Alice Lorant is a Japanese-American Graphic Designer based in NYC with roots in Tokyo, Japan. With professional experience working at Le Studio Anthost, Alice has honed a versatile skill set, specializing in editorial content, branding, digital experiences, motion graphics, packaging, and photography. Passionate about blending creativity and functionality, Alice strives to bring a unique perspective to every project, combining artistic vision with practical design solutions.
  1. illumination   (bed&breakfast)
  2. “in the air”
  3. RUN LIKE MELOS
  4. HASHIRE MELOS
  5. Objecting Empathy
  6. NYFMF MAG
  7. Le Studio Anthost MAG 



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P004 HASHIRE MELOS


Association: Print Media
Year: 2023  
Advisor: Daisuke Endo
# Members: 1 (solo project)  


 Hashire Melos is a visual short story that was originally writen by Osamu Dazai. The project aims to take a previous design theme (P003) and transform it entirely. It aims to investigates various perceptions of the story through design by using two different printing techniques. The project aligns visual and tactile elements with the narrative, creating an immersive and interactive reading experience.


While the previous P003 "RUN LIKE MELOS" project focused on branding, packaging, social media, and leaned into the marketing side of graphic design, this project allowed me to explore print media, an area I hadn’t fully delved into before. It introduces textures through different mediums, specifically laser print and risography. This was my first time properly using the risograph, which was an exciting opportunity to learn and experiment. I decided to print the main story on a standard laser printer and then layer the risograph on top. The story is divided into three sections, contrasting the character’s inner monologue with the narration, which creates a dynamic and immersive reading experience. The use of different mediums further emphasizes these sections: the narration is printed with a laser printer, while the inner monologue is printed using risograph. This distinction not only adds texture but also visually separates the two elements, enhancing the overall storytelling experience.

The placement of the text and layout creates a unique reading experience, as the main paragraphs are placed sideways, requiring the book to be physically rotated 90 degrees to read each page. It was fascinating to see how design can truly manipulate the user experience, forcing the reader to engage with the story in a more intentional way. This approach reinforces the narrative’s themes and encourages the reader to become more immersed in the physical act of reading. The challenging reading experience is directly influenced by Melos’s laborious journey. By making the reader physically move the book to read each page, the design mirrors the character’s struggle and perseverance, creating a deeper connection between the reader and the narrative. This tactile element reinforces the theme of effort and resilience in the story. The layering of sentences and words in certain parts of the page further enhances this effect. The story’s text was first brought into InDesign and formatted. Because the risograph machine only takes layouts of 4, the book was split into 20 pages. The illustration was done on Illustrator then brought in as an asset into InDesign. After formatting, the file was split into two layers for printing. The first layer that was mainly narration was printed regularly on the laser. These printed pages were then put in the risograph and the second layer (images and inner monologue) was printed on top. The pages were then cut on the hydraulic paper guilletine cutter, assembled, then binded together. 
Yellow and navy were chosen as the color palette for their contrasting qualities, emphasizing both the struggle and the perseverance central to the story.

Script fonts typically convey emotion, fluidity, and individuality, mirroring the more personal and internal nature of the character’s thoughts. The contrast between the formal Caslon font for the narration and the script font for the monologue helps visually separate the two voices, enhancing the reader’s understanding of the character’s inner world versus the external narrative.


Printed with laser and risograph with spiral binding. All design, illustration, photo-editing, printing, cutting, and binding was done by myself with Daisuke Endo as my advisor. 

Key Takeaways: Since this project was largely experimental, it allowed me to dive deeper into the nuances of the risography process and create a more dynamic design than what you might find in a traditional book. However, looking ahead, I would prioritize readability more. Given the use of script fonts and bold design choices, I’d ensure there’s more breathing room around the text to prevent it from feeling cramped, and I’d avoid using em dashes, which can disrupt the flow. Additionally, while the yellow provided a strong contrast against the blue, it proved challenging to read on white paper. For future projects, I’d consider designing a book that more closely aligns with the imagery and tone of Dazai's original story, to further enhance the narrative experience.