The Factory is the old Macy’s warehouse which is converted into cool office spaces for medium-sized companies. It also holds a food court and gym, some gallery spaces, and a cool lobby with cafes. This project was a coloration with MTG. I re-designed The Factory’s website and brochure.

Extra-Credit-Question: Where am I hiding like Waldo in the background? As the poster boy for the Factory —apparently— I counted seven times on the website. I didn’t even start counting the instances in the brochure, yes, even on the cover. 🙂

It’s a pretty cool office building in Long Island City, the former Macy’s warehouse. I am excited to be doing a big chunk on the graphics with the team Megan, Amanda, Becca, and Digno at MarketingThruGraphics, and Anthony Wallace for some extra finicky programming.

MTG re-designed The Factory’s website and brochure.


The Factory via MTG


website design, brochure, 

I recently designed five windows at 60 Hudson, the former Western Union Headquarters, with the Marketing Thru Graphics team. The windows can’t be used commercially because there are sizeable backup power generators to safeguard the US internet in the building. The building is trying to engage people with its astonishingly beautiful architecture and rich history. I.e., Thomas Edison invented the stock ticker here, and the first telegraph lines across the US and the world were all linked to this building.
It has since lost a little of its former glory, but we are trying to bring it back with the window installations.



MTG for 60 Hudson


window displays, slideshows

Western Union History Window

TriBeCa neighborhood Window

with local updates and a weather forecast:

Gallery Window

Gallery Window for local artists (like me :)):


Curated by TypeThursday
Memorial Gallery,
A special thank you to David Jonathan Ross, Erin McLaughlin, James Edmondson, Roxane Gataud, and Miguel Reyes for their inspiration and generosity in showcasing their work; The TypeThursday team of Anselm Dästner, Shaofen Deng, Whitney Dobladillo, Kara Gordon, Thomas Jockin, and Karolina Lach, who put the exhibition and this catalog together; Jack Curry, for his illuminating words; Beth Giacummo, for her patience and guidance; Sonal Gadre for her Hindi copyediting; and to all TypeThursday participants, who make it all worthwhile. 

Waht You See is Not What You Get


Typethursday for Farmingdale State College


a set of posters for the exhibiution, catalog design 

PDF of the catalog
The texts are written and edited by all the above TT members,
my contributions are designed banners using the typefaces:

David Jonathan Ross

From the designer:
One of the things I learned at Font Bureau is that the way a font is licensed can have a huge effect on how a font is used (perhaps even more than its design). For my typeface Input, I thought it had potential both as a coding font for programmers to use in their text editors and also by designers in techy environments. I developed the license and pricing with these specific uses in mind, allowing programmers to use the typeface for free on their own computers, but charging for publicly facing uses. This model allowed the design to be successful. Years later I still love getting emails from Input users and am thinking about ways to improve it. Getting direct contact with Input users was one of the reasons I was excited to start my own foundry.


Fit is a hyper-stylized series of caps designed with one thing in mind: filling up space with maximum impact. With an expansive range of widths, Fit will take just about any text and fit it into just about any space. From the impossibly narrow Skyline to the gargantuan Ultra Extended, you will find a family rich in panache and expressive potential

For my project Font of the Month Club, anyone can sign up, and it’s as little as $6/month if you sign up for a year. When you sign up, you get the current month’s offering right off the bat. Then, at the beginning of each month that follows, I’ll send you a new font. I make no promises as to the design of the font or the extent of its character set, but I try to make it generally usable for major European languages. Each font comes with my standard “Mini” license: a perpetual license for up to 3 desktop computers, 15,000 web visitors, and an e‑book. I wanted a way to connect regularly with users, to try out ideas in a controlled environment and get feedback, and to share more of my process. I see the Font of the Month Club as the best way to distribute small display faces and side projects that I like to work on. I also see the project to help push me to work on more fun and interesting typefaces without having to commit to years of development or a full retail release.


Gimlet is a funky quirkhorse workhorse inspired by Georg Trump’s 1938 typeface Schadow. At the behest of Nick Sherman, David Jonathan Ross reimagined the oddball serif as an energetic contemporary workhorse, complete with three optical sizes and a flexible set of widths tailored for responsive layouts. A multifaceted series that speaks with a singular voice, Gimlet is a rare find: a typeface that is as funky as it is functional.

