10 Questions with Tong Li

Al-Tiba9 Art Magazine ISSUE14 | Featured Artist

Tong Li is a multidisciplinary graphic designer based in the Bay Area with a background in journalism and experience in the magazine industry. Her passion for graphic design stems from its vast potential in various mediums, including installation, motion, interactive, and generative design. Tong's curiosity and drive lead her to explore and experiment with different approaches to design.

When undertaking new projects, Tong approaches them with a critical eye, interrogating and reimagining the medium of creation. She pushes the boundaries by transforming books into sculptures, crafting typefaces with code, and designing dynamic identities that exhibit both consistency and constant evolution.

Tong's exceptional work has garnered recognition from esteemed organizations such as TDC, ADC, Graphis, SEGD, Design 360°, and many others. Her innovative and captivating designs captivate viewers, leaving a lasting impression and creating memorable experiences.
With a keen eye for aesthetics and meticulous attention to detail, Tong strives to create visually stunning and impactful designs that communicate messages effectively. By merging her expertise in journalism and her passion for graphic design, she brings a unique perspective to her projects, creating designs that are not only visually appealing but also meaningful and thought-provoking.

Tong Li continues to push the boundaries of graphic design, seeking new challenges and opportunities to make a lasting impact through her creativity and design expertise.

www.tongli.work | @tong.liii

ARTIST STATEMENT

I'm trained as a graphic designer and a journalist. When approaching different projects, I interrogate and reimagine the medium of making. I build books as sculptures. I draw typefaces with code. I design dynamic identities that constantly change but also remain consistent.

Especially today, design is the reason I get up in the morning and feel proud to be a part of the world.

Between Hype and Hyperreality (cover), Print, 7.5x10.5 inch, 2021 © Tong Li

Between Hype and Hyperreality, Print, 7.5x10.5 inch, 2021 © Tong Li

INTERVIEW

How would you describe Tong Li in three words?

Innovative, Adventurous, Diligent.

You have a background in journalism and work as a graphic designer and in the magazine industry. How do you pair such different skills? And how do they help you in your day-to-day work?

The key to pairing these seemingly different skills lies in recognizing the common thread of storytelling that underlies both disciplines.
My journalism background has honed my abilities to listen, ask questions, and appreciate the impact of visuals in storytelling. Through journalism, I've acquired valuable storytelling skills—knowing how to engage and captivate an audience, understanding pacing, crafting hooks, and building towards a compelling climax. These storytelling principles are equally applicable in graphic design. Every design has a narrative, and my journalism experience has taught me to infuse meaning and purpose into my designs beyond aesthetics.
Working in the magazine industry introduced me to the world of graphic design and ignited a lasting passion for translating ideas into beautiful spreads. I still recall the thrill of transforming a blank canvas in InDesign into a visually stunning layout. This enthusiasm for print projects remains strong within me, and it was during my time in the magazine industry that I developed a solid foundation in typography and layout design.

Coming from such a diverse background, how do you define yourself as an artist today? And how did this definition change over the years?

Throughout my life, my diverse background has been a significant influence on my artistic journey. Born and raised in China, my initial experiences in the US were driven by a desire to blend in. I yearned to be perceived as 'normal' within the American culture, which often led me to downplay my unique background and experiences.
However, as the years went by and I became more introspective and self-aware, I began to embrace the distinctive value my heritage brought to my art. Instead of seeing it as a point of difference that needed to be minimized, I recognized it as a strength. This shift in perspective was transformative. My artwork began to reflect a rich tapestry of cultural references, concepts, and aesthetics – a fusion of my Chinese heritage and the nuances of American culture that I had come to appreciate.
Today, I define myself as a multidisciplinary artist. I am not just a graphic designer confined to a single medium or approach. I strive to push boundaries, take risks, and explore a diverse array of media. Above all, I prioritize innovation and evolution in my work, ensuring that I never find myself in a cycle of repetition. My goal is to continuously challenge myself, drawing inspiration from both my past experiences and my present surroundings, to create art that is fresh, dynamic, and authentic to who I am.

