A graphic designer with an interest in the use and abuse of language, the leaky, sinking, yet indefatigable juggernaut of human history, and tricking the eye and exciting the mind with quanta of color. Seeking mentorship and skill growth.
A speculative identity manual for Shack Tactical, a member-driven event organization with a large digital presence in a particular small pond. The straightforward but bold logotype and branding distills the the core values of the group, "serious fun," and allows members with little formal design training or experience access to the design principles necessary to independently produce video, written, or diagrammatic material to supplement the group's growing volume of internal and public-facing content with a unified visual language.
The organization itself grew from the hard work of a single man, but its identity and brand have been limited to an imprecise color palette and a series of ad hoc logotypes, while dozens of content producers have only loose guidelines and imitation, creating disparate visual content.
As an organization, it is primarily digitally-based, and its culture thrives on maturity, horizontality, and most of all, teamwork - its longtime motto being "Serious fun." As a contrast to groups with similar aims, I intended to eschew the military trappings borne from the group's history which I felt emphasized hierarchy and humorlessness. Looking to the iconography of professional sports teams, a cousin to military units by way of English city regiments and their associated football clubs, the bright heraldric color fields and bold lines were stripped down for a digital environment.
Using only a limited, energetic palette with strong but friendly typography, likewise many content producers would not have access to paid typefaces, so a common key typeface and more common alternative are given. The manual is partly didactic, giving examples of easy mistakes, and templates for emphasizing hierarchy with typography and color choice, as well as guidelines for type with image. The logotype is abstract, the center void made tangible by the cooperation of individual equal elements, with a gentle nod to the three Sergeant's Stripes used as the previous logo.
A series of three posters for the Canadian Centre for Architecture, each 24" x 36" with client-given copy and subject. Each poster prominently features found photographic details from the work of each subject architect and a single key color to emphasize the distinctness of the events, while maintaining a rigorously consistent visual language and typographic hierarchy toward the unity of the series. The choice of photography and typography intends to strike a considered balance in the historical timeframe spanned by the series.
This project was prominently an exercise in systemic thinking. I quickly nailed down that the contemporary architectural roots and the language of the client organization indicated Crystal Goblet simplicity. A singular image would need to speak as much about the architect as any of the pull quotes, and after distilling each one down to a simple analogy, I searched for photographic poetics that represented the floridity of Louis Sullivan, the pure geometry of Richard Neutra, and the plasticity of Frank Gehry.
Each image was selected as emblematic of the recognizable style of the subject, while the clarity of the type allows the eye to recede back into the deep space created by each image. In this way, I intended interpretation of the posters' edges as the exterior of each "building" (unified by the motif of the colored squares,) while the darker image draws the eye and creates a forced sense of interiority.
full size (380 kb)
36 x 22 inches each
Speculative work under Ernesto Aparicio
A tightly wound length of paper whose edges create the image of a spiraling city, paired with an unlabelled book that provides a detailed instructions to interpret the sculpture. Upon reading the book, the reader will come to understand that not only does the sculpture literally portray the first section of Homer's Iliad, but how to understand the form of the sculpture, including learning not only a new alphabet, but possibly a new way to interpret alphabets. The overall affect is one of a slowly unraveling mystery.
The seed of translation germinated into the idea of developing a visual representation of how words are pronounced, instead of how they are spelled. I intended to provide an opportunity to literally teach the viewer. Being familiar with similar systems used in academic and scientific disciplines, I explored other approaches used by linguists, steganographers, and cryptographers. Devising a system that was completely formally linear, I devised the spiraling, bare, inscrutably raised form as a counterpoint to the familiar, flat, linear companion guidebook.
The choice of the Iliad, the foundational work of Western literature, seemed powerfully resonant with the themes of this form. That the first written version of the work appeared some 1,700 years after the genesis of the oral work rhymed well with the themes of my system, and with the work itself - the sounds of words literally constructing a city, an immediate echo of the purely oral tradition of the source material. While the piece is at first completely enigmatic, the companion book is thoroughly didactic, and would even allow a completely unfamiliar viewer to understand the sculpture so intimately that they might be able to correct even my own translation mistakes.
Since the Fall of 2015, I have been mentoring with the Anderson High School robotics team called the ausTIN CANs, FIRST Robotics Competition team 2158. Being one of the first media-oriented mentors the team has had at their disposal, I spearheaded a more solid identity for the team that emphasizes its core values: friendliness and aspiring professionalism.
Aside from a logo and logotype, I developed supporting ephemera and platforms, including apparel, a social media revamp, and a brand new, CMS-driven website aimed at parents and prospective students. In all this, I managed to learn a fair amount PHP, as well as the foundations of building a site around a CMS framework.
