Kimberly Low

I use design to help people connect, engage, and change their communities for the better.

“I’d like to just see elections issues presented as plainly as possible, as non-emotion inducing as possible. Don’t introduce lemons into the thinking.”

KQED’s mission is to inform, inspire, and involve. When Bay Area voters told us that fairness and simplicity were top of mind in 2024, I designed the 2024 California Voter Guide to make election information more accessible and understandable, which included creating visuals that are clear, relatable, and specific.

The top of the Voter Guide page is shown on a tablet. To the right of it are two iPhones showing the top of the Proposition 5 page and the middle of a results page, which includes the results of two Alameda County candidate races.
A texting conversation on an iPhone shows someone recommending the KQED Voter Guide to a friend. The links to the Voter Guide page and the Proposition 5 page include branded graphics.
A loose grid of posters and digital graphics depicts the range of the Voter Guide visual system. Simple collages, grayscale photography, repeated glyph patterns, and bold typography are accented with blues and reds.

“The passion an organization has is important. How do they engage the people who donate to them?”

Nonprofit donors told us that tangible impact and a sense of belonging are the most important factors when deciding whether to make a donation. I redesigned KQED’s Support pages to highlight how donors make KQED’s work possible and how they can make the most of their member experience.

The Ways to Support page includes a brief explanation of why public support is important to KQED, followed by several grids of link cards for the different support methods. The cards are separated into sections for Donations, Increase Your Impact, and Build Your Legacy. Each card includes an icon and a short description of the support method.
The top of the Membership page is shown on a mobile device with a brief description of who KQED is, its mission, and what is made possible through member funding. One section of the Membership page is shown on a mobile device with a description of how sustaining memberships provide dependable, ongoing support for KQED. The top of the General Member level is shown with a photo from a KQED event.
Another section of the Membership page is shown on a mobile device with information about the Signal Society Member level. The cost for the level is followed by a KQED event photo, buttons to become a member or renew membership, a list of the top three member benefits, and an expand button that says All Signal Society Member Benefits. The top of the My Account page is shown on a mobile device. Logged in users have shortcuts to membership details, account details, and help. A digital member card with personalized key membership information is also shown on the page.

Creating artwork and letters by hand, documenting simple pleasures, elusive moods, and humble stories.

I’ve been honing my craft as a cut paper artist since 2013. I’m drawn to the details and moods that create a sense of place. Even if I’m just walking through my neighborhood—down the same streets over and over again—I search for the unnoticed elements and stories that surround us.

A field of green paper stretches under a dust-colored sky with a green-and-blue hued industrial sprawl on the horizon. A rust-colored train sits on a pair of railroad tracks. A wooden frame surrounds the artwork against a white wall.
White paper houses with orange and red windows and roofs, sitting among green shrubs and trees, are perched on the slopes of blue hills. White clouds float above them and threads of power lines crisscross before them. The entire artwork rests in a sketchbook lying open on a wood table.
A mended wooden fence is overrun by yellow flowers, iceplants, and other green ground cover. This paper fence obscures an orange paper house but offers a peek at the ocean and blue skies beyond. The artwork floats in a shaft of dappled sunlight. A blue paper scene of rocks, water, and distant hills is punctuated by red paper knobs of driftwood and thin paper clouds.
A narrow marble fireplace mantel is adorned by a white paper house, a tiny earthy mug, and a dried philodendron leaf.

Bio

I’m a designer and artist based in San Francisco, California.

I graduated with a BFA in Art & Design from California Polytechnic State University, San Luis Obispo in 2013.

I’m currently improving my techniques for handmade noodles, char siu (叉燒, or Chinese BBQ pork), and whole-wheat rye sourdough. I’m also experimenting with mending and sewing clothes. When my hands need a break from all this making, I’ll go out for a long walk or read a library book on the bus.

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