtual Environments and Installation. Countless poets, designers, and artists have experimented with words and the different aesthetic forms they can take. As these genres become ever increasingly hybridized text and aesthetics push each other’s boundaries. In other words, what we say and how we say it manipulate each other.
Terrasi creates different typeface styles that are inextricably linked to their mood or tone and this sensability is often established through temporal distortions. By innovating techniques for designing letterforms for time-based media his work of text driven pieces behave like few others. Simply stated, though not simply executed, Terrasi combines hand illustration, calligraphy, digital video, audio, and animation, with more ephemeral materials and analogue processes. The effect on the reading experience becomes undeniable.
Terrasi applies his experimental typography to both design and artistic contexts.
Compost
poster
Alternative poster design for International Compost Week.
Alternative poster design for International Compost Week.
I Play With Words
video/animation
This short animation is a visual anangram. Letters fade in and out of focus to reveal a short poem hidden within the original phrase.
This short animation is a visual anangram. Letters fade in and out of focus to reveal a short poem hidden within the original phrase.
Period Peace Book
book design and illustrations
These samples images are from the 'Period Peace : A Fun Menopause Activity Book'. The book was designed to be a quirky and fun activity book for women going through menopause and peri-menopause. Contents consist of illustrations, poems, recipes, word scrambles, mazes, words of wisdom, and other fun activities.
These samples images are from the 'Period Peace : A Fun Menopause Activity Book'. The book was designed to be a quirky and fun activity book for women going through menopause and peri-menopause. Contents consist of illustrations, poems, recipes, word scrambles, mazes, words of wisdom, and other fun activities.
Oddio - Sound Performance
audio - visual performance
A collaborative visual - sound performance by Tore Terrasi, James Terrasi, and Scott Cordeiro. Performances incorporated traditional instruments, computer technology, and analogue media and were held in New York, Rhode Island, and Massachusetts.
A collaborative visual - sound performance by Tore Terrasi, James Terrasi, and Scott Cordeiro. Performances incorporated traditional instruments, computer technology, and analogue media and were held in New York, Rhode Island, and Massachusetts.
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