Katja Cho is a designer & illustrator specialising in design management and art direction.

Art Direction for Esquire's digital presence

Art Direction for Esquire's digital presence

Art Direction for Esquire's digital presence

Art Direction for Essquire's digital presence

Art direction for Esquire's digital presence

Portfolio
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KYLE MACLACHLAN BY SOFIA & MAURO

Esquire profile on Kyle MacLachlan upon the 20th annivesary of Twin Peaks, which relaunched a third season in 2017.

KYLE MACLACHLAN BY SOFIA & MAURO

Esquire profile on Kyle MacLachlan upon the 20th annivesary of Twin Peaks, which relaunched a third season in 2017.

KYLE MACLACHLAN BY SOFIA & MAURO

Esquire profile on Kyle MacLachlan upon the 20th annivesary of Twin Peaks, which relaunched a third season in 2017.

Embracing MacLachlan's Agent Dale Cooper's dark turn, the concept was purely devoted by a Fire Walk With Me spin. Shot in Brooklyn, a stunt double was used to create two fully-shot series frame-by-frame movements of both the double and Kyle and then composited over a series of 60 frames.

Embracing MacLachlan's Agent Dale Cooper's dark turn, the concept was purely devoted by a Fire Walk With Me spin. Shot in Brooklyn, a stunt double was used to create two fully-shot series frame-by-frame movements of both the double and Kyle and then composited over a series of 60 frames.

Embracing MacLachlan's Agent Dale Cooper's dark turn, the concept was purely devoted by a Fire Walk With Me spin. Shot in Brooklyn, a stunt double was used to create two fully-shot series frame-by-frame movements of both the double and Kyle and then composited over a series of 60 frames.

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ESQUIRE.COM

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Art direction for brand identity, guidelines, aesthetic, and intent.

Provided close direction for the website, features, design, layouts, and shoots.

Art direction for brand identity, guidelines, aesthetic, and intent. Provided close direction for the website, features, design, layouts, and shoots.

Art direction for brand identity, guidelines, aesthetic, and intent. Provided close direction for the website, features, design, layouts, and shoots.

Art direction for brand identity, guidelines, aesthetic, and intent. Provided close direction for the website, features, design, layouts, and shoots.

Art direction for brand identity, guidelines, aesthetic, and intent. Provided close direction for the website, features, design, layouts, and shoots.

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Much of the consideration around Esquire's digital identity was based on impact and creating a strong visual aesthetic. Esquire.com's editorial voice is unique and active – engaging in everything from politics to current fashion trends. They do not shy away from controversy, taking on heavier topics, and showcasing a wide breadth of humour, sincerity, and trendiness.

Much of the consideration around Esquire's digital identity was based on impact and creating a strong visual aesthetic. Esquire.com's editorial voice is unique and active – engaging in everything from politics to current fashion trends. They do not shy away from controversy, taking on heavier topics, and showcasing a wide breadth of humour, sincerity, and trendiness.

Much of the consideration around Esquire's digital identity was based on impact and creating a strong visual aesthetic. Esquire.com's editorial voice is unique and active – engaging in everything from politics to current fashion trends. They do not shy away from controversy, taking on heavier topics, and showcasing a wide breadth of humour, sincerity, and trendiness.

To match the editorial tone, research began with focusing on foundries creating dynamic and large typefaces – fonts to really make a statement editorially. For color palette, we looked to the past – old race cars, mid-century modernism, and notes of the 1960s renaissance of Esquire (such as the iconic Warhol cover). For site design and UI, we went large and bold – vibrant color blocks, large type, and card-styled hierarchy.

To match the editorial tone, research began with focusing on foundries creating dynamic and large typefaces – fonts to really make a statement editorially. For color palette, we looked to the past – old race cars, mid-century modernism, and notes of the 1960s renaissance of Esquire (such as the iconic Warhol cover). For site design and UI, we went large and bold – vibrant color blocks, large type, and card-styled hierarchy.

To match the editorial tone, research began with focusing on foundries creating dynamic and large typefaces – fonts to really make a statement editorially. For color palette, we looked to the past – old race cars, mid-century modernism, and notes of the 1960s renaissance of Esquire (such as the iconic Warhol cover). For site design and UI, we went large and bold – vibrant color blocks, large type, and card-styled hierarchy.

To match the editorial tone, research began with focusing on foundries creating dynamic and large typefaces – fonts to really make a statement editorially. For color palette, we looked to the past – old race cars, mid-century modernism, and notes of the 1960s renaissance of Esquire (such as the iconic Warhol cover). For site design and UI, we went large and bold – vibrant color blocks, large type, and card-styled hierarchy.

