sketches
—2016–2017

Unrealized posters for Pratt Institute

School of Art poster Studio Days 2016

321 Gallery
—2016

What sets 321 Gallery and other small Brooklyn galleries apart from large, big-name galleries is the architecture of their spaces. They are intimate and cramped, with odd architectural layouts and, in some ways, intimidating exterior approaches. For 321 Gallery, the gallery is half of the founder's apartment. With the gallery's architecture in mind, and their DIY approach to a sometimes white-collar profession, I mimicked the actual gallery space by spelling out 321 Gallery along the walls and corners of the space's floorplan, with an image, show title, or website navigation taking the last corner. This lets the "logo" function both vertically and horizontally, with dissonant typography conditionally branding both the gallery and their artists as one entity, drawing out eccentricities that are confrontational and memorable to their audience.

321 Gallery 321 Gallery

Differentiate by Design 6
—2016

Designed at Pratt Institute
Creative Director: Mats Håkansson
Design: Rory King

A majority of contemporary art fairs cater more to celebrities and commerce rather than culture. In some cases, disparate and opulent after-parties have become the focus of attending art fairs, creating a void between the audience that is genuinely interested in art and the bogus—and, in some ways, philistine—audience. By using french folds and stock photography, this book tries to convey that void with the “exterior” of the folds containing hazy collaged banality and the “interior” of the folds, which must be ripped open, containing the pertinent writings. The act of ripping open these spreads asks the reader if they are willing to destroy this artistic, yet gaudy, artifact and break down the facade that art fairs have constructed.

DxD6 DxD6 DxD6

321 Gallery at NADA NYC
—2016

Business card for 321 Gallery and their booth at NADA NYC 2016.

321 Gallery 321 Gallery

Studio Days
—2015

Designed at Pratt Institute
Creative Director: Mats Håkansson
Design: Rory King

Studio Days 2015

Differentiate by Design 5
—2015

Designed at Pratt Institute
Creative Director: Mats Håkansson
Design: Rory King

The book is printed entirely in black and white to instill within the reader a desire for diversity (i.e., color). Portraits are converted to embossments so that the age, gender, race, or other characteristics of a person influence the text of the current and previous profiles. At the same time, the embossments acknowledge people for their creativity and accomplishments rather than their age, gender, or color of their skin. The typography is typeset as shifting paragraph blocks, conveying how our competitive human nature—the challenge to outperform someone different than ourselves, and the shifting discourse of a diverse workforce—is the science behind how diversity generates creativity within the workplace.

DxD5 DxD5 DxD5

A Clever Play On Words
—2015

The idiosyncratic and esoteric qualities of ferociously drawn raw black metal bands’ logos or abstract expressionism paintings have always interested me. There is a trance-like facet to the randomness and even ugliness of these artifacts. I wanted to try my hand at this formalist practice with my own asemic writings and typography. Some of the results say nothing, others developed into ephemeral alphabets. All attempts were complied into a small zine with a hazy trance-like sheen and captioned with my GUY1976 font (another attempt at asemic writing) to encourage the reader to rotate the booklet and view each attempt from a different angle.

A Clever Play On Words A Clever Play On Words A Clever Play On Words A Clever Play On Words A Clever Play On Words A Clever Play On Words A Clever Play On Words A Clever Play On Words A Clever Play On Words

Work In Creative Services
—2015

Sketch for Pratt Institute

Creative Services

Pratt Shows
—2015

Designed at Pratt Institute
Creative Director: Mats Håkansson
Design: Rory King

The program booklet for Pratt Institute's Pratt Shows 2015 uses a spectrum of colors that begin on one spread and bleed into the next spread to convey the interdisciplinary curriculum and workings of the Institute.

Pratt Shows 2015 Pratt Shows 2015 Pratt Shows 2015

GUY1976
—2015

This font was created to form an alphabet based on the Guy de Cointet's 1976 work Wind of the.... Using a grid, the letterforms strictly use lines that are either the full length or half length of a side.

GUY1976
ABCDEFGHIJKLM
NOPQRSTUVWXYZ
1234567890

Stood by the gate at the foot of the garden Watching them pass like clouds in the sky


Typography Summer School New York
—2014

From August 4–8, 2014 I attended the Typography Summer School in New York City. The brief I was given asked to design a visual identity for the launch of the new HEALTH record that can extend into multiple applications.

The identity system for HEALTH’s new album was built around layered, erratic typography that needed to be stared at—keeping the viewer’s attention for more than a split second—in order to see something more than an abstract visual. The din-like aesthetic of the typography references HEALTH’s noisy and textural sound.

Because the noisy typography treatment cannot be replicated on the web, the different sections (tour dates, contact info, discography, news, videos, etc.) of the website overlay each other as a macro representation of the colorful and erratic type found on all other ephemera. The mobile version of the website references the macro concept but by stacking the sections. When a section is tapped it slides open to reveal its contents.

