
Culture: An Owner’s Manual
A new Ghost.io website for W. David Marx's upcoming book.
A new Ghost.io website for W. David Marx's upcoming book.
A new international e-commerce website for the Japanese tenugui maker.
Our new Japanese/English dictionary for designers and artists!
“Ian’s a sharpshooter. We had some identity issues that needed a pro and he took to heart our long-winded descriptions of all things we were trying to evoke. He returned with a thorough identity presentation that struck an exquisite balance of all that things that swirled around in our heads. It made us look in the mirror and think, “Yeah, thats who we are!”
Naming, branding, identity, and e-commerce for Portland's wine phenom!
Brand positioning, identity, messaging, website, and interior graphic design.
A new 130-page bilingual Englsih/Japanese book on pre-WW2 design history.
“Ian is an honest, simply-brilliant, graphic designer with skills and talent in abundance with the flexibility to adapt to meet and exceed a client’s need and did so each time we worked with him. He is a pleasure to collaborate with I would recommend him to anyone with confidence.”
An exhibition of graphic designers who write, research, teach, and practice criticism.
A new website design for an exterior design firm and product manufacturer.
“Working with Ian is a dream! He is able to take a few half-formed thoughts from our end and turn them into brilliant design that eloquently communicates the identity we aim to project. He has an amazing ability of knowing exactly what you need with only the slightest amount of information. He treats each project with the utmost attention and care and is always quick to respond to changes with an open and generous mind. We couldn’t imagine working with anyone else!”
A website for one of Japan's top craftspeople.
Custom type design for Valve's massively popular multiplayer game DOTA2.
We created a custom version of our popular typeface families Cern and Cern Display for financial technology company Plaid.
“Working with Ian Lynam offers unparalleled creativity and client focus. Whether designing for a global search company or a university garden institution, Ian knows how to uncover clients’ often unstated needs, and then design something unique and compelling. Ian is a maker, an educator, and an inspiring person to work with.”
The Impossibility of Silence is a 200+ page paperback for creative folks interested in approaching writing about their vocation and culture.
Identity for Asano Dental Clinic in Kaminoge, Setagaya in Tokyo.
Branding and identity for AXES Partners, a multidisciplinary firm specializing in project management services throughout all of Japan.
“The best kept secret in Japan. Encyclopedic in his knowledge of typography and all things beautifully considered. There are few men in Tokyo — nay, the world — that care more about design and the creative process as does Ian Lynam. Oh, and he’s the nicest guy you’ll meet.”
The Future of Tradition: brand-building for a Japanese footwear startup
Wordshape is our hybrid type foundry, publishing entity, distributor of the Japanese graphic design magazine IDEA /アイデア and related Japanese graphic design books, and software company.
A brand new 52-page booklet by Ian Lynam that examines notions of authenticity via design, consumption, and history.
“Ian instantly captivated the room when he came to speak with my design students at Portland State University. He was all of the elements that one would want in a presenter: thoughtful, funny, relevant, organized, passionate, articulate and relatable. Most of all, the entire room walked away with new knowledge. Score! PSU loves Ian!”
We co-edited and co-curated Slanted #35, an issue wholly devoted to LA.
The debut print journal from Néojaponisme — 128 pages of new content about retro Tokyo past and present.
“Ian Lynam is a visionary and a thought leader in the field of design. It’s an honor to have him lead our graduate graphic design program.”
Corporate identity, signage, and interior design for TUJ in Sangenjaya.
A new zine about how to approach design critique from cultural and critical perspectives.
Collateral design for VCFA's MFA in Graphic Design Program
“Ian is an honest, simply-brilliant, graphic designer with skills and talent in abundance with the flexibility to adapt to meet and exceed a client’s need and did so each time we worked with him. He is a pleasure to collaborate with I would recommend him to anyone with confidence.”
Branding, positioning, marketing & identity initiatives for Vermont College of Fine Arts
“Ever find yourself drawn to an image or sucked into an design article based purely on the form or content, then finding out later- after you go back to read the credit line- that a friend actually busted it out? That’s Ian.”
A new 400-page book of design theory edited by Ian Lynam.
An 88-page booklet that examines thorny aspects of design, designers, and design history.
A qualitative design research project commissioned by Adobe.
“Lynam is a bitingly humorous writer – gifted with the intuition to give stories depth. This is no accident as he writes from experience – a reading pleasure!”
A new 112-page booklet about overcoming “Creative Constipation™.”
Ian Lynam is faculty at Temple University’s NASAD-accredited Japan Campus.
We have designed a wide range of custom typefaces for assorted companies—from display faces to text families.
“Ian Lynam likes thinking about design as much as making it. Luckily for us, he also likes writing about it that much too. The payoff: he is amazing at all three.”
