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The cover interprets “Mr. Frost is here” as a quiet trace left by winter’s arrival. I imagined frost not as decoration, but as an act of transformation — how it changes the surface of things, leaving subtle marks and textures. The overlapping serif and sans-serif letters represent contrast and coexistence: warmth and cold, movement and stillness. Together, they form a fragile landscape of typography that feels both emotional and restrained.
And how did you make it?
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I printed the text on paper, applied transparent adhesive tape over it, and then peeled it away to transfer the letters onto another surface. The process created incomplete textures, much like how frost forms unpredictably on glass. The final composition was arranged digitally, keeping the accidental beauty of the physical transfer intact.
What do you think of Japanese advertisements and design?
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Japanese design has a strong and consistent sense of Eastern modernity — a balance between precision and emotion, clarity and subtlety. I admire how Japanese creators can express complex feelings through very restrained forms, and how their visual language always carries quiet confidence. Even in commercial design, there’s often a poetic sensibility and a deep respect for materials, time, and space.
Cover Design
Project Title:
Mr. Frost is here
Client:
BRAIN Magazine
City:
Tokyo
Year:
2026
Tian Bo
Designer:
Li Tong
Project Manager:
Wang Man
Dimension:
21.2 x 27.8 cm