OVERVIEW
Client: Royal Ontario Museum
Project: Art in a Gemstone Gala Exhibition 
Exhibition Dates: November 2019 – March 2020
This exhibition was created in honour of Daniel Libeskind, the architect behind the Royal Ontario Museum’s iconic 2007 extension, now known as the Michael Lee-Chin Crystal.
The project explored the relationship between architecture, geometry, and graphic abstraction through the process of graphic translation. Inspired by the Crystal’s dynamic structure, the architectural form was deconstructed into simplified geometric compositions that expressed movement, light, depth, and spatial rhythm.
design methodology.  WHAT IS GRAPHIC TRANSLATION?
The design methodology used in this project is known as Graphic Translation. It is the process of simplifying a complex object, shape, or subject into a clear, visually engaging graphic.
Using elements such as lines, points, shapes, shadows, and abstraction, designers reinterpret the original subject while still preserving its recognizable identity. The goal is to transform detailed visuals into simplified compositions that are both artistic and easy to understand.
Graphic Translation is not the creation of a logo or brand identity. Instead, it is a visual exploration technique used to study, interpret, and reduce forms into expressive graphic compositions.
OBJECTIVES
The primary objective of the campaign was to develop a simplified visual element that could serve as a recognizable and adaptable design motif across multiple promotional platforms for the gala. The intention was to create a flexible visual system capable of maintaining consistency while supporting a variety of campaign applications.
TECHNICAL OBJECTIVE
The technical objective was to apply the principles of Graphic Translation to deconstruct the complex architectural form of the Michael Lee-Chin Crystal into its most essential geometric characteristics. Through abstraction, reduction, and interpretation, the building’s dynamic structure was transformed into a simplified graphic form that became the foundation of the campaign’s visual identity.
DESIGN OBJECTIVES
Whether used independently or combined with additional graphic elements, the visual motif was designed to remain cohesive, consistent, and immediately recognizable throughout the campaign. Maintaining strong visual continuity across all applications was essential to reinforcing the overall identity and artistic direction of the project.
POSTER DESIGN
Inspired by architectural geometry, spatial fragmentation, and contemporary graphic abstraction, the final poster combines the translated geometric form with a photograph of Daniel Libeskind to create a layered, architecturally driven composition.
The integration of angular structures, transparent overlays, and contrasting visual textures creates a dynamic visual system that reflects the complexity and movement of the Michael Lee-Chin Crystal. Through abstraction, reduction, and interpretation, the composition transforms architectural form into a bold contemporary graphic experience.
The overall design approach explores themes of innovation, experimentation, cultural evolution, and the ongoing relationship between architecture, technology, structure, and modern visual communication.
The design process
Did you know the original concept for the Michael Lee-Chin Crystal was inspired by the Royal Ontario Museum’s gem and mineral collections? Its name, “Crystal,” was derived from the building’s dramatic crystalline forms and angular architectural geometry.
*Image credit: Studio Daniel Libeskind
Visual Element Extractions
Using the Graphic Translation technique, I developed four distinct colour variations of the crystal illustration, each exploring unique tonal qualities and visual
interpretations of the architectural form.
The combinations
The design was created by combining the translated crystal form with a photograph of Daniel Libeskind, resulting in a layered composition that visually connects the architecture to its creator.
Main Exhibition Poster design
The combination of the crystal-inspired visual element and the photograph of Daniel Libeskind creates a bold and visually engaging composition that merges the structured elegance of Art Deco with subtle influences from Abstract Art into a single cohesive design.
Second Exhibition Poster design
The second main poster explores an alternate composition within the same visual system, using the Graphic Translation technique to reinterpret the ROM’s architectural form through a different layout, colour treatment, and visual hierarchy. I created three different styles.
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