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 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.

Project List

Animation Cache




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



Franz Kafka’s The Metamorphosis


In these editions of The Metamorphosis each iteration reflects an historic typographic movement with the first chapter emulating classical typography, the second Modernism, and the third Postmodernism.



book one




The type for the first stage in the project for Kevin Brainard’s Advanced Typography class was set in Monotype’s Fournier, 1924.
            Titles, running footers, and folios were set in a variation of Hoefler & Frere-Jones’ called No. 31, Junior Middle-Weight, a typeface in the 32-member Knockout font family.







book two




The entirety of the type for this second stage in the project was set in Frutiger’s Univers.Two contrasting weights make up the two running texts of this second book.






book three




The type for this last stage in the project was set in three unique typefaces to correspond with three running texts.
            The German text is set in varying weights of Milieu Grotesque’s Maison Neue, a refined and redrawn design by Timo Gaessner of Milieu Grotesque. The running English text is set in Alan Dague-Greene’s Courier Prime. As for the French text, it is set predominantly in the italic style of Carol Twombly’s Adobe Caslon Pro.





three books
laserprinted b/w on sketch paper
New York City
2017





other projects

Mark