Cobey Lusinger is a communication designer born and raised in the Texas Hill Country and currently based in Brooklyn. He likes to think about how written languages look and what their visual form can say beyond their semantic function. Cobey gets excited for publication and editorial design, motion graphics, film, and typeface design. He wishes to learn more about CG animation, copyright and IP law, American Sign Language, and the art of paper-making.
ModMag Conference, Magculture, 2019, moderated by Jeremie Leslie : Student introductory speaker for one-day conference on global contemporary magazine design and culture.
Teaching Graphic Design, 2nd Edition, ed. Steven Heller, Allworth Press, 2017 : Work showcased for under-graduate branding design work as part of Heller’s catalog of contemporary graphic design curricula ( per Kevin Brainard, COLLINS ).
Walsworth Yearbooks’ Gallery of Excellence Award, 2013, 2014 : Awarded The Mustang annual for its outstanding merit in editorial design, cover design, and photography for a high school yearbook.
Francis Picabia: Our Heads Are Round So Our Thoughts Can Change Direction
(concept not actualized)
Picabia mirrored the style of his contemporaries for most of his career as he adapted to the changing art movements of the early 20th century.
An audience-focused typography exercise takes the form of an identity concept for Francis Picabia: Our Heads Are Round So Our Thoughts Can Change Direction which ran at MoMA in spring 2017. His exhibition identity concept was created for the Parsons Advanced Typography class taught by Kevin Brainard; this identity encompasses posters, environments, and collateral. The graphic system conveys MoMA’s focus on Picabia’s mastery of mimicry and a man of the moment by using reflective materials, variable type, and fluid forms that blend from one composition to the next.
the posters
When posited side-by-side, the posters act seamlessly as an infinite banner.
the exhibition space
Graphic elements like the ribbons act as visual connectors and wayfinders for the exhibition space wherein the direction of the wall-printed essays changes throughout, right-to-left or left-to-right.
the catalog
In the original exhibition text, the authors point out how particular paintings have multiple drafts layered underneath them, some of them with entirely different compositions. Indeed, toward the end of his career Picabia developped his own signature style by layering multiple transluscent paintings together.
The design of the catalog draws from this idea.