Meet: Jann Choy

Jann Choy is a multidisciplinary designer who moves between graphic design, creative coding, 3D and moving image. She is fascinated with the interaction of humans, data, nature and technology, and her self-portrait was the front cover of issue 107 of Eye magazine, an issue dedicated to AI-focused design.

Jann graduated from Central Saint Martins (CSM) in 2021 with a BA (Hons) Graphic Communication Design (with Creative Computing). She was in the first cohort of students to gain a diploma in Creative Computing with the UAL Creative Computing Institute (CCI).

She spoke to us about the influence of her time at CSM and CCI on her practice and how the course gave her the confidence to experiment and try new things.

I was studying design at a time when generative tools and computational thinking became inherent. There was a shift to digital, and everyone was desperate to understand its inner workings.

The coding year was transformative for my work and changed the way that I thought. It introduced me to computational thinking and integrated it into my creative practice. Having Joel Gethin Lewis as my tutor was a privilege - he opened our minds to this beautiful computational world, generative art and the endless possibilities in between.

More than anything, I gained the confidence to turn my ideas into reality. I may not have left as the best coder, but I learned not to be afraid of trying. Constantly hitting roadblocks, scouring the internet for solutions and piecing things together became second nature - an invaluable mindset for tackling any project.

We were the first batch in the computing year, a small but tight-knit group, and that’s where I found my people.

I was one of those kids who was always drawing or day dreaming. I was not particularly skilled at ‘art’ (painting, life drawing), but I always felt the need to translate or express the world or how I was feeling, into something tangible.

I always knew I wanted to do something in the creative industry, but wasn’t sure which specific path to take. I did my foundation diploma at Kingston University, which led me to initially choose graphic design. However, it was being immersed in GCD at CSM, with amazing tutors like Paul Finn and Abbie Vickress, that got me invested in design. My definition of design expanded I began to see how creativity is embedded in the blueprint of our world. They showed me what design could be - immersive, emotional and experiential.

Since graduating, I have been building my career at Field.io – a global innovation and design studio. There, I’ve been developing immersive experiences, crafting brand identities and experimenting with a range of real-time, 3D. Most recently, I’ve been using AI tools to explore and shape brand experiences. Being part of the team that developed the brand language and visuals for IBM Quantum was a highlight. Another one was our internal project SKY, that was featured in Times Square! Using a mix of 3D rendering and AI, we brought some beautiful and strange kites to life. You can catch us at OFFF Barcelona 2025, where I’ll be speaking with other members of Field.io.

Other highlights include – speaking at TEDx Vienna on speculative futures-in a beautiful old opera hall and having my friends there to forcibly laugh at my punchlines; getting featured on publications like itsnicethat, dezeen, creative boom and most recently, being featured on the cover of issue 107 of Eye Magazine!

At Field, we’ve been exploring AI tools as part of our research and development. One of the projects that came out of this was an experiment in representing our highly multi-disciplinary team. We wanted to convey each person’s uniqueness - and how, together, we weave this vibrant tapestry in our creative practice. This exploration has evolved over several years, from early experiments with Disco Diffusion to developing custom LoRAs in Stable Diffusion. The ones you see featured in Eye are the latest ones made in Stable Diffusion.

I began this exploration by creating models from raw materials like glass, sand and paint. The idea was for each person to have a base element that felt personal - something they resonated with. From there, we started blending materials - glass with paint, sand with marble - building a growing library of textures and combinations, opening endless possibilities.

It evolved into a playful and expressive workflow - a new kind of creative pipeline for our team. The aim was for each person to eventually select a material that reflected them - an extension of their unique avatar.

John L. Walters, the editor of Eye magazine, was working on an AI-focused issue, investigating what it means for creativity. Joel (he really is the best) introduced me to him, and that’s how our conversation started.