Chenxi Nie


Graphic designer
Typeface designer
Illustrator


About me

Detail in typesetting
More patience, understanding and tolerant
Is it love? It is love.
Memory of F
Lozenge
Xian Li
Illustrations

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I’m Chenxi Nie, a Graphic Designer, Typeface Designer and Illustrator.

As a graphic designer with an international education background, I focus on the design under internationalization, and I understand globalization. Most of my works focus on the spread of Chinese culture. This is because my understanding of my own identity has become clearer and clearer in the cross-cultural context of my study. I hope that more and more people can understand Chinese culture through my work. And because I realise the importance of collaborative development in the context of globalisation, I focus on the design of Chinese typeface and hope to make a contribution in this field. For example, in my project “Square pixel pattern”, I try to exploring the design potential of pixelated Chinese characters and typography in the knitting field.

As a typeface design, I specialize in the innovative design of Chinese characters. My typeface design work “Xian Li” won the finalist award in the 13th Hiiibrand International Brand & Communication Design Awards. In this project, I became skilled in Glyphs, especially in the making of variable font.

As an illustrator, I try to use different styles in different works. My work is about emotions and relationships. People’s mentality and behaviours are complex. I think about and analyse the reasons why different acts in different relationships. I think about these because they give me more inspiration. It also puts me in a more peaceful state, as a calm person. For example, my Illustrator work “Is it love? It is love. Is it love?”, I show some memories of scenes where I was misunderstood. But in the process of painting, I try to replace thinking, so that what this work wants to express in the end is not anger, but love.

I hold a Bachelor of Graphic Design from University of the Arts London. I can use PhotoShop, Adobe Illustrator, InDesign, Procreate, and Glyphs skillfully. I also know about photography and video editing. I can do poster design, book design, typography design, logo design and illustration.
Above all, I pride myself on being patient and reliable, qualities that translate into a seamless collaboration process. Trust in my ability to deliver results that exceed your expectations, and together, we can bring your creative visions to life.

This work is about book typography. I tried to find a new way of typesetting that would save paper. In my research I found that many books have a lot of blank pages, so I think that a lot of paper is wasted in the process of making books. I tried to use smaller font size, word spacing, line spacing and other parameters for compact typography. Although the outcome doesn't look like anything special, behind the scenes I've been doing a lot of experimenting and making slight adjustments to the typography.
After re-typesetting, the book uses only 4.5 pieces of A4 paper.  The paper I chose is G.F Smith Sketch Natural, a 100% recycled paper, manufactured using post industrial waste. The font I chose is Century Gothic. I chose it because it saves ink compared to other typefaces. Concerning the number of columns, both one and two columns appear in the book. This is because the texts are speeches, with a lot of short paragraphs, and sometimes using two columns makes for more white space. This way is a better way that I have found in the process.
This film is about deaf people, because during my research I found that deaf people need care. They are in fact no different from people without hearing impairment, they simply need another way of communication. This film shows several ways of communicating with deaf people. The film aims to call on people without hearing impairment to be more patient, understanding and tolerant to deaf people. Purple represents healing and helps to calm the mind. Blue represents calm and healing. So, I have used these 2 colors in my film. I hope that the audience will calm down and watch my film carefully. Then, learn how to communicate with deaf people.
It shows six situations in which my parents and other relatives expressed love to me and the different emotions I felt. I try to replace thinking, so that what this work wants to express in the end is not anger, but love.
This is a typeface work designed for the Faraday Monument. Produced using Glyphs and working smoothly, it also has built-in CCMP composite font features.

The Faraday Monument is located in the centre of the Elephant and Castle area of London, near Faraday's birthplace. The monument is a huge rectangular shape, and inside it is the substation for the area's tube. It is so large that it alsocarries the use of a notice board, but with no visible signage, most people do notknow its name or significance. After trying to use the simplifed shape of the building as the main element andthe irregular reflective shapes of the surface, it was finally decided to use thesquare grid of the building facade as the grid of the typeface for the modular typeface design.
Inspired by the lozenge decorations in Chinese garden windows. Breaking the traditional character skeleton while retaining readability, it is made by crossing the positive and negative shapes of the rhombus. The overallglyph is wide and tilted 30 degrees to the right, calm and powerful. Made with Glyphs and can be used smoothly.
It won the finalist award atthe 13th Hiiibrand Awards International Brand & Communication Design Awards.

This is a sans serif typeface inspired by the style of"Yi Ying Stele" and "Fei Zhi Stele" and created by my own understanding of the character shapes of the ofcial script, which is also an exploration and innovation of the style of the oficial script. The character shape is slightly flat, highlighting the heaviness of the official script, and the character face is large, with an aspect ratio of about 9:8. The long horizontal strokes are designed as wave-like curves, which is one of the characteristics of this font, and is an optimisation of the "Silkworm Head, Swallow Tail". This typeface is a variable font with four weights, thin for body typesetting, bold for headline, etc. The typeface has been completed with more than 200 characters in four weights.