Since 1968, The Neighborhood Design Center (NDC) has provided pro-bono planning and design services to over 1,800 community initiatives that have helped communities reclaim vacant lots, create community master plans, and beautify their neighborhoods. However, with such an impressive span of work NDC was lacking the money and time to create and maintain an identity which properly fit their amazing work.
Thus I was presented with a unique problem:
They needed an identity system which would cost them next-to-nothing to implement, which could hopefully gain funding for more items in the near future, and which would not require a professional graphic designer to carry out in the general future.
Out of that prompt I created a cost-effective, timeless identity system which built off their 70’s origins while pragmatically looking into the future. I used only fonts which were already included in their office computers or which could be easily downloaded for free, images form their archives or from flickr commons, and an easy-to-understand, no-nonsense identity guide.
Now NDC has an identity system which will take little effort and money to maintain in the future and which received $21, 340 of funding from the Sappi Ideas that Matter Grant.
D Center is a exhibtion space and conversation initiator for design in Baltimore. Their space was filled with exciting events but lacked a real street presence. As a result, they approached Kacie and I to create a design solution which would be both gripping (to create buzz) and easily transportable (in case they need to move locations in the future). We built off the previously created modular D and flag system, creating an impacting graphic solution which includes everything from a bat symbol-esque ‘D’ shining up their tower to the insinuation of flag ripples created by the ebbs and flows of the interior wall.
An app for energy saving within the home, created during the GOOD Energy Hackathon at MICA with Christine Brown, Maria Chimishkyan, and Bryan Connor. The app won GOOD Magazine’s People’s Choice Award. I created the animations of the app’s functionality as well as contributed to the ideation and creation of the app itself.
Mysterious ad created for a chair which is made the same way sports cars are manufactured and is versatile enough to be used in both home and work environments. The ad highlights the unique industrial processes by which the chair is made while creating subliminal narratives eluding to the progressively blurring line between home and work environments. Using cryptic industrial imagery and sounds, the ads builds a mysterious tension until the product is finally revealed at the end.
Mysterious furniture show takeaway item which translates the surprising experience of watching the Visionare chair advertisement into physical, interactive form.
The acrylic box comes with an external and internal light source, as it is meant to be opened in the dark. From the depths of the box, an internal light shines through the lasercut silhouette of the Visionare chair, providing a candle light-esque ambience. Once the lights have been triggered, sounds from the advertisement play from within the box, replicating the multi-sensory feeling of the ad in an intimate, dimly lit manner. Additionally, the same silhouetted image of the chair is lasercut on each page of the outer booklet allowing light to shine outwards throughout the entire reading experience.
Visionare is a high-end chair brand with a unique process for making their chairs. Not only is it made the same way sports cars are created, it also functions nicely in both home and work environments as the line progressively blurs between them.
For the Visionare website I built off the mystery I had created in my video ad (see above) for the chair by bringing elements of the ad into the website as well as using a predominantly dark color scheme. However, unlike the ad I wanted to lift the veil of the nuts and bolts of the chair by creating a beautiful, highly functional, highly informational user experience.
"A Journey Through Meditative Abstraction" is an interactive gallery experience for the iPad. I curated and designed the content to embody a meditative, relaxing experience for the user. The app itself is centered around an almost invisible interface, keeping the focus on the content and the feelings it inspires in the user.
De/Material is a publication which surveys both the positive and negative aspects of staring at a screen all day. The magazine aims to create awareness of the dangers found within our screen-based lifestyles. I selected the name De/Material to reference the intangible, online world we exist within. To further that idea I made the decision to design the magazine in a claustrophobic, disorienting manner to emulate the experience of interacting with a screen. Additionally, the magazine has been imagined for use on the iPad. In this setting every spread of the magazine can be “de-materialized” via arcing finger swipes, ultimately creating an experience somewhere between a magazine and a game, furthering the concept of disorientation.
Identity system for De/Material, a clothing line, created by myself. Every shirt questions the role consumption plays in daily life. This creates an ironic paradox for the consumer where he or she must “consume” a shirt to wear the clothing. This concept of an anti-brand is taken one step further by keeping the logo off of the actual shirts themselves.