Typography Summer SchoolTypography Summer School Typography Summer School

Listen to the Sound of the Engine and the Sound of the Tires
—2014

From August to the first week in November of 2012 I was an intern at 2×4. Every weekday during those three months I commuted on a Trans-Bridge bus to and from New York City. As a token of remembrance for this time and these anecdotes I documented the passengers that sat next to me on the night ride home for one month. The document has the same dimensions (8.5"×24") as the 4-parallel-fold Trans-Bridge bus schedule. The first side unfolds to an introduction about my time on the bus and a map of the route containing my personal thoughts on certain stops. The other side of the brochure comprises four weeks of descriptions for each person that sat next to me. My activities are typeset in a condensed weight, depicting the cramped feeling of sitting for 2+ hours next to a stranger, while the passenger descriptions are typeset in an extended weight. Both descriptions alternate lines of text therefore occupying the same space and depicting the shared space between two strangers. The elongated line-length forces the reader to interact with this brochure by finger tracking the text—the same method used by frantic passengers desperately trying to decode the time chart on the original bus schedule.

Listen to the Sound of the Engine and the Sound of the Tires Listen to the Sound of the Engine and the Sound of the Tires

Time Stamp
—2014

Time Stamp is based on the font used by the employee clock-in machine at the screen-printing shop I worked at for the summer of 2014. With only the letters that form the abbreviations of the weekdays (M, TU, W, TH, FR), in addition to the numbers 0–9, I drew an entire uppercase alphabet from scratch/memory.

TIME STAMP
ABCDEFGHIJKLMNOPQRSTUVWXYZ
0123456789?!#%&()+:;“”/‘’<>

After Cindy breaks up with Todd, Sam finally asks Cindy out on a date after she tells Bill that she has a crush on Sam and wants Bill to persuade Sam to invite her to a party. Sam, Neal, and Bill find themselves nervously attending a make-out party. Much to Lindsay’s disappointment, the Weirs allow Nick to stay the night at their house after Nick’s father sells his 29-piece drum kit.


Defining Graphic Design/Discovering Intellectualism
—2014

Typeset entirely in italics, this mind-racing and forward-thinking retrospective questions my understanding and definition of graphic design. The unedited stream-of-consciousness writing acts as my tentative thoughts on the practice of graphic design since the day I was first introduced to the discipline to circa September 2014.

In the beginning of this story, visual inspiration and meaningless novelty artifacts were my understanding of graphic design, with conceptual thinking and discourse as an afterthought. By the end, I no longer obsess over aesthetics and instead take value in current events or professions not necessarily related to graphic design, noticing how these outsider ideas can translate to the design process. The layout of the book reflects this analysis by typesetting my initial thoughts in an extremely small point-size—thus an extra long and poorly set line-length—with the correlating visuals (and page numbers, another decorative element) extremely large. Gradually the scale shifts, with my thoughts and opinions becoming the overbearing element of the book while the visuals, although now more varied, become secondary. This shift causes the book to translate from a naive design sensibility found in my early freshman school assignments to a complex and professional design sensibility found in my current work.

After rereading my passage I noticed a reoccurring theme of intellectualism within design and my subconscious endeavor to attain this knowledge. These revelations, typeset in reverse italics, stop me in my tracks and divert me in a new direction. Other specific moments or artifacts are underlined and connected to images on the opposite page. These overlapping and intersecting lines represent how these different artifacts of inspiration were unknowingly crossing paths.

Defining Graphic Design/Discovering Intellectualism Defining Graphic Design/Discovering Intellectualism

The Where As Much As The How
—2014

A collection of my design criticism essays. The three-ring binder enables me to add new essays, thus the book is always up-to-date without needing to be reprinted.

The Where As Much As The How The Where As Much As The How

The Five Obstructions
—2014

In the second episode of the Sway podcast, we discussed the documentary The Five Obstructions as a framework for a class assignment that forces students to work within constraints to focus on processes, research, and experimentation. In the film, Lars von Trier asks Jørgen Leth to remake his short film The Perfect Human five times with varying constraints and guidelines imposed by von Trier. We adapted the concept for Sway by selecting a favorite project of each others and for five weeks asked the other to rethink and redesign that project. The concept of this case study challenges us to reconsider the “best” solution five different times in addition to thinking pedagogically when instructing the other person.

I was instructed to redesign my Nuit Noire Winery identity, while I choose Jarrett's Don't Get Comfortable Jazz Lecture Series program booklet. Shown below are my results from three different weeks, tackling the obstructions of typography, texture, and conceptualism.

The Five Obstructions on Sway
Jarrett's detailed solutions

The Five Obstructions

Sway
—2013–2016

The Sway Podcast, was co-hosted with a friend and used as a platform to have a discourse between us or guests to unravel and articulate our opinions on contemporary design education, innovations, or media.

Sway Podcast

New Miseries EP
—2012

Artwork and layout for the sleeve, lyric sheet, and center labels of the hardcore band New Miseries — I, Imperfect 7" EP. Cassette and CD versions were also produced.

newmiseries New Miseries New Miseries

Angelo’s Basement
—2012

Concept art and layout for the Angelo’s Basement Glue of the World 12" and 3:05 7", respectively.

Angelos Basement Angelos Basement Angelos Basement

Posters
—2011

Capsule Ghastly City Sleep Tripartite

Miscellaneous
—ongoing

scraps

Miscellaneous Miscellaneous Miscellaneous Miscellaneous