When designing my typeface, Cirque du Display, I had taken inspiration from my research of historical circus imagery and advertisements; I found the trapeze artists to be fascinating and thought that I'd let them put on a show alongside my type specimen.
24 x 36"
These stitched compositions each represent an object and its meaning to a fictional woman named Lorraine Wukowski. These mantras were inspired by the situations of her life and how people and objects left their impressions on her.
This curation (a collaboration between Libby Bogner and myself) began with chance methodology. We drew adjectives at random and set off on a search to acquire correlating objects from thrift and antique stores. Our next step was to create a fictional persona to whom the objects belonged. We chose to represent this story as a whole, through a series of typographic compositions visually inspired by both the objects and the context behind them.
7 x 7"
Terminals, Returns, and the Freak Show is a collaborative specimen book featuring type from Lisa Nettler, Joe Przybylo, and myself. We all designed a section of the book to display our own typeface, each represented by one of the three embossed icons on the cover.
My typeface, Cirque du Display, was heavily inspired by historical circus typography. I fully developed three of the base styles that I had designed and plan to build out more of the ornamental styles in the future.
7 x 12"
Adobe InDesign, Adobe Illustrator, Glyphs, Heat Embossing
This poster was a conceptual promotion for the Detroit Urban Craft Fair. I wanted the poster to live up to the event's name and experimented with different aspects of crafting. I decided to incorporate the essence of the event by designing active hands and custom typography for the event name.
24 x 36"
The World Web Playing Card Museum boasts a collection of millions of digital cards; from it, I curated a narrow range of decks representative of the types of content commonly found on decks: animals, tradition, pop culture, and advertisements. I designed a large informational section to relay the history of the playing card as well as walk the reader through card terminology and standards.
I wanted to incorporate the idea of chance that is heavily associated with playing cards. I decided to strategically allow cards to "fall where they may" in the smaller grid display; I did not scale or move them within those grids, allowing the viewer to get just a peek at the content on each card of the deck. I also included directory information so that the reader can go to the online museum and view the collection and included decks fully.
5.75 x 9.75"
The Bright Side is an interactive installation encouraging individuals to partake in simple, everyday tasks that result in enhanced moments of happiness. This was a collaborative project with Hannah Morency that stemmed from the concept of "give and take" and how easily an emotion, such as happiness, could be spread among a community.
The installation features both analog and digital aspects that encourage the user to choose a prompt, act upon it, and then reflect upon their experience. The user then returns the prompt to share their response and allow others to see what has been done to achieve happiness. Once completed, the user may take a pin that may help further the user in achieving daily happiness through ten principles that have been proven through studies.
Finally, the digital aspect exists in the form of an instagram feed. Here, users can choose to tag @brightside_movement or just check up on what new prompts are available or how others are responding to prompts.
33 x 70"
Adobe Illustrator, Adobe InDesign
As I researched the topic of income inequality, I came across a lot of information pointing to how certain laws and government regulations can disproportionately affect citizens depending on their income levels- or even be a part of making income inequality worse. This information tended to be very political and didn't seem like something most people would read into for fun, so I began developing a way to present the topic in a friendlier way.
I came up with Equity, a game that assigns players different paths and circumstances based on their incomes. To begin, I created paths that made it easier for some players- the wealthier- to win the game than others- players may only travel on the white path or the path that matches their color. It is, however, still possible for any player to win. Chance, following life, determines some of those circumstances.
Along the path players come across day to day situations, good and bad, that allow them to rack up positive and negative points, which they can't tally until the end of the game. There are also spots with "red tape" Qs that represent some kind of government regulation, law, or policy. When drawing these cards, players see how each situation would potentially be handled differently in real life depending on a person's income.
18 x 18" board
9 x 12" boxed
Adobe Illustrator, Adobe InDesign, Laser Cutter
Over the past decade, income inequality has become a foremost issue in the eyes of many Americans. The emotional pull behind all sides of these issues seems to result in conversations rife with accusations of greed and selfishness, and “us vs. them” mentality, and a fundamental misunderstanding of economic principles.
With this curation of information, I sought to find the most well-reasoned articles and opinions to shed some light on different aspects of the issue. Not only did I want to remove the common myths which only obfuscate and derail the conversation, but I also wanted to bring forward related information and solutions that are typically overlooked.
8 x 8"
This book began with stripping multiple informational PDFS of their text and correcting the text placement and hierarchy for all 600+ pages. Every element on every page was assigned a paragraph and/or a character style, and the minutest of details were scrutinized and given a role in the typographic hierarchy. This resulted in a readable, organized, and clear compendium.
6 x 8.5"