Visually, the animated identity of De/Material echoes the idea of going against the grain of “material”, consumer culture. The type is in a constant state of flux, evaporating in and out of materialization. And with such a wide array of variations in logo disintegration, it emulates the idea of a “one of a kind” within the post-assembly line world. This identity can either be used in motion or can be stopped at any point and used as a still image. The initial de-materialization in the identity video is used for web & mobile applications while the second de-materialization is used for print & tv applications.
Formed by an experiment with projections on geometric shapes, ISATS, was a progression from that experiment with static imagery to a more dramatic, interactive environment. I installed ISATS in the 2012 Becoming Art Show at the Community College of Baltimore County’s Art Gallery. The piece is intended to make the participant feel uncomfortable with the image of themselves which is projected back at them, a visual representation of the continual human struggle with self.
An interactive project created in Max 6 which uses breathing as an interface. The Max patch rewards users for breathing calmly and slowly by playing soothing music while discouraging them from breathing quickly with the insertion of chaotic noises.
Publication based on the word construct, which is able to function as both a poster and a zine. Comprised of two, double-sided zines, the user can flip between the two different sides of the zine, each side containing different visual information. If the zines are unfolded, they can be transformed into four different dynamic, three-dimensional posters, each which contain a different commentary on social constructions. On the top side of each zine there is an “ideal” social construction, while on the bottom there is the opposing, chaotic, visual representation of what happens when the construction above it fails.
In the first zine the user constructs a social environment which is run by an oppressive political system, while in the second zine the social environment is run by media-manipulation. As a whole, the publication creates a setting where the user is able to physically construct visual representations of two harrowing social constructions, ultimately forcing him/her to question the social constructions we have created for ourselves and how effective they really are.
Zemrude is a fictional city found in the book, Invisible Cities, written by Italo Calvino. Depending on the mood of the beholder Zemrude will either reveal itself to be beautiful or hideous. Furthermore, once the city is seen to be hideous by the beholder, it is almost impossible for the city to be seen in a good light again.
I responded to this fictional city by creating a branding system based around a neutral typeface which embodies the values of the city through a dynamic series of opposing color relationships. For the symbol of the city I used the peach, a fruit which is beautiful for a brief time before inevitably becoming quite hideous in its decayed state. This peach then became the basis for the city’s color scheme as well as a metaphor for the experience of the city.
I applied the branding system to a video postcard which mirrors the ephemeral beauty of Zemrude, an events poster which is half cheerful, half dreary, and with a happy blinder social intervention. The blinder allows users to become distracted from their sadness and the hideousness of the city by filling their vision with gradient swells of color.
Identity system for The Clubhouse, a punk dive bar/restaurant/music venue. With this project I decided to glorify the grit & grime associated with punk music. This glorification fleshed itself out in a poster system used to promote upcoming events where an alphabet’s worth of pre-made posters could be printed out to spell any words necessary. I formed each of the letters from various messy materials and played on the ransom letter feeling embodied in many punk posters. Finally, the grit & grime manifested itself in Rorschach-esque grease stain patterns which I used on clothing items as well as promotional flyers.
Campaign completed for the Youth and Livelihoods department of the International Rescue Committee (IRC) with Cindy Jian and Jane Kim.
Youth and Livelihoods creates programs which allow children in areas of conflict or natural disaster to have normal childhoods. However, they needed assistance elevating awareness of their incredible work within the IRC as a whole. In response to this brief we created a series of four posters each begininning with the hook “400 million of the world’s would rather…”, then filling the end of that hook with an childhood activity which would be relatable worldwide. We decided to heavily texturize each poster to echo the grittiness of the third world and to create a more emotional connection with the viewer. Additionally, we created illustrations which portrayed the daily conflict felt by the children Youth and Livelihoods assists, wanting to be a care-free child yet having to take on adult responsibilities Each of these posters then links to a motion graphic which explains their department in more thorough detail and provides a link for viewers to contact the department head directly.