We both edited and are featured in Slanted Magazine's latest issue devoted to graphic design in Tokyo.
We designed the identity for Canard, Portland's latest culinary phenomenon.
Biwa is a new straight-sided family of formally nuanced grotesk typefaces for text typesetting and display work for both print and screen.
“Ian instantly captivated the room when he came to speak with my design students at Portland State University. He was all of the elements that one would want in a presenter: thoughtful, funny, relevant, organized, passionate, articulate and relatable. Most of all, the entire room walked away with new knowledge. Score! PSU loves Ian!”
A handbook of dubious exercises, tips, and rants about becoming a designer who teaches... (But just as much a handbook for designers who happen to be being taught.)
A new series of installations spanning sound, found objects, narrative, and type design.
“Ian Lynam’s fine simplicity and appreciation for white space draws the eye and the heart where it needs to go. His design work is striking because it avoids the most common trap of being gaudy or needing attention. It simply does what it sets out to do.”
99+1 is a new book and responsive website for the Japanese National Tourism Organization.
We worked to define the identity of craft sake brand Kurokura.
Start Somewhere: A Handbook of Dubious Exercises, Tips and Rants About Becoming a Designer Who Writes is a zine to help designers grapple with generating their own content.
“Ian is everything I could ask for: a highly talented video creator, web designer, creative collaborator and consultant, all rolled into one guy with a great attitude! I’ve really enjoyed working together with Ian and applaud his stellar creativity, attention to detail, and flexible accommodation to tight timelines and collaborative revisions — thanks for the amazing work, and here’s to more!”
We designed the branding, signage and interior design for Temple University Japan's main building Azabu Hall.
Curation, lecture, writing and editing for the legendary Czech series of exhibitions.
Interior graphics for software innovator Pivotal's Tokyo offices.
“Ian is the best to work with. He went above and beyond what I needed with my project. Ian Lynam has really good eyes – the kind of eyeballs that can tell you just what you need for the right sparks to fly everywhere, including my and your clients eyeballs.”
An exhibition of writing, installation and sound in Tokyo.
Editorial direction and book design for Portland artist Bwana Spoons' first monograph.
A hybrid exhibition and essay-as-website exploring the role of graphic designers and design criticism in the world market economy.
“Ian is everything I could ask for: a highly talented video creator, web designer, creative collaborator and consultant, all rolled into one guy with a great attitude! I’ve really enjoyed working together with Ian and applaud his stellar creativity, attention to detail, and flexible accommodation to tight timelines and collaborative revisions — thanks for the amazing work, and here’s to more!”
Identity for Space Academy, an event space in Christchurch, New Zealand.
Ian Lynam regularly writes, designs, and edits features for IDEA / アイデア, Japan's oldest and most innovative graphic design magazine.
Writing for Slanted, the inimitable German magazine on typography and visual culture.
“As an artist, publisher, writer and designer, Ian seems to have had more than nine lives, and frankly it’s hard to keep up! He doesn’t just bring technical skills, but a depth of cultural understanding from the ground up — low, high, pop, fringe — that is invaluable to his varied clients. While other designers skim the shiny surface of current trends, Ian drills down with a solid understanding of history and meaning of the motifs, letter forms, and images he utilizes.”
Type design for the North American supermarket chain.
Holistic identity design for a public arts initiative.
Ian went and wrote a book about graphic design. 78,209 words about it, but who's counting? It has a die-cut paper slipcover, a fabric paper-backed inner slipcover, and split fountain printing.
“Ian is pragmatic and effective in creating beautiful cultural products, and a pleasure to work with. He found amazing nuggets of graphic design and typography in our corporate archives, and turned them into amazing contemporary assets. He’s comfortable doing things himself, as well as at finding relevant partners, and has consistently shown a great level of initiative.”
We designed the interior graphic design scheme for Google's Tokyo offices, as well as all wayfinding and signage.
A custom bilingual Japanese/English website highlighting Typekit's Asian webfont support.
Identity and environmental design for a Basque restaurant in the Daikanyama district of Tokyo.
“Ian is pragmatic and effective in creating beautiful cultural products, and a pleasure to work with. He found amazing nuggets of graphic design and typography in our corporate archives, and turned them into amazing contemporary assets. He’s comfortable doing things himself, as well as at finding relevant partners, and has consistently shown a great level of initiative.”
Ian Lynam is Faculty and former Co-Chair of the MFA in Graphic Design Program at Vermont College of Fine Arts.
Design and typography for Northwest Passage, a book and CD about independent music from Portland, Oregon.
“Eschewing the shortsighted practical nature of much graphic design-oriented writing, Lynam focuses on demythologizing contemporary graphic design – opening up a new horizon of discourse both East and West.”
Type Sketcher is a trio of type design sketchbooks with modular grids for designing letterforms.
