The OnePlus7T was the first product to compete with Apple, Samsung, and Google premium phone products. In order to stand out from the competition, I led a small design team to design a visual campaign that dismissed the blurry-rainbow-gradient visual trend of most tech/smartphone companies and built a visual branding system for OnePlus that relied heavily on a thoughtful color scheme and rigid typographic hierarchy. These guidelines allowed the system to be easily applied and establish a sense of cohesion across digital assets, packaging, press kits, and other collateral.
Motion Graphics for the Bantu Wax website, and branded surfboard proposals. (CD: Look Studios)
Poster for a gathering that celebrated goth, post-punk, and EBM music and culture. “Dance, dance, dance to express your pain and suffering; hands at your sides; eyes looking at the ground; drag on your cigarette every three seconds.”
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. 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. 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 marketing collateral as documents—or evidence—of a Pratt education and the good it is doing in the world, not exclusively on the Pratt campus.
View proposal deck → PDF
UI/product design of HUD displaying live arrival times for local NYC MTA bus and subway services, as well as the date, time, and local weather.
Design systems made to help expedite the workflow of the Pratt Creative Services department. The visual identity references the historical architecture of the Pratt Institute campus—from engraved type to industrial window frames and gates. These referecnes translated to graphics established typographic rules and logistics to easily apply to print or digital collateral and scale with various formats and dimensions.
I was a co-oraganizer and designer of SpaceSpaceSpace, a three-day gathering centered around alternative pedagogy, self-organizing, and exploring ways of disrupting the productions of knowledge within academic structures. Inflatable architecture was built to house the event and provide a stark contrast to the historic Cranbrook campus. It was also meant to be seen as ephemeral so that an urgency to establish and maintain a connecton between Detroit initiatives and Cranbrook could be instilled. Because the inflatable architecture was such an important facet of the SpaceSpaceSpace event, the bespoke typeface for the branding used standardized architectural handwriting as its foundation and morphed it with the bubbly forms of the inflatable architecture.
Custom typography for various clients (shown here: Unistrut Radio, U-S.biz, and Microsoft).
The identity for 321 Gallery is based on the gallery’s DIY approach to a white-collar profession, with the “logo” (and website UI) mimicking the gallery’s architectural floor plan while dissonant typography conditionally brands both the gallery and their artists as one entity. Each iteration attempts to draw out eccentricities that are confrontational and memorable to their audience.
The book design for painter Alyssa Klauer uses the blurry and volatile brush strokes of Klauer’s paintings to depict the intersection of magic, feminism, cherries, and other themes and methodologies of Klauer’s practice. (Designed with Brenden Lovejoy)
A pair of ~275 page books for prospective students describing all the departments, programs, and divisions of Pratt Institute. This was a redesign to substantially lower the page count of the previous edition by over a hundred pages and systematical organize the content so that the wayfinding of each book was more expedient and logical.
A majority of contemporary art fairs cater more to celebrities and commerce rather than culture. Using french folds and collaged stock photography, this publication asks the reader if they are willing to destroy this gaudy artifact—by ripping the french folds—and break down the facade that art fairs have constructed.
This publication is printed entirely in black and white to instill within the reader a desire for diversity (e.g., 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.
“You can’t go on ‘seeing through’ things forever. The whole point of seeing through something is to see something through it. To ‘see through’ all things is the same as not to see.” —C.S. Lewis
Paintings/Illustrations made for Cranbrook Academy Of Art's MFA thesis exhibition. These illustrations were visual representations of my Oozethetics statement: dark entanglements producing disorientation that invigorates solidarity.