June 2026
I'm very happy to finally share a project that means a lot to me. Morisawa Inc., the Japanese type company founded in 1924 and known for its typographic calendars since 1972, invited me to design June for their 2026 calendar. Curated this year by Japanese graphic designer Taku Sato, the calendar brings together 12 designers from around the world, each contributing a typographic interpretation of a month. The theme for 2026 is “Kerning.”
Here is my concept for June 2026: While exploring the Morisawa font database, I came across the A P-OTF NeotodayKS+ ProN and decided to use it. But when I typed the numerals, I noticed a significant kerning issue. The spacing between digits was inconsistent. Since I was insistent on using it, I chose not to fix the problem, but to push it further. I took advantage of the kerning breakdown and let that distortion define the layout. Although the numbers follow a standard sequence, they appear more as clusters than individual digits. Each row functions like a coded system shaped by shifting kerning and spatial tension. Result: A calendar; familiar but off-balance. Functional; still disorienting. It works; but not in the usual way.
I’m truly honored to be included alongside these remarkable designers: Kazunari Hattori, Kim Dohyung, Ho Wan-Chun, Neville Brody, Siam Attariya, Oded Ezer, Ariane Spanier, Erik Van Blokland, Henry Steiner, Tiago Lacaz and Christoph Niemann.
I'm very happy to finally share a project that means a lot to me. Morisawa Inc., the Japanese type company founded in 1924 and known for its typographic calendars since 1972, invited me to design June for their 2026 calendar. Curated this year by Japanese graphic designer Taku Sato, the calendar brings together 12 designers from around the world, each contributing a typographic interpretation of a month. The theme for 2026 is “Kerning.”
Here is my concept for June 2026: While exploring the Morisawa font database, I came across the A P-OTF NeotodayKS+ ProN and decided to use it. But when I typed the numerals, I noticed a significant kerning issue. The spacing between digits was inconsistent. Since I was insistent on using it, I chose not to fix the problem, but to push it further. I took advantage of the kerning breakdown and let that distortion define the layout. Although the numbers follow a standard sequence, they appear more as clusters than individual digits. Each row functions like a coded system shaped by shifting kerning and spatial tension. Result: A calendar; familiar but off-balance. Functional; still disorienting. It works; but not in the usual way.
I’m truly honored to be included alongside these remarkable designers: Kazunari Hattori, Kim Dohyung, Ho Wan-Chun, Neville Brody, Siam Attariya, Oded Ezer, Ariane Spanier, Erik Van Blokland, Henry Steiner, Tiago Lacaz and Christoph Niemann.