Erin McLaughlin

From the Designer:
I ended up taking a Hindi language course while I was working at my first graphic design job. Learning to write Devanagari was the first thing we did in the class, and I caught on very quickly. But I noticed that my teacher had a hard time typing out our Hindi worksheets. The vowel signs and marks would show up in the wrong places, and he’d have to fix it manually or draw on them. I would try to practice reading Hindi stories and news articles on the internet and found out that quite a lot of websites just weren’t functioning correctly. The text was completely unreadable. I hadn’t realized that for so many people in the world, their languages weren’t supported by web browsers or system fonts didn’t exist. You couldn’t get any access to information online unless it was in English, this was back in about 2007 or so. It’s gotten a lot better, but that was a big issue back then.
That’s how I got interested in learning the Indic scripts themselves and learning about typography in other languages, other writing systems. I had never thought about that before, not really. I always liked typography classes in school, but I never thought of it from that standpoint: all the people in the world need to use typography. There still are tons of people in the world who can’t read a book or a website in their native language or script, and that’s insane. If I can take six months out of my life to make a product for people to read with, I think that’s the best thing a typeface designer could do. This is a very concrete, direct way we’re helping people. This seems a lot more crucial.


A style-matched informal, rounded Latin and Kannada typeface. A libre (open source) free-use typeface project commissioned by Google fonts.


A Devanagari multi-weight typeface family designed to be a style-matched companion to the popular Roboto typeface by Christian Robertson. Both are libre (open source), free-use typeface projects initiated by Google.


A Devanagari multi-weight typeface family designed to be a style-matched companion to the popular Roboto typeface by Christian Robertson. Both are libre (open source), free-use typeface projects initiated by Google.

James Edmonson

From the designer:
The “ideal” versus “reality” battle is something that’s always in my mind. The idea is that I’ll execute on the things that are most interesting to me and then people will buy them because I did a good job. The reality is most of the typefaces that people buy are things they’re used to viewing. That kind of project isn’t always the most fun for me. Finding a balance between what I’m creating and having it be something that people will find consistently useful is what I’m trying to figure out now.


The original Hobo was an art-nouveau influence design released in 1910. Over the years, this one-of-a-kind and often maligned typeface slowly degraded with each transition in type technology. In the 1980s, Hobo was one of the first typefaces digitized due mostly to its unique aesthetic and malleable voice. Unfortunately, the care taken in tracing the design left much to be desired, if only because type designers hadn›t yet figured out how to best draw curves. Hobo was in desperate need of some attention, but unfortunately got installed on millions of desktop computers as it was. Hobeaux is a modern revival—an attempt to fix the mistakes and maintain all the glory that made Hobo the powerhouse it was. Each character was redrawn and spaced from scratch. Additionally, descending letters have been providing as stylistic alternates for those seeking a more traditional construction. With five weights and several features for the designer seeking a high-performance type family, Hobeaux is a ready and willing addition to any typographic palette.

Vulf Mono

Vulf Mono is the official typeface of Vulfpeck, a funky four-piece rhythm section from Ann Arbor, Michigan. The typeface draws main inspiration from 12 point Light Italic, a font for the IBM Selectric typewriter.

Miguel Reye

From the designer:
What makes Caslon great is the awkwardness of its texture as text. Caslon, in comparison to other typefaces, does not follow the same principles as a system. You’ll see the weight in unexpected places. It’s all over the place. It works. The same goes for Caslon’s proportions; they stand out compared to other typefaces. Related to Caslon’s texture is its crispiness. I’ve only seen in Matthew Carter’s interpretation in Big Caslon based on the largest sizes presumably cut by Williams Caslon I, but I haven’t seen many other typefaces capture Caslon’s crispiness. The lowercase is where we can see this precisely in shapes like e, c, b, d, p, q where the weight distribution is asymmetrical is not systematic as other typefaces. The contrast between thick and thin is something special here, and Canela plays with that too. Once talking with Paul [Barnes] about the project he suggested what will happen if Caslon was sans serif. I started playing around with that idea, but I could not find anything interesting. I’ve practiced stone carving as part of my training in Type Media at KABK. During my exploration of terminals and serifs, I came across the idea of trying something inspired by that stone carving experience, and we thought we found something new combining Caslon with this. Canela Italics differed completely from Caslon. The goal for the italics was to find something more appropriate for the Romans. The italic direction was to emphasize the monumental feeling from stone-carved letters.


