Daniel Peterson YGX

  • Current Location: New York
  • Originally From: Australia
  • Studio: 2x4

Daniel Peterson is a New York–based graphic designer. He graduated with honours from the National School of Design at Swinburne University of Technology in Melbourne, Australia, where he also taught design research and investigation strategies (New Technologies Studio). Daniel has also lectured on a range of subjects such as; publication design, wayfinding and environmental design and information design. He currently works at 2x4 in New York. Prior to this he worked at Fabio Ongarato Design across a range of design disciplines. Key projects have included; Wayfinding and environmental design for the ANZ Centre (ANZ bank headquarters); Brand identity, print collateral and campaign art direction for Crown Metropol; and work with Gertrude Contemporary including four publications; 21.100.100, Still Vast Reserves I & II and No Name Station; exhibition design for 21.100.100 in collaboration with Adam Howe and the gallery re–brand and website. Daniel’s interdisciplinary approach is based around principles of investigation, research, collaboration, chance and analysis; an attempt to bridge theory, strategy and design as a model for practice.

Portfolio Imagery:

  • Project 1 of 5

    No-Name Station

    No-Name Station is an innovative China/Australia exchange exhibition launched to coincide with ‘Imagine Australia: The Year of Australian Culture,’ a program of cultural events which showcases Australian art and culture in China in 2010–11. No-Name Station begins with the idea of cross-cultural contact and its impact on individual histories. Central to the project is the belief that a true exchange requires more than the freighting of artworks between two countries. A residency gathered together the 22 Chinese and Australian participants for one week in the indigenous community of Warmun in the East Kimberley region of Western Australia. This creative encounter provided a catalyst for the subsequent publication and exhibitions in China and Australia. All participants took an equal role in shaping the themes of the exhibition and exploring and expanding upon the project’s opening premise by sharing stories and ideas. In designing the publication the core focus was around a notion of vastness, both in reference to the Kimberly landscape, locations of all participants and their cultural differences. Referencing the vernacular of the 70’s art book as an entry point the document aims to create a narrative of an experience rather than documentation of a show, through text, dialogue, performances and responses. Looking beyond traditional documentation of an exhibition collected photography from the residency and artists response pages have been incorporated allowing the less tangible and smaller interactions to sit equally with the artists work and curatorial texts. Further to this elements of overheard dialogue from the residency are reframed as a form of typographic intervention, punctuating throughout the document, overheard conversations become headlines.

    Credits

    Produced while at Fabio Ongarato Design in collaboration with Fabio Ongarato (Creative Director).

  • Project 2 of 5

    Centre for Adult Education (CAE)

    CAE is undergoing an expansion, developing multiple campuses within Melbourne’s CBD to cater for the increasing demand in adult education. In 2009, a wayfinding and environmental graphics system was developed for the new campus in CAE’s home of Finders Lane, Melbourne. Collaborating with the architects, Gray Puksand; a comprehensive visual language was developed based on information pathways, connectivity and transformation to bring a new perspective to this CAE office and learning space. The design program explored the notion of transforming lives through learning; acknowledging the transformative nature of the organisation and the significance of the Melbourne CBD as part of the CAE ‘campus’ context. A design approach was set, expressed through a signage and environmental graphics package that explored the notion that occupants should be treated as sophisticated and intelligent learners and not just students. This approach has subsequently been deployed across all new CAE campuses.

    Credits

    Produced while at Fabio Ongarato Design in collaboration with Fabio Ongarato (Creative Director), Mauris Lai (Designer) and Gray Puksand (Architects).

  • Project 3 of 5

    Gertrude Contemporary

    One of the core requirements for the re-brand of Gertrude Contemporary was the need to create an identity that drew together (visually) the many aspects of Gertrude Contemporary including the gallery spaces, the studios and residencies, Gertrude’s Table, Emerging Writers and Curators Programs, Education Programs and Publications. The identity creates a platform that uniformly speaks about these programs, and explores the idea of an identity as a container for the ever-evolving content (rather than in itself defining a cultural institution). With this project there were a few key ideas that needed to be explored. One was to communicate that in all aspects of the gallery, the gallery always ‘took a position’; constantly provoking new ways of seeing through curation, discussion and its many programs. Another was to break from the gallery convention of a quiet black piece of type, particularly as this could have undermined the complexity of the organisation and it’s programs. So how do you create a system that is consistent and recognisable but embraces a bit of chaos and has the potential to deal with being pushed in a multitude of directions? The solution was in creating points of tension within an established set of variables, enabling a dynamic visual language of clash and juxtaposition. Due to the nature of the gallery and its programs, the approach also needed to accommodate constant evolution and change. Typography, grid systems and colour palettes were all used to create a visual system, a myriad of possibilities, rather than a structured identity, with which the gallery is able to constantly grow. There is a unification and simplicity to this platform, yet to date only a small portion of it’s many potential iterations has been made public, proof of its significant lifespan.

    Credits

    Produced while at Fabio Ongarato Design in collaboration with Fabio Ongarato (Creative Director) and Meg Phillips (Designer).

  • Project 4 of 5

    Grill’d

    Recently, a re-imagining of the interior and environmental graphics scheme for Australian gourmet burger chain Grill’d was completed as part of the overall regeneration of the brand. The environmental graphics program consist of a flexible, lo-fi poster application to walls and ceilings that showcases the work from a rotating artist commission program, ‘The Grill’d Collective’. This ongoing program selects illustrators from around the country to respond to a range of statements that reflect the attitude and irreverence of the brand. The program works as a call and response with hand drawn statements provided to each illustrator as a brief and their reaction provided as their response. This is the beginning of a much larger project that is currently being rolled out, involving the re-design of all communications and packaging applications as well as curating the next iteration of the ‘The Grill’d Collective’

    Credits

    Produced while at Fabio Ongarato Design in collaboration with Fabio Ongarato (Creative Director) and Caroline Cox (Designer). Illustration: Magic Sweater, Chris Wahl, Jumbo and James Jirat Patradoon.

  • Project 5 of 5

    21.100.100 Exhibition

    Presented as part of the 2008 Melbourne International Arts Festival, 21:100:100 features 100 works by 100 sound artists produced in the 21st century. This exhibition is the first significant survey in the Southern Hemisphere to explore and chronicle the extraordinary developments that have occurred in contemporary sound art. Works are played on headphones suspended within the gallery. The texture of the exhibition relates to the materiality of the exhibition space and the composite image of x-rayed headphones used to promote the exhibition, together these ideas created an elegant solution for representing the metaphysics and mechanics of sound art and experimental music. The circular sound waves imprinted on the street window of the gallery echo conceptually the radiophonic reverberations of sound – the way in which the sonorous world always impacts on our bodies, charting our movements and spatial negotiations.

    Credits

    Produced while at Fabio Ongarato Design in collaboration with Fabio Ongarato (Creative Director) and Adam Howe (lighting designer).

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