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Baseline Grid (G) Off

Build 1.0

A practice that happens across typography and illustration. A reflexive and reflective process that explores the harmony and friction between boundaries, such as Static vs Motion and Type vs Image.

The visual identity for Royal College of Art Graduate Show 2022 presents itself as a generative collaboration with technology as our relationship keep growing towards complete codependency. While this is the surface of the identity, the core concept is accessibility and how design operates as an inclusive and liberatory practice. The identity is a fused layered alt-text version of these kinetic, illegible typographic ‘errors’ which utilise Bionic Reading by Renato Casutt. Read more at RCA2022

Barter Auction is a solo exhibition of the sole trader Pat Wingshan Wong in collaboration with the fishmongers at the Billingsgate Fish Market since 2019. It brings the marginalised voices and stories of the fishmongers to centre stage amid the city development of Canary Wharf in London. The identity plays with merging the aesthetics from the exclusive and posh manner auctions often are connected with, while borrowing coupon-like barter design fragments. Read more at Barter-Archive

This book is a transcript of a dialogue on generative, written language. Through a process of human embodiment of the algorithm (and vice versa) this project has gradually taken form by investigating the borders between oxymorons. By giving voice to each of the extremes, this arbitrary and generated thesis aims to explore the thresholds and conventions between type and image through a vernacular typographic system.

Read more at It’s Nice That

The Visual Communication 2021 MA graduates of the RCA presents Terminal. The show unpacks the students’ experience of spending 18 months in a terminal-like space, and seeing it as an essential period in critical thinking and making. The identity of Terminal is inspired by digital, grid-based communication systems, such as LED-signage and ASCII and aims to provide the elements and ideas into the physical room. The identity of Terminal is exploring the idea of a shared space, both physical and digital. 

Digital posters and identity for the annual Typographic Singularity, an annual celebration of the eclectic and experimental use of typography and language in creative practices at the Royal College of Art. The identity revolves around snappy, graceless kinetic typography within a glyph-based grid.  

In collaboration with Costas Kalogeropoulos

Typefaces in progress. A selection of ongoing modular, optical, experimental or conceptual type in the making. 

Digital kinetic posters for Kunsthal Charlottenborg campaign with the aim to promote the museum. Using a strict reoccurring layout together with diverse, flickering illustrations. 

In collaboration with Wrong Studio


  1. 2019 – 2021:

    Royal College of Art, Graphic Design (LDN)

  2. 2014 – 2016:

    Gerrit Rietveld Academie, Graphic Design (AMS)

  3. 2012 – 2014:

    Forsbregs School, Graphic Design (STHLM)


  1. Current:

    Europa (LDN)

  2. Current:

    ArtReview (LDN)

  3. 2017 – 2019:

    Saatchi & Saatchi (STHLM)

  4. 2017 – 2021:

    Molo (CPH)

  5. 2016 – 2017:

    Moiré (ZH)

  6. 2016:

    Wrong Studio (CPH)

  7. 2016:

    Studio C (CPH)

  8. 2013 – 2014:

    Böfüms (STHLM)

  9. 2013:


  10. 2013:

    Silver Design (STHLM)


  1. 2022:

    University of Brighton

  2. 2016:

    Krabbesholm Højskole for Architecture and Design

Hundöra Press

Hundöra Press is a European-mobile publishing house run by William Jacobson and Anton Weflö as a part of the Swedish publishing collective PA(P)P (Publishing as (part-time) Practise) initiated by the Swedish design studio Konst&Teknik.