Identity and art direction for San Francisco swimwear company.
“As an artist, publisher, writer and designer, Ian seems to have had more than nine lives, and frankly it’s hard to keep up! He doesn’t just bring technical skills, but a depth of cultural understanding from the ground up — low, high, pop, fringe — that is invaluable to his varied clients. While other designers skim the shiny surface of current trends, Ian drills down with a solid understanding of history and meaning of the motifs, letter forms, and images he utilizes.”
Product line book and DVD for Nike’s Asia Pacific region.
Modular 3D type design for the board game Konexi.
“Ian Lynam is a pleasure to work with. Always understanding of what you are trying to achieve and able to offer the sage advice of a creative designer. Reliable, timely, and effective in what he does. I would definitely recommend his services.”
We created the branding and design consulting for the latest wing of the Nagasaki amusement park.
We created the interior graphic design scheme for YouTube's Tokyo offices and creative studio.
We created the identity for Topsy, the Apple-acquired search engine for Twitter.
“In all our collaborations, Ian has always brought a fresh perspective and boundless energy to the project. His encyclopedic knowledge of visual culture, ability to quickly work through multiple concepts, and deep Rolodex of talented friends, also give us the confidence to move beyond our first idea, towards a final product that will surprise and delight our clients.”
Identity for the Wim Wenders and Kanji Nakajima film.
A set of 4 collaborative posters created with fellow designer Ed Fella.
We designed the identity for the iconic global design event series.
“Ian is an empire, a fanfare, a circus.
While most designers are accomplished at walking and chewing gum—the equivalent in graphic design terms of InDesign mastery while thinking conceptually—Ian does backflips of writing and publishing, walks the tightrope of research, and performs the acrobatics of teaching, all while stilt-walking an expansive terrain of graphic design practice… and all this while adeptly juggling platters of diverse knowledge that include history, theory, philosophy, humanities, and the gamut of pop culture.
But most of all Ian is accomplished at generously sharing himself and his many gifts with his whole heart. And this is why, simply, we love him.”
We created the identity and advertising campaign for NASA and The Washington County Museum‘s 2012/2013 exhibition Hubble Space Telescope: New Views of the Universe.
Identities for two of Portland, Oregon's iconic restaurants.
An exhibition of international expressive typography curated by Ian Lynam.
“Ian Lynam created a unique consumer intelligence portal that doubles as our company homepage. The website has added value to Five by Fifty by enhancing our corporate identity and marketing strategy. We will continue to work with Ian because he takes time to understand our business, speaks to us about technological issues in language we understand, and adds business acumen on top of creativity to help us achieve our goals.”
Assisting the Los Angeles Country Museum of Art define their vision for curating a collection of Japanese Graphic Design.
Our plug-in for Adobe Illustrator which adds 13 new tools to Illustrator's tool palette.
A set of ten tour guides of the Kanto region, each by a prominent foreign member of the Tokyo community for Shibaura House.
“Ever find yourself drawn to an image or sucked into an design article based purely on the form or content, then finding out later- after you go back to read the credit line- that a friend actually busted it out? That’s Ian.”
Identity design for the San Francisco bag and accessory company Joshu + Vela.
A 96-page feature about CalArts' Graphic Design Department for IDEA.
Identity is our ethos―the fundamental character of a culture, individual, business or community.
“Ian is the best to work with. He went above and beyond what I needed with my project. Ian Lynam has really good eyes – the kind of eyeballs that can tell you just what you need for the right sparks to fly everywhere, including my and your clients eyeballs.”
We created a decorative, highly tactile print identity for the amazing Portland, Oregon photographer Bitna Chung.
Identity for the director behind the opening sequence for the TV show True Blood.
“In all our collaborations, Ian has always brought a fresh perspective and boundless energy to the project. His encyclopedic knowledge of visual culture, ability to quickly work through multiple concepts, and deep Rolodex of talented friends, also give us the confidence to move beyond our first idea, towards a final product that will surprise and delight our clients.”
Design and typography for the Portland Documentary and eXperimental Film Festival (PDX Film Fest). Portland, Oregon.
LP, CD and promotional materials for Barsuk Records.
“Ian is always the first person I go to when need design help. Besides being an aesthetic genius, he is unrelenting in his commitment to portraying the right image for my brands. Top all of that off with a heavy dose of flexibility and professionalism and you end up with not only first-class designs, but an overall experience that ends up feeling more like fun than work.”
Music packaging design for Tokyo's Marxy
2008 book on the cross-section of type design, graffiti, lettering, and sign painting.
“Eschewing the shortsighted practical nature of much graphic design-oriented writing, Lynam focuses on demythologizing contemporary graphic design – opening up a new horizon of discourse both East and West.”