Additionally, I started a small program within the team to teach students the principles and practicalities of photography outside of a studio environment. In the process, I learned a fair amount about photography myself, as well as the process involved in building an educational program from scratch.
Finally, each competition, a three-day affair, requires teams to gather as much information about their fellow potential allies or opponents as possible.
Over the course of a week, I quickly developed the front-end of a web app, geared toward high school students in order to help collect data about teams' performance. The app itself is designed to function on a very poor network connection, totalling less than 120kb, and will store information locally until it can be offloaded to a database and interpreted later.
An iPhone 5 app for the RISD Museum, the 20th largest art museum in the United States. Allowing users to make an advance appointment to reserve a street parking space, the user is guided to find a specific marked staff golf cart occupying the space already. Visitors, frequently families, may then be shuttled to the museum itself by staff, avoiding walking down the treacherous College Hill. The experience is largely linear, providing limited information about street parking, and allows for easy contact between the museum staff and the visitor.
The initial investigation with the client led to parking being a commonly cited complaint from visitors with only cost-prohibitive solutions. Instead of augmenting the museum visit itself, I felt it more important to refine the quotidien frustrations that bookend what can be a transcendental experience. Examining how the existing experience of parking at the museum works, I ideated a system that would allow the user to reserve a spot, know exactly where it would be, and allow the staff manning vehicles to know exactly what vehicle to look for.
The user may pay for a reservation well in advance, or even the day of, but needs to notify the museum, in-app, that the reservation ought to be cancelled or delayed, then later that they are near enough their space that staff should be manning the space itself. While the booking process is much more extensive, requiring payment input and a four-factor vehicle description, safety concerns about the use of a phone while driving led to simplificiation of the interface while the user is driving. Ancillary features, such as a map of street parking and nearby lots, as well as museum hours, are available for ease of planning.
Speculative work under Hans van Dijk
Between January and April 2014, I was a design intern at Headmaster Magazine in Providence, RI, assisting in the production of their sixth issue. To commemorate the completion of their first "six pack," I designed and produced a series of slip covers for the complete box set that complements the magazine's spare, raw aesthetic. I also designed a set of Headmaster-branded tallboy beer can labels that were produced and used in a promotional video. In addition to other smaller duties, I typeset two of the articles found in the issue, one a nostalgic confessional short story, the other a mock academic paper submitted to a fictional scientific journal.
Slipcover 10 x 8 x 2 in. chipboard Can labels 10 x 6 in. vinyl decals
All work under the supervision of Jason Tranchida and Matthew Lawrence, and is my own work unless otherwise noted.
A toolbox that contains a set of 36 of laser-cut words and a rectangular "ground" board, designed for use with talk therapy as a means to express and relate abstract and emotional ideas and spark conversation between a therapist and client. The user, whether client or proctor has several scales of the same word at their disposal, and the heavy board makes the pieces - emotionally neutral though they are - playful and tactile, inviting handling and experimentation.
14 x 9 x 2.5 in. 38 pcs.
Speculative work under Oded Ezer
A white box, three feet tall, mounted at approximately eye level with a void cut into the center. Intended to provoke the viewer to approach the object and peer inside, the viewer is met with no resolution. The austerity of the object itself and the focus on an absence limits the viewer to either ignore the work or invade it to satisfy their curiosity.
Arches paper, chipboard36 x 22 x 11 in.
Under Clement Valla
A poster for the 1925 film 'Battleship Potemkin' that attempts to communicate the themes and context of the work without resorting to tired historical pastiche. The famous iconography of the film and incident it portrays, namely the Potemkin Stairs, are barely intimated, instead relying on the foregrounded foundering hulk to dominate the space.
full size (238 kb)
36 x 24 in.
Speculative work under Mark Laughlin
A poster providing a brief overview of the Georgian alphabet, called "mkhedruli" by its users in the southern Caucusus mountains. The text was researched and written by the designer, while the beauty of the letterforms are highlighted by their scale and uninterrupted clarity, and the color palette reflects the nation's centuries-old standard. The pureness of form intends to inform that the alphabet is as much a contemporary artifact of Georgian national culture as it is a historical one.
full size (209 kb)
36 x 24 in.
Speculative work under Douglass Scott
A poster about Massin's seminal book "The Bald Soprano." The short essay, researched and written by myself, provides context for the production and influence of the work, while the supporting images and typesetting provide the viewer with a thumbnail of how the work functions formally. The large offset color letters at the top give the viewer an impression of Massin's large, energetic personality and his huge role in the often improvisational publishing culture of postwar France.
A mock-up of an art and culture magazine with a cover, index, and three articles of a variety of topics. Text and images were provided for all three articles, while the logotype and the separate identity of each piece are my own work.
full size (2.8 mb)
A4 size, 41 pp.
Speculative work under Ernesto Aparicio