Graphic Design Projects
This is a sampling of my graphic design work. Please click on the images for full versions and a brief narrative for each.Contact me for more information or process examples.
My newest project is a manifestation of my creative thread in identity with place. www.globetripping.xyz will also feature journal style publication format and include a call for participation to broaden the visual narrative perspective.
This poster was selected in the UCDA Design Competition 2012. "Where does one find inspiration?" was the ultimate question the speaker, Pash (otherwise known as Matt Pashkow) was addressing using material from his book "Inspirability". The stories in the book are of different designers and their work spaces, scattered in different places. I visually interpreted the metaphor of speech and discovery with maps and speech bubbles.
The speaker, Ann Willoughby, was discussing the topic of what good design means. This obviously is an open interpretation of an individual's own perspective. Some prefer a clean modernist approach while others may prefer ornamentation. The type Brownstone was used along with the Pantone color of the year to create a visual aesthetic to attract an audience for the event.
Create Magazine in Orlando, FL was in its infancy when AIGA Orlando was transformed from the Creative Club of Orlando. As the inaugural President of AIGA Orlando, I was asked to contribute an article to the magazine which ended up being an interview and photoshoot of myself by fellow creatives. I visually translated the auditory component of the interview through the design choices.
A professional development exercise resulted in a random assignment of Japanese designer Ikko Tanaka. This is designed as a long panel reminiscent of Japanese landscape paintings, but could also be turned horizontally and folded as an accordian or scroll - reminiscent of a japanese fan or scroll.
This work integrates Tanaka's designed artifacts of posters and brand elements with historical photography. The historical images look like duplicates but are in fact produced this way (stereographs) for an old device called a stereoscope.
The design of the typography is intentionally in an alternative direction than the imagery. This connotes a language barrier although the text is written in english. It also is intended to engage the user in two different ways - as a poster this hangs and one views the imagery, and as an accordian or scroll brochure the user would hold horizontally to read the text. Some of Tanaka's iconic brands are overlapped onto the historical imagery. The assignment was not to mimic, but visually interpret.
This is the cover for a designer as author project about a month-long experience in Egypt, july of 2011 at the height of the arab spring resurgence. On a restless night, 3 weeks in I awoke to the pause screen on the television. We no longer see this in the U.S. with 24/7 cable. However, it was the perfect metaphor for me as to what was happening in Egypt at the time - a complete break in programming, an interruption or pause in daily life.
The book is arranged by color to convey the visual experience of the author - myself. It has little to no words as there was little to no verbal interaction with anyone during or about the experience, beyond sedentary lectures that the group of 11 attended for this Fulbright-Hayes group project abroad.
Tinker Bristol is an emerging maker space in Bristol, RI. After discussing the goal of this non-profit and providing numerous options for their brand, they selected this. The notion of temporality and impermanence as an aspect of creative process is represented by stencils that create a system of interchangeable pieces.
A non-profit with limited funds needs a simple brand that can be replicated on a laser printer on either white or bright paper.
The artist work is so visually explosive with vibrant colors it was only natural to reinforce this throughout the design of the exhibit catalog. Layering of typography supports his aesthetic compositions while blocks of color were used to reinforce the blocks in the artist's work.
The narrative component of this exhibit catalog was integrated alongside the imagery rather than as a separate section. This was intended to be a non-linear approach to engage the audience/reader to process the written word and the artist's work in a slow maner.
This exhibition included mostly video and installations. The erotic and graphic nature was interpreted through the use of red ink as lipstick on uncoated natural paper. The still frames elude to the content without exposing and entice the audience to experience and intrepret on their own.