School of Art poster Studio Days 2016

Unrealized posters for Pratt Institute
↳ 2016–2017

321 Gallery 321 Gallery 321 Gallery

321 Gallery
↳ 2016–Present

What sets 321 Gallery and other small Brooklyn galleries apart from large, big-name galleries is the architecture of their spaces—intimate, cramped, and unexpected. With the gallery's architecture in mind, and 321's 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 gallery’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.

The Fund For Pratt The Fund For Pratt

The Fund For Pratt (proposal)
↳ 2017

Built upon the idea of disseminating Pratt Institute’s curriculum, the new Fund for Pratt campaign turns the fundraising department of Pratt Institute into a producer and publisher while stripping alienating money-talk from its messaging. Periodical direct mail spotlights the work, theories, or criticisms by Pratt alumni, faculty, and students. Essays, manifestos, instructional art, concrete poetry, and much more subvert the expectations of what direct mail can be. The email campaign profiles those same alumni, faculty, and students’ processes and practices. All of these works are then collected on an archival website to be shared with an external Pratt Institute audience. The branding is a simple nomenclature system, allowing the collateral to be a blank canvas for the featured artist/designer/author, while also framing the collateral as documents—or evidence—of a Pratt education and the good it is doing in the world, not exclusively on the Pratt campus.

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

DxD6 DxD6 DxD6

Differentiate by Design 6
↳ 2016

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.

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

DxD5 DxD5 DxD5

Differentiate by Design 5
↳ 2015

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.

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

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
↳ 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, captioned with my GUY1976 font (another attempt at asemic writing).

Pratt Shows 2015 Pratt Shows 2015 Pratt Shows 2015

Pratt Shows
↳ 2015

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.

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


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.

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.

newmiseries New Miseries New Miseries

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.