Let's talk about your work. What are the fundamental elements you always incorporate into your designs?

Among the key elements I always incorporate are typography, layout, color, and white space. Typography, for me, is not just about selecting a typeface; it's about communicating a feeling, a brand ethos. The layout is the structure, the backbone, ensuring the piece is both visually appealing and functional. Colors set the mood and tone, and they play a pivotal role in conveying emotions. White space, often overlooked, is the silence between the notes, providing clarity and focus.
However, the most critical element for me is purpose. Without it, design lacks direction. Every design choice I make is guided by the intent behind the project, the message it's meant to communicate, and the audience it aims to reach.
Furthermore, as a brand designer, I've learned to see limitations not as constraints but as challenges that fuel my creativity. They set the boundaries within which I can play and push my designs. Instead of hindering my creativity, limitations force me to think outside the box, find unique solutions, and ultimately produce work that not only meets the brief but also surprises and delights. To me, a project with zero limitations is like a blank canvas that's too vast—it's the constraints that give me a starting point, a spark to ignite my creativity.

In your statement, you mention how you create sculptural books. How did you come up with this idea?

My fascination with books traces its roots back to my educational journey. One of the most transformative figures during this period was my professor, Brad Bartlett. His extraordinary skills as both an educator and a book designer opened my eyes to the nuanced beauty and potential of book design.
It was in his class that I first came across the works of Irma Boom, an exceptional Dutch designer known for her distinctive approach to bookmaking. Boom's creations are not merely printed materials; they are tactile experiences, combining form, material, and narrative in ways that challenge and reinvent our traditional understanding of books.
The landscape of book consumption has undergone a radical transformation over the past few decades. While there are whispers that "print is dead," we all know that it's not, and it never will be. The focus has merely shifted from mass-produced content to quality, premium content. People today are drawn to books that they can collect, cherish, and pass down through generations. In this evolving landscape, the role of a book designer is pivotal. Our responsibility is not just about creating captivating layouts but crafting books that have a tangible presence. It's about paying meticulous attention to the form, the choice of materials, and the intricacies of details. It's about transcending traditional boundaries to create pieces that aren't just books but are miniature sculptures, artworks in their own right.

You also create typefaces with codes and use them on your projects. What is the ultimate goal you would like to achieve with this practice?

Typography has always been a fascinating domain for me, and type designers have held a special place in my artistic world. They are the unsung maestros of the graphic design realm, meticulously crafting letterforms that communicate far beyond mere letters and words.
Embarking on the journey to create typefaces using code and introducing variability into their design has been a revelatory experience. Variable typefaces, which can be manipulated and adjusted on-the-fly, represent a significant evolution in typographic design. It's not just about static letterforms anymore; it's about creating a system, a living entity that can adapt and change based on context and need.
My ultimate goal in blending the worlds of coding and typography is multifaceted. First, it's to broaden my horizons as a designer and challenge the traditional boundaries of type design. When you design a typeface from a coding perspective, you're not just shaping letters; you're architecting a system with underlying logic and adaptability.
Second, by incorporating my own typefaces into projects, I can impart a deeper layer of individuality and specificity to my designs. It's akin to an artist creating their own paints or a chef concocting their own unique spice blend. There's an authenticity and uniqueness that's hard to replicate when you're utilizing tools of your own making.
Lastly, in a broader sense, I wish to contribute to the ongoing dialogue in the design community about the future of typography. As technology and design continue to intersect in increasingly intricate ways, I believe we are on the cusp of a typographic renaissance, where the lines between type designer and programmer blur, leading to unprecedented innovation and creativity.

Is there any other medium or technique you would like to experiment with?