TYPOGRAPHY

Dia, by Schick Toikka, was chosen for its individualistic personality and wide-width display aesthetic. Modern, but approachable, it brings buoyancy to Esquire's editorial voice and allows its type moments to be bold.

Dia, by Schick Toikka, was chosen for its indivdiualistic personality and widthy display aesthetic. Modern, but approachable, it creates a conversation piece around the identity of masculinity and aesthetic.

Dia, by Schick Toikka, was chosen for its indivdiualistic personality and widthy display aesthetic. Modern, but approachable, it creates a conversation piece around the identity of masculinity and aesthetic.

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DIA BLACK

The Great Rikers Island Art Heist  

ILLUSTRATED BY IGOR BASTIDAS

 

The Great Rikers Island Art Heist  

ILLUSTRATED BY IGOR BASTIDAS

 

The Great Rikers Island Art Heist  

ILLUSTRATED BY IGOR BASTIDAS

 

The Great Rikers Island Art Heist  

ILLUSTRATED BY IGOR BASTIDAS

 

The Great Rikers Island Art Heist  

ILLUSTRATED BY IGOR BASTIDAS

 

In 1965, Salvador Dali provided a painting to Rikers Island for an inmate art day. In 2013, after years of Dali's piece being floated around and all but forgotten, several inmates and a guard attempt to steal the painting.

Bastidas was commissioned to create playful and inventive illustration, showcasing the story's absdurity and capturing the parallels between the Dali aesthetic and the ensuing madness of the case.

In 1965, Salvador Dali provided a painting to Rikers Island for an inmate art day. In 2013, after years of Dali's piece being floated around and all but forgotten, several inmates and a guard attempt to steal the painting.

Bastidas was commissioned to create playful and inventive illustration, showcasing the story's absdurity and capturing the parallels between the Dali aesthetic and the ensuing madness of the case.

In 1965, Salvador Dali provided a painting to Rikers Island for an inmate art day. In 2013, after years of Dali's piece being floated around and all but forgotten, several inmates and a guard attempt to steal the painting.

Bastidas was commissioned to create playful and inventive illustration, showcasing the story's absdurity and capturing the parallels between the Dali aesthetic and the ensuing madness of the case.

In 1965, Salvador Dali provided a painting to Rikers Island for an inmate art day. In 2013, after years of Dali's piece being floated around and all but forgotten, several inmates and a guard attempt to steal the painting.

Bastidas was commissioned to create playful and inventive illustration, showcasing the story's absdurity and capturing the parallels between the Dali aesthetic and the ensuing madness of the case.

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COLOR PALETTE

COLOR PALETTE

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COLOR PALETTE

HOW TO TIE A TIE

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Illustrated by Zander Abranowicz

HOW TO TIE A TIE

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Illustrated by Zander Abranowicz

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One of Esquire's most highly-searched pieces of content, How to Tie a Tie shows how to tie 6 different styles: Full Windsor, Half Windsor, Four In Hand, Simple Knot,  and Bow Tie.

One of Esquire's most highly-searched pieces of content, How to Tie a Tie shows how to tie 6 different styles: Full Windsor, Half Windsor, Four In Hand, Simple Knot,  and Bow Tie.

One of Esquire's most highly-searched pieces of content, How to Tie a Tie shows how to tie 6 different styles: Full Windsor, Half Windsor, Four In Hand, Simple Knot,  and Bow Tie.

Abranowicz's commission included illustrated & animated step-by-step instructions of how to tie each style of tie, making the steps fun, clear, and easily digestible with the illustrator's fun and approachable style.

Abranowicz's commission included illustrated & animated step-by-step instructions of how to tie each style of tie, making the steps fun, clear, and easily digestible with the illustrator's fun and approachable style.

Abranowicz's commission included illustrated & animated step-by-step instructions of how to tie each style of tie, making the steps fun, clear, and easily digestible with the illustrator's fun and approachable style.

Abranowicz's commission included illustrated & animated step-by-step instructions of how to tie each style of tie, making the steps fun, clear, and easily digestible with the illustrator's fun and approachable style.

Abranowicz's commission included illustrated & animated step-by-step instructions of how to tie each style of tie, making the steps fun, clear, and easily digestible with the illustrator's fun and approachable style.

CREDITS

Visual Design by Mike Kim, Motion by Hayeon Kim & Cameron Sherrill, Creative Direction by Nick Neubeck, Front End Design by Artem Artemov, Production by Sarah Kalagvano

CREDITS

Visual Design by Mike Kim, Motion by Hayeon Kim & Cameron Sherrill, Creative Direction by Nick Neubeck, Front End Design by Artem Artemov, Production by Sarah Kalagvano