Graceful display typeface that defies many traditional classifications. Its forms are in an ambiguous space between sans and serif, both soft and sharp, modern yet with roots in.

Roxane Gatau

From the designer:
I had to do a lot of work on it: take some final design decisions, refine the drawings, add weights, extend the character set, and of course do the kerning, etc. I worked on the development with José Scaglione and Veronika Burian of TypeTogether; they were supportive, open, and patient with me. Being a total beginner influenced my decisions on the design. I consider this typeface as a reflection of my learning in the type design field. First, the structure of this family came from my graphic design practice. I wanted to create a typeface I would use in my projects, that’s why I chose to design only four text weights and colorful displays. About the drawings, being a beginner made me draw very spontaneously, and I did a lot of experiments. Every time I was learning something or documenting myself on a particular matter (proportions, italics, etc.), it had an enormous impact on my project and helped it to grow.
I learned with them how to extend a character set, like finding the right proportions for small caps, superiors, inferiors, etc. (those things appear evident to me today, but two years ago I had never done it). Once Regular and Italic were ok, I started to rework the Bold and started the Bold Italic from scratch. After completing the text weights, I could have a bit more fun b reworking the Display weight During the year and half of the development, I would work and then we had Skype meetings where they reviewed what I have done and gave me feedback. It felt like still being at school, which was great because I learned so much. It wasn’t easy every day though, as it was my first typeface, I put a lot of pressure on myself. I wanted it to be perfect like it was the only typeface I would ever draw.


A classy throwback text face with a fearless and venturesome display.

Link to the info on TypeThursday’s website 

Type Thursday is a meet-up for people who like letterforms. We discuss and critique our work in progress and make friends and connections with other people that like graphic design. This is a book about the first year of Type Thursday and it is available at

When I first met Thomas at a dark, noisy bar in Brooklyn, he just initiated the first type of meeting with some friends of type Cooper that felt the need to keep meeting once a month. Since then, the event has been held at less noisy, brighter bars and studios. And for the last few years, we have been lucky to host it at The NY Type Directors Club, and I have become part of the NY chapter on several projects and, of course, the events.

The idea has also expanded to several cities around the world and each chapter has had monthly events, and we have visited each other.

Julie is an excellent photographer and has made us all look so good in this first-year book:

PDF of my pages

NYC, JANUARY 2017: Anselm Dästner is a New York-based designer and one of the first attendees at TypeThursday. He is from Freiburg, Germany and has lived and worked as a designer in NYC since 1996. He showed me his customized silkscreen process, how he makes the type and lettering work he shows at TypeThursday, at his at-home studio in Manhattan’s Lower East Side; the space he has lived and worked for over 20 years. Anselm’s most prevalent sources of inspiration and perspective come from literature and fine art. He maintains a strong connection to his early design work for local music clubs and enjoys DJ-ing and exploring new genres (in fact, both of his parents were musicians). At home, his daughter Ida, herself a gifted spirit in her own right, is his biggest at-home helper as well as his most bona fide critic. #typethursdaynyc #typethursday #typedesigners #designdocumentary #nycdesigner #nyc #lowereastside @ New York, New York


Sun, April 2 & Sun, April 30
12–3 pm, have coffee
with me and 9 new drawings of NYC
Ninth Street Espresso
(on 10th st btw B & C)
Thanks Mark from Adjacent To Life

It’s with great pleasure that I get to show you my paintings at Ninth Street Espresso. Since they are mostly from around the Lower East Side they fit perfectly into our favorite neighborhood coffee shop and many of my neighbors will pass by them.
I have always been drawing while traveling, and while my daughter was as a baby I found myself walking around the Lower East Side with a baby sling. In it, she was taking afternoon naps and I continued drawing the street corners that we passed.
At night I would continue to color the drawings with watercolor and acrylics. They are often combining 2 parts from different spots. I.e The corner deli is on 2nd ave and the house above it is in Houston. In front of the facades of Broadway is a construction that was for a long time on Houston Street.
The drawings will be up until April 30, 2017.