Absolutely! The world of design is vast, and I feel like a perpetual student, constantly eager to dip my fingers into new mediums and techniques. One area I've been particularly drawn to is the realm of 3D and generative design. As we navigate through an age that's increasingly digital, these techniques offer new perspectives and dimensions in visual communication, bringing depth and dynamism to flat screens.
Virtual and Augmented Reality (VR/AR) are also on my radar. It's a field that's burgeoning with potential. Rather than just designing for a screen in someone's hand or on their desk, VR/AR invites designers to create spaces, environments, and immersive experiences. The lines between the physical and digital blur, and as a designer, that's an exhilarating space to play in. What makes it even more compelling is the fact that it's still a relatively untapped domain. Traditional design education hasn't fully encompassed it yet, making it a frontier of self-exploration and innovation.
Recently, my curiosity has been piqued by the possibilities within AI. With AI tools, the way we conceptualize, draft, and refine our designs could undergo a paradigm shift. It's not just about automating processes but tapping into a new form of collaboration – between human creativity and machine intelligence.
Ultimately, as graphic designers, our toolboxes should never be static. Each tool, medium, or technique we add isn't just a new skill—it's a fresh lens through which we can see, understand, and influence the world around us.

You work for both clients and personal projects. How does your approach to design change, if at all, depending on the client or commissioner?

Over the years, I've had the privilege to work with a diverse array of clients, ranging from major brands like Sonos, Nike, and Wall Street Journal, to cultural institutions like SFMOMA. The breadth of these experiences has refined my approach to design.
When working with clients, listening becomes paramount. Every client, regardless of their size or stature, has a unique narrative, distinct pain points, and specific goals. My job is to tap into these intricacies, truly understand their brand essence, and then articulate it visually. I often liken my role to that of a marketer with a designer's sensibilities. It's a balance of strategy and creativity, ensuring that the solutions I propose not only look good but resonate with the brand's audience and objectives.
In essence, regardless of the commissioner, design for me is not just about aesthetics or visuals. It's a medium of communication. And while the approach may vary based on the project, the core principle remains unchanged: Design should always elevate the narrative, making the story more engaging, relatable, and impactful.

Plane/Volume/Dimension, Installation, 10x10x10 inch, 2022 © Tong Li

Is there a project you would like to work on? In other words, what is your dream project you would like to develop in the future?

For me, it would be to work on something groundbreaking, a project that has the potential to leave an indelible mark on history. The ever-evolving world of technology offers such opportunities, and designing for the Apple Vision Pro would be a dream come true. It's not just about creating visuals but defining an entirely immersive experience. Additionally, I've always harbored the desire to bring my grad thesis to life. It represents a culmination of my academic journey, and breathing life into it, making it tangible and accessible to a wider audience, would be deeply fulfilling.

And lastly, tell us about your plans. What are you working on? And what are your plans for the rest of the year?

Currently, my team is deeply immersed in an environmental design project for a significant client. It's always exhilarating to venture beyond the digital realm and impact physical spaces, allowing design to interact with people in tangible, meaningful ways.
On a more personal front, I've embarked on a new journey of researching and laying the groundwork for my own brand. It's an all-encompassing endeavor, spanning from marketing strategies to design aesthetics and even sourcing materials and products. The concept of being a 'girl boss' resonates with me deeply, and the latter part of this year will be dedicated to mastering the nuances of starting and managing a brand.
While it's an ambitious plan, I'm hopeful that with the groundwork I lay now, I'll be in a position to unveil something truly special next year. The anticipation and excitement of what lies ahead are palpable, and I can't wait to see where this journey takes me.

Artist’s Talk

Al-Tiba9 Interviews is a promotional platform for artists to articulate their vision and engage them with our diverse readership through a published art dialogue. The artists are interviewed by Mohamed Benhadj, the founder & curator of Al-Tiba9, to highlight their artistic careers and introduce them to the international contemporary art scene across our vast network of museums, galleries, art professionals, art dealers, collectors, and art lovers across the globe.

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