My name is Kyle Richardson.
I graduated from the Cooper Union in 2012 with a BFA; focus in Graphic Design & Painting.
I'm a native New Yorker, currently a Graphic Designer at the Brooklyn Academy of Music, and a 2017 Public Access Design Fellow for the Center of Urban Pedagogy.
Email me at email@example.com Resume + references available upon request.
In its tenth year, BAMcinemaFest continues to be the best showcase of new American independent cinema. With almost a completely new team, and new tilt in the direction of the cinema programming, Gina Duncan, Associate Vice President of Cinema, wanted a change. We didn’t want to do away with the entirety of the brand equity that Katie Positerry Samour had built and cultivated since 2014 but we wanted an update to be a fresh and vibrant evolution of that identity.
The brief inspired me to build a dynamic system that makes the festival feel like its growing over time, showing you what you missed and what’s to come. These ‘cards’ are either fields of color, film stills, or photos taken by our audience on socials. My collaborator and in-house motion designer, Kaitlyn Chandler, then translated this idea of the cards and beautifully executed its life and style in motion. Kaitlyn made a new and custom pre-show to be played before each film while people sat in the theater, video assets for the opening night party, and a trailer for display on MTA on-the-go kiosks as well as online.
Under Creative Director Andrew Sloat. Brochure, t-shirts, tote bags, animated banner ads, snapchat filter, Instagram stories, slides for Q+A/filmmaker talks, exhibit, environmental banners, and vinyl signage.
I designed the catalog for the 2017 Wendy’s Subway Reading Room at BAM. BAM Visual Art and the Humanities department teamed up with an outside organization, Wendy’s Subway, to host a reading room filled with submissions by BAM 2017 Next Wave performers, participating visual artists and independent libraries. The submissions the performers provided are personal syllabi that inspire their general practice and the specific works they are performing on our stages in this Next Wave season. I was tasked with making an identity that felt like neither BAM nor Wendy’s Subway, but also a melding of the two.
With Wendy’s subway not having as recognizable a brand as BAM, the melding of the two identities was a challenge. I wanted to make something that felt different from the two as it is a collaboration that exists only when both parties are together.
Sean McKeithan, BAM in-house copywriter, showed me a Wendy’s Subway tote that had a rectangular motif that reminded me of books on a shelf, I picked it up and used it as a pattern across the catalog. To further distance this identity, I used two different typefaces that are outside of the BAM identity; Sharp Grotesk and Adobe Caslon. The pattern was then used as a backsplash in the reading room. It is open to the public
Sep 14—Dec 23, 2017.
I designed and layed out this book of a single poem, Shade the King.
It is a 65 page book by Rindon Johnson with illustrations by Ser Serpas. There is a UV coat gloss on the cover with lettering by Ser. While Rindon read their poem, Ser responded in real time by illustrating on a large scroll. I matched the drawings Ser painted correlating to the part of the poem throughout the book to match the experience of their collaboration. Published by Capricious Publishing.
Rindon Johnson and Ser Serpas are multidisciplinary artists and writers.
Tropical Fantasy is an art book using concrete poetry, contextual prose and old photos my grandfather defaced of himself and my grandmother together. The book is a play on the fotonovela, akin to the comic-book format but with photographs instead of illustrations.
When I was born, my grandmother moved from Puerto Rico to NYC to help my mother raise me. Married at a young age, my grandmother grew to love her independence out of the grips of a controlling husband, and decided not to go back. My grandfather, in turn, felt resentful and abandoned. He defaced most of their old photos together by cutting himself out, or by scribbling over his own face. He wrote many poems in the phone book lamenting his actions, but at times blamed her for their separation.
This is a self-initiated project, small run of 100 copies: 24 page, 5 color with Gold Metallic spot color. Lorna Dominguez helped with story and translation of Hector’s poems. Chat Travieso, Sean Mckeithan & Cody Boyce copyedited the prose.
Under new artistic leadership, the 39-year old African Dance & African Diaspora Culture festival at BAM, DanceAfrica was in need of a contemporary update. This years creative was inspired by West African commemorative cloth and by the theme conceived by Abdel, “Senegal: Doors of Ancient Futures.” Off the coast of Senegal, lies the Island of Gorée which was the last port out of Africa for many slaves to the new world. The modular pattern system I made was inspired by the island. He wanted to make an homage to the island by “looking into the past” through “portals” to face our future.
Under Creative Director Andrew Sloat. Brochure, Bus Shelter, Street pole banners, Window Poster, T-shirt & Tote, Environmental Graphics, and Digital & Print Ads.
Enamel pins I designed for giveaways at BAM membership events, the Alan Gala, HR employee birthday gifts, and some to be sold exclusively in the BAM Greenlight bookstore shop. Ideas for what pins to produce were collaboratively ideated between all of BAM creative services.
Migrating Forms is an experimental video art/moving image festival that “breaks pre-conceptions of what film is and can be.” Nellie Killian, Andrew Chan and Hannah Thomas from BAMcinematek tasked us with creating an identity that was as boundary breaking. Through a long exploration phase I drew a custom logotype using News Gothic that paid homage to the filmic illusion of motion and depth. It maintains legibility while flirting with formal abstraction. It echoes the festival's hard-to-pin-down programming with an identity always in flux.
Kaitlyn Chandler handled animation on web and video exploration & execution and Alison Whitworth adapted the final logotype/identity into the Poster and Brochure. Under the Creative Direction of Andrew Sloat and Patrick Morin. Poster, Brochure, Digital Ads, Video, Instagram Video, Case Study on BAM blog.
Michelle Angelosanto, a fellow designer on the BAM Creative Services team, rebranded BAMkids two years ago introducing Frankfurter and our own photography to liven up the BAMkids brand. She left BAM and I took on the brand in it’s second year. I updated it by introducing the glyphs from Frankfurter as a confetti or prop to be used over BAMkids materials. Alison Whitworth helped with supporting materials for ads and on BAMkids Film Festival materials.
Under Creative Director Clara Cornelius. Art Direction on Photoshoot, Motion Graphics and Animating the Trailer, Ads, Brochure, T-shirt, Activity Book, Stickers, Environmental Graphics, Bus Shelters and Posters.
A logo, business cards, T-shirt and art direction for the tenant organization TUFF-LES.
People in a community must link arms and work together to form a strong bond
just like a chain-link fence, which is a LES neighborhood staple.
Project initiated by
Marc S. Richardson, member of TUFF x LES.
Greg Skiano and I collaborated on making a modular identity system for the Cooper Union Alumni Association's Founder's Day Block Party. We embraced the new logo and responded to it with a fun mixture of lettering and type. We made a logo, a presentation for the award ceremony, a website, posters and a design for T-shirts to be screenprinted on site.
Guayoyo, A Venezuelan restaurant in the East Village approached me for an identity. I was inspired by the hand-lettered aesthetic of Venezuelan street food carts, and wanted to reflect that same casual, fun feeling in Guayoyo's identity. Logo Design, Menu System, Art Direction for Photography + Website, Website Design at www.guayoyonyc.com, and Hot Sauce Labels.
Dark and Pretty flat was a collaboration between Cody and Esme Boyce; an evening length dance show with live music and narration. This album is the recorded version of the piece, with music and words by Cody Boyce, and narration by Ted Levine. It's available on www.codyboyce.bandcamp.com.
Cody and I worked together on visual conception and I did hand lettering, typography and photographic manipulation to his textural drawing.