I made a logo stamp for my friend’s families’ shop in Denmark.

logo design, 
Anselm Dästner


Christine Petersen


logo cleanup and prep for production

2016 Typography photos that I posted on Instagram with the hashtags #parsonstypes#vernaculartypographyafari #typesafari #typography #typographicsnyc #nyctypography #anselmdastner #vernacularphotography


Panorama Bar a club at Berghain, Berlin is definitely a famous venue, so I am proud to have designed the Ibadan Night flyer for it:


more flyer designs by me and BOYZandGIRLS are here


Jerome Sydenham and Christine Petersen


flyer design

First time visitor to New York often ask about my favorite places to see. When I came across a blogpost by the great designer and writer Ian Lynam, who wrote a guide to Tokyo. It inspired me to try this for New York.
So here is my list, however limited or biased:

Most people think that NYC is only about Manhattan, and I think so too.
Sorry Brooklyn, Williamsburg, Queens; sorry New Jersey City, but the subway system is just too broken to even try.
I am lucky to be that snob, because I got a rent stabilized apartment in the Lower East Side,
or “Losaida” as the Puerto Ricans and Dominicans call it.

So let’s start in the LES, or East Village

The corner delis (convenient stores) play Merengue and Salsa music 24/7 and sell pork rinds, beer and pressed toasted panini sandwiches.

This neighborhood is famous for its community gardens. In the 70’s they originated out of abandoned plots on which the buildings were burned-down for insurance money. There is quite a lot of interesting history which can be toured at the museum of reclaimed urban spaces on Avenue C, ask for Bill.
Our garden is “la Plaza Cultural” on 9 & C. It’s a great place to chill with a coffee or glass of wine and the kids are playing. There are some chicken and a pond, a peach tree and many events.
Next to the garden is the Brazilian restaurant Esperanto, Barnyard for bread and cheese, and a very good coffee shop. Further down Ave C is hands-down the best beer despite its price at Zum Schneider. The food isn’t too exiting for vegetarians, but otherwise do the “Haxn” ‑entire pig knuckles- to infuse meat coma for a few days.

Lower Lower East Side

On the way to Chinatown let’s stop along the lower blocks of Ludlow street and Orchard street with its many new galleries, restaurants and dark whiskey bars. Division street has a few good bars too.



My first stop would be Great Noodletown. Just like the New York Times I highly recommend a soft shell crab and shrimp dumpling noodle soup. It’s often getting very crowded but it’s worth the wait.
One block over, the bliss for vegetarians starts at the Vegetarian dim sum on Pell Street.
And for breakfast: Enter via the escalator into the huge dining hall of Jing Fong. The hall is so big it’s best to go at Chinese New Year’s when it gets crowded with 100’s of dinners.

Chinatown markets are fresh and cheap. The shop clerks can be brush and often speak little English, so I had to try out a lot of products by trial-and-often-error. A big market is Hester street supermarket and around the corner at 81 Elizabeth street is another one. If you like little Chinese cheap glittery toys you can get happy at 198 Canal street.
Somehow this pocket has withstood gentrification with a healthy mix of Jewish, Puerto Riocan & Chinese Immigrants at Madison & Henry street.

SoHo — Nolita

South of Houston (SoHo) and North of Little Italy (NoLiTa) is mostly over-prized boutiques with a few exceptions: Oliver’s second-hand store “Quality Mending” on Prince Street & Mott (see picture), a Vietnamese sandwich place on 369 Broome, McNally bookstore, and the best smoked fish store “Russ & Daughters” on Houston, they also have restaurant on Orchard.


Astoria Fish market, (3710 33rd St, Long Island City, NY 11101)
Crazy place, loud, cheap, fresh, best fish with attitude. Definitely in my top 10 of restaurants.

links to news and events:
Gothamist, a blog about New York
EV Grieve, local news about the East Village
The Villager, local newspaper

At Rapp pharma advertising in 2016, I designed a set of tip cards for Harvoni, a hepatitis medication. Each card contains information on healthy lifestyles while taking this medication.
Here are a few examples. There were at least 4–5 mailers with 5–6 tip cards and brochures in each pouch.


Rapp Advertising for Harvoni


icons and layout, folded and die-cut folder design