There is a moment in every designer's life when the letter stops being a letter. I found mine in the winter of 2016, standing in a Newark municipal lobby, staring at Futura Bold stretched forty feet across poured concrete. The letters were not describing the building. They were the building.
The Wall Was the Brief
I spent three weeks that January photographing public typography between Penn Station and City Hall. The city was covered in letters, stacked on bus shelters and stamped into manhole covers. Nobody had decided they should belong together. That gap — between what existed and what was possible — became the work.
“When you set a word in two-hundred-point Futura on concrete, you are no longer designing — you are building.”