Stari is a partner student project created with Virginia Liu for the Color Theory class taught by Adam Ross at ArtCenter College of Design. This project takes the form of a hypothetical blind box series.

In a realm where ancient craftsmanship meets the cosmos, Stari were born: modern talismans inspired by traditional Chinese knots. Each knot threads together unity, harmony, and boundless fortune, while each color carries its own emotional frequency and symbolic energy. To collect a Stari is to collect a moment of synchronicity, and a small reminder that magic reveals itself when we remain open to wonder.

The identity system uses Neue Montreal by Mat Desjardins as the primary sans serif, grounding the brand in contemporary clarity and structure. Lucy Rose by Ellen Luff introduces elegance and sentimentality, subtly echoing tradition and storytelling. Ohno Softie by James Edmondson is reserved exclusively for the logotype, its rounded, plush forms reinforcing the warmth and playful tactility of the blind box experience.

“Garnier – Everyday Touch” is a student rebrand identity project made as part of the Packaging Design 2 class taught by Ania Borysiewicz. It reimagines the brand through the lens of ritual, sensuality, and evolving heritage.

Hair is a ritual, evolving with every new chapter and reflecting our heritage. Infused with nourishing botanical ingredients, each formula transforms the everyday into an intimate act of care. More than maintenance, this is a return—to touch, to tradition, to the quiet sensuality woven into daily life.

The identity uses Univers as the primary typeface for its clean, modern precision and structural clarity across the system. IvyPresto is used exclusively for the logotype, its expressive serif forms introducing elegance and softness that echo the brand’s botanical heritage and refined sensuality.

This publication design project was created at ArtCenter College of Design for Communication Design 3 with Carolina Trigo.

This project tells the stories of Hiroshima bombing survivors who transformed their trauma into art, delivering powerful messages of hope and resilience. Inspired by Sadako Sasaki’s 1,000 paper cranes, the design incorporates folded imagery and carefully treated typography that mirrors the act of folding paper—symbolizing both the creation of something beautiful and the delicate balance between strength and fragility.

The work highlights the profound impact of collaboration—not only as a force behind the devastation of Hiroshima, but also as a path toward peace and understanding. Just as collective effort contributed to destruction, it can also be redirected toward compassion, healing, and hope. The binding reflects this tension between delicacy and endurance, honoring the past while inspiring future generations to foster empathy through shared artistic expression.

The typography pairs Neue Haas Unica for its clarity, neutrality, and modern restraint across the body text, while Shippori Mincho introduces a quiet elegance and cultural resonance that reinforces the project’s emotional weight. Together, they balance sensitivity with structural precision, echoing the harmony between fragility and strength embedded in the narrative.

mona is a student rebrand project created at ArtCenter College of Design as part of the Communication Design 4 class taught by Wendy Thai. This fictional project reimagines the Museum of Neon Art through a renewed visual system, positioning it not just as a museum, but as an experiential portal.

The Museum of Neon Art is no longer just a museum—it’s a charged space where science, art, and motion converge in an electrified dance of discovery. Visitors are invited to step into neon’s full spectrum: immersive, transformative, and alive. Through art, storytelling, and sensory experience, the identity celebrates neon’s curious spirit and ethereal presence, awakening awe while honoring its vibrational energy. This is neon reborn, where energy becomes art.

The identity uses Lexend as the primary typeface for its clarity and contemporary warmth, supporting accessibility and readability across the system. MuseoModerno is reserved exclusively for the logomark, its fluid, futuristic curves embodying neon’s movement and luminosity.

The Bodies We Call Home is a student project created at ArtCenter College of Design as part of the Type 4 class taught by Stephen Serrato. This publication is presented as a hypothetical art catalog, imagined as a curated collection of works exploring queer intimacy, resistance, and care.

The catalog’s typography—featuring Playground, Alegreya Sans, Editorial New, and Eiko—balances playfulness, warmth, and editorial refinement. Together, these typefaces move between softness and structure, echoing the emotional vulnerability and resilience at the core of the work.

Curatorial Statement:

Queerness has long been under attack—from historical criminalization to the government’s neglect during the AIDS crisis, where thousands of lives were lost in silence. Yet in the face of devastation, queer communities turned to intimacy as survival. Acts like the AIDS Quilt became declarations of love, grief, and resistance, proving that queer lives mattered. Today, anti-LGBTQ+ legislation and societal pressures echo those painful histories, politicizing queer bodies and threatening the right to exist freely. But intimacy remains a radical force—woven into activism, art, and quiet care shared between chosen families.

Queer intimacy exists in the quiet moments of touch, in the unspoken understanding between lovers, and in the collective strength of chosen families. It is spiritual, physical, and emotional—a force that holds, heals, and empowers. Love, in all its forms, is an undeniable human right, yet, it remains under threat. The ability to love and be loved should never be taken away, for it is as essential as the air we breathe.