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Cobey Lusinger is a graphic designer born and raised in the Texas Hill Country. He is currently based in New York City, having moved there to study Communication Design (Parsons School of Design, Class of 2019). He likes to think about how written language looks and what it has to say through experiments with publication and editorial design, motion graphics, film, and (more recently) typeface design.
        He wishes to learn more about CG animation, copyright and IP law, sign language, and the art of paper-making.




Some Projects
        And In the Vast City, an animated short based on the work of Russian avante-guarde illustrators.
         The Contemporary Androgyne: A Reader, an editorial design and bookbinding which conflicts with the parameters of prescribed layouts.
        Francis Picabia: Our Heads Are Round So Our Thoughts Can Change Direction, an exhibition identity concept based on MoMA’s original of the renowned copy-cat artist.
        Origin of Earth, a children’s book illustration and design for an origin tale of the world as told first by the Native American Tuskegee.
        Echo en abyme (Dhalgren by Samuel R. Delany), a type design and bookbinding concept for an infinitely readable book.


Archive




Involvement
        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.




Contact
Mark


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.





This project is featured in Teaching Graphic Design, Second Edition, edited by Steven Heller, 2017︎, per Kevin Brainard’s class on Advanced Typography.



branding, poster, exhibition design
New York City
2017





other projects
Mark