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An animation showcasing the Orris typeface through a series of minimalist, fashion-inspired layouts in beige and grey. The scenes feature typographic specimens, a quote by “Coco Chanel”, a fashion brand directory, and a grid of style descriptors.

The design of Genie Wu proves craft and code can co-exist

This graphic designer, who’s part of our Ones To Watch series, makes emotionally intelligent work that honours its clients by creating clever “entry points to deeper stories”.

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Date
18 February 2026

Genie Wu is part of It’s Nice That’s Ones to Watch 2025 – a curated list of next generation creative talent from across the globe. Discover all 65 creatives in our directory, here.

Genie Wu’s design “begins with a double take”. When living between Taiwan and the United States, the designer learned that meaning is never fixed, it simply shifts and reshapes with every culture and point of view. “That habit of looking twice informs how I approach every project. I treat the world as layered, where everyday details, signs, and textures become entry points into deeper stories,” says Genie.

As a graphic designer working at the intersection of identity, type and narrative, Genie’s practice bridges cultural observation and design systems, paying homage to the layered world they speak of through everyday details such as signage, texture and “entry points to deeper stories”. Merging analogue and digital techniques, Genie explores how craft and code coexist in Form Revival: When Canvas Meets Code – and it shows in their work across InDesign, Illustrator, Figma and Glyphs; they bring an artistic attitude to digital applications. For Genie, it’s important that their work connects culture in a meaningful, human way, evidenced in its emotional clarity, use of space and careful formatting.

Finding grounding in art from the Renaissance and Enlightenment schools of thought, where proportion and light become tools of inquiry, these influences remind Genie to balance intuition with structure in order to bring intelligent and thoughtful structure to visual identities, always staying open to the cracks in the everyday where beauty shines through. “My influences mirror my way of seeing, rooted in observation, reflection and reinterpretation. Visually, I follow a lot of designers, photographers and magazines on Instagram, always keeping my eyes on new work that pushes boundaries,” says Genie. “It’s become a daily habit of collecting small sparks, textures, compositions, or bits of typography that feel unexpected or alive.”

A person holds a stack of magazines with the word “FRICK” printed in large, black serif type across the cover. Below the title, an image shows a gold-framed painting of two figures.
Above

Genie Wu: The Frick Collection (Copyright © Genie Wu, 2025)

The stone facade of the Frick museum features large columns and hanging banners. The banners display the word “FRICK” and images of classical paintings alongside phrases such as “The Legacy of art and history at The Frick”.
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Genie Wu: The Frick Collection (Copyright © Genie Wu, 2025)

Five posters for the Frick museum are displayed side by side on a white tiled wall in a subway station. The posters feature classical paintings and bold typography, including headlines such as “Mastering Composition: The Grid Method” and “Discover the Beauty of History”.
Above

Genie Wu: The Frick Collection (Copyright © Genie Wu, 2025)

A pink billboard against a city backdrop features two pairs of hands holding bento boxes of noodles and rice. Bold red text in the centre reads “Joyful!” with the tagline “SERVING JOY SINCE 2018.”
Above

Genie Wu: JoyFu! (Copyright © Genie Wu, 2025)

A collection of red and white food packaging arranged against a white tiled wall. The products, branded “Joyful!”, include two jars of pickled vegetables, a milk tea carton and a stacked container.
Above

Genie Wu: JoyFu! (Copyright © Genie Wu, 2025)

A laptop and smartphone display the website for the “Fashion Research Library”. The site features a grid of images and text, including a large photo of a person in a pale dress standing in a bright room.
Above

Genie Wu: Fashion Research Library (Copyright © Genie Wu, 2025)

A grid of posters for the “Fashion Research Library” is displayed on a wall. The posters feature a mix of bold typography, including paper sizes like “A0” and “A1”, alongside images of footwear, archives and a person in red trousers.
Above

Genie Wu: Fashion Research Library (Copyright © Genie Wu, 2025)

An animation in which a publication for the “Fashion Research Library” is flipped through. It shows the “2024 Spring Issue 5 Library Guide” featuring archival shelving, a curated list of Hermes publications, and a schedule of “Spring 2024 Programs”.
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Genie Wu: Fashion Research Library (Copyright © Genie Wu, 2025)

Hero Header

Genie Wu: Orris (Copyright © Genie Wu, 2025)

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About the Author

Paul Moore

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Paul M (He/Him) is a Junior Writer at It’s Nice That since May 2025. He has a strong interest in graphic design, digital kitsch, multimedia painting, collage, nostalgia, analogue technology and all matters of strange stuff. pcm@itsnicethat.com

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