AUDREY MA
Glove tested at WIP show
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1.0 Gesture-Tracking Glove

Glove tested at WIP show

1.1 Neuro-Augmented Plant Species

1.2 Feed The Plant With Me

1.3 Onomatopoeic Translation

1.4 Kilgore Display

1.5 Corning Museum of Art Invitation Series

1.6 An Open Invitation to Design Without

1.7 Gross Happiness Product (GHP)

1.8 A Clockwork Orange Dustcover

1.9 World Digital Library (WDL)

2.0 Elefante & Boa

2.1 MoMA Poster Series

1.0 Gesture-Tracking Glove
(Royal College of Art "WIP Show")

Glove tested at WIP show

1.1 Neuro-Augmented Plant Species

1.2 Feed The Plant With Me
(Royal College of Art Degree Show 2018)

1.3 Onomatopoeic Translation

This project explores the possibilities of translating untranslatable syntax through visuals, such as onomatopoeiac words. I translated my mother languages – Chinese and English with words such as “Mmm”. (pictured right) The result are illustrative visual indicators. I used the qualities of three-dimensional typography to build interlocking pieces that say “Mmmm” to present the idea of “umm”-ing and “mmm”-ing while thinking.
2016
Typography
Experimental
3D Printed Typeface

1.4 Kilgore Display

As my first typeface for a course hosted by OR Type, I made a display type inspired by sketches that I drew with the flat end of a charcoal stick. I took this opportunity to do extensive research on the construction of type, and used references such as GT Sectra, Belwe, P22 Vale, Seb Lester and Jeremy Tankard inspired typefaces. A humanist and calligraphic script, I named it Kilgore after the mentally ill main character from Kurt Vonnegut’s novel “The Breakfast of Champions”. The newspaper spread is a mockup of a type specimen page – I interposed breakfast cereal slogans with classic 50’s American breakfast food.
2017
Newspaper Print
Typography

1.5 Corning Museum of Art Invitation Series

This is a series of invites designed for Corning Museum of Glass’s VIP and VVIP Grand Opening Gala of their new contemporary art & design wing opening ceremony. Space and light are the core concepts of the design theme of the new wing. I chose the Curious Particle Paper for the texture that is reminiscent of the stark white plaster walls of the architectural body. The white cover represents the curved walls, the large arc gives the viewers a distorted sense of space. The new wing has unique structural roof beams that filter natural that reflect off the glass exhibits. I chose mirror foil to reference the reflective quality of glass.
2014
9.25”x5.875”
Tsang Seymour
Typography
Silver foil on Curious Particle Paper, Duplexed, Mirror Foil Paper, Black Foil stamped text

1.6 An Open Invitation to Design Without

This series of posters at the Royal College of Art are in response to a weekly brief set by Neville Brody to “Find something closed and convince us why it should be open.”

The Royal College of Art prides itself to be a collaborative, interdisciplinary environment. However, I find that we rarely facilitate conversations between second and first year students, and ironically with peers in other departments. Our elective “Design Without” is only for a select few, as a result excludes a lot of people who signed up but are rejected. This exclusion is in direct conflict with the free environment I feel the Royal College of Art is promoting. So, I created posters outlining date, time, and room of our elective as an ‘event open for everyone’ and posted it all across RCA in the format of administration posters.

In response, students all across the school ranging from animation, or visual communications second year attended the class out of curiosity and some stayed for the remaining year.
2017
A4
Experimental Communication
Printed on Newsprint paper

1.7 Gross Happiness Product (GHP)

Gross Happiness Product (GHP) is a group project on Data Provocation, when I participated in a week-long seminar working with designers in different disciplines in the AcrossRCA initiative.

We compared data between Gross Domestic Product (GDP) and the Happiness Index. GDP is represented as the size of the box and volume of filling, and Happiness is measured via weights. We distributed iron weights inside cardboard boxes, so for example, Denmark is smallest but the heaviest. China is the biggest box, but lightest, with a low Happiness Index.

We added handles so that people will be compelled to hold them to compare weights. The packaging materials represent the materialistic method we use to measure country success and happiness

This provides a discourse on how we percieve data as truth, such as whether happiness can be quantified, and critiquing the methods of how data is collected.
2017
Installation
AcrossRCA
Data Provocation
Cardboard, foam packing peanuts, printed labels

1.8 A Clockwork Orange Dustcover

This dustcover is a self-initiated response to the Penguin Random House Design Competition. I etched rough marks and red scorches on canvas – inspired by Cy Twombly’s scribbles. I sought to capture the pathos of the book: poetic but full of nihilistic violence. The uncontrollable ink represents a distorted and manic mind. The musical notes are taken from Beethoven’s Fifth Symphony, and weaves its way in and synchronises with Alex’s bloodthirsty intent. As a result, the book cover becomes a manifestation of Alex’s consciousness.

The back cover represents the second movement of narrative symphony. I took a significant quote from the text “I was 6655321 and not your little droog Alex not longer”. This highlights the ominous suppression of the totalitarian state after subjecting Alex to the Ludovico Technique: he becomes the little droog no longer.
2015
16.5354”x8.2” spread
Book Cover
Ink, acrylic, copic markers, pencil

1.9 World Digital Library (WDL)

World Digital Library is an exercise to convert a digital media into a print form. The World Digital Library is an archive of all human ventures since the first catalogued piece of work. The project catalogues printed artifacts and becomes a beautiful and extensive narrative of all cultures through works of art, literature and culture. I wanted to bind these intercultural experiences, and to show the concept of navigation, exploration and intercultural understanding so essential to the heart of the project.

The form of the piece is inspired by the Paper Fortune Teller. I used the random search-and-find method to sort through mountless data. The reader is then able to use this printed encyclopaedia to virtually travel across the world, and are visually able to link different regions together. This creates a fun and informative experience, a novel way of reading.
2012
38”x38”
PP Photo Paper

2.0 Elefante & Boa

Opening invites, label and logo for Elefante & Boa: an indie pop-up features Italian leather bags with wove stitchings from South American weavers. This new pop-up brand targets younger audience.

I wanted to capture this dream-like and playful reference to the name’s origin “The Little Prince”, and South American textiles as the aesthetic and mood.

For the logo, I created a graphical assimilation of the letters ‘e’ and ‘b’, so the final assimilation shows an ampersand. I referenced the South American textile makers with distinction in its colours and patterns, keeping with bold tones and bright hues.

I felt that there is a narrative within the South American textile makers, so I proposed the main narrative being the journey of material sourcing from local artists.
2015

2.1 MoMA Poster Series

A series of posters for the MoMA
2014
9.25”x5.875”
Tsang Seymour
Typography
Silver foil on Curious Particle Paper, Duplexed, Mirror Foil Paper, Black Foil stamped text