An adaptation of Jussi Parikka’s essay, “Malware as Operational Art: On the If/Then of Geopolitics and Tricksters” from Het Nieuwe Instituut’s 2019 exhibition, Malware: Symptoms of Viral Infection.

The structure of this book references the skeletal 
syntax of the web and the layered, nested anatomy of HTML. Smaller moves—the unravelling typography 
and cut paper revealing a computer-generated texture on the inner folds—seek to reinforce this theme 
of perceived danger, offering an uneasy, anti-reader friendly experience.

The use of San Francisco (Apple) references the visual language of Apple products, whereas Apple Chancery by Kris Holmes embodies the sprawl of weeds and hints at contagion. A condensed Authentic Sans (by Christina Janus and Desmond Wong) ties this all together, both highlighting important questions and inviting the reader to reconsider what a book can be—as seen in the front cover, which seeks to act as a billboard.

Women have been fighting for suffrage for more than seven decades. The National American Woman Suffrage Association (NAWSA) was established in 1890, and became the most mainstream and vocal organization of the United States to push for the national suffrage movement. Elizabeth Cady Stanton became the first president of NAWSA and resigned in 1892 at the age of 77. Her resignation speech “The Solitude of Self” beautifully illustrates the philosophical premise of gender equality, and eloquently presents a classic argument for why women need to be enfranchised by a Sixteenth Amendment.

Solitude of Self is based on this speech. I act as both the editor and meaning maker of the book. The design is inspired by newspapers in 19th and 20th century, thus attempts to give a journalistic presentation of an old but still relevant message to the modern audience—classical yet modern, just like the chosen identity typeface, Ogg (Sharp Type). Ogg’s elegant and outstretching Italic is interspersed with the Regular style, suggesting breakthroughs and a sense of non-conformity. The text of the speech is set in Graphik (Commercial Type), lending simplicity and cleanness as a counterbalance.

The book also includes secondary texts such as captions, facts, and timelines (in the monospaced Courier New) to assist for a better comprehension of the speech.

See the full project on my website.

The title stencil on the book cover is created based on the Ogg typeface, achieved by laser-cut.

Each week during my fall semester I researched various media to create a centralized repository of references, including but not limited to articles, designers and design studios, books I’ve read and various areas of interest that I wanted to explore further. I decided to create a digital version of the repository to explore how a browser can serve as an easily accessible index for my references. By taking time to find references each week, I encouraged myself to maintain a consistent practice of research and exploration that I intend to continue during my last semester of school.

F Grotesk Thin is used throughout.

To see more, visit the Reference Repository website.

Translation of the purely auditory experience of the “Dinosaurs, Dark Matter, and Extra Dimensions” episode from the On Being podcast into a visual experience.

With the airy typographic layout and contrasting body text sizes I wanted to evoke my fascination with the eeriness of the unexpected connections between invisible particles in outer space and our material world. I used the green short sheet pages to create a more interactive and tactile experience comparing a photo of a celestial object to a photo of cells under a microscope—allowing readers to come to their own conclusions about interconnectedness between seemingly disparate parts of the universe.

This is a collection of four books documenting my process through four projects in the Communication Design program in the Sam Fox School of Design & Visual Arts at WashU. I built the grid and typographic system around various weights of Raoul Gottschling’s La Nord.

Student project for the Sam Fox School of Design & Visual Arts in Saint Louis, USA.

This calendar events poster was designed for the Fall 2018 events at the Sam Fox School of Design & Visual Arts. In this project I was not restricted to existing brand guidelines from the school, but was consulted on primary events and key highlights to embrace for the season such as the Public Lecture Series. I used Timmons NY by Matt Wiley and United Sans by House Industries to emphasize the breath of architectural and geometric work largely planned for the semester.

Urban Renewal uses the Time Travel feature of Google Street View to document the moments of growth, decline, and change of communities in St. Louis. By comparing the same locations at different points in time, readers can wander through the decades of rapidly transforming and disappearing neighborhoods.

With written content from Walter Hood, Roman Mars, and Nora Wendl, this project asks the reader to question their own relationships with space, gentrification, and the way we so easily forget history when tangible reminders have been forcibly removed.

The title page (above) introduces the contrasting serif and sans serif type, which illustrate the strength and fragility that coexist in St. Louis. I used SangBleu Kingdom from Suisse Typefaces and Founders Grotesk Text from Klim Type.

This double-sided poster and its typographic design system disseminate the information from the lecture series calendar for the Sam Fox School of Design & Visual Arts.

Student project for the Sam Fox School of Design & Visual Arts in Saint Louis, USA.

A book editorial investigating Walt Disney’s Opening Speech for Disneyland on July 17th, 1955. The book contains the Disneyland Opening speech interspersed between two supplementary articles to provide greater depth into the Disneyland’s opening day.

I wanted to use supplementary text to reinforce my theme investigating Walt Disney’s idealizing speech. With this in mind I selected “Disneyland got off to a nightmare start in 1955, but ‘Walt’s Folly’ quickly won over fans” by Brady MacDonald and “How Disney Came to Define What Constitutes the American Experience” by Bethanee Bemis. The two articles intend to mark the enormous political and influential power Disneyland has over the American image. I used two separate typographic treatments to present Disney as it’s stereotypical magic filled image, yet contrast that said into a more serious editorial.

I included Disney drawings sourced from “The Illusion of Life” by Ollie Johnston and Frank Thomas to serve as the beautiful imaginative part Disney prides itself upon and highlight the drawings during spreads featuring the speech.

As the Promotions Director for Washington University's Social Programming Board (SPB), I designed all promotional materials for the biannual outdoor concert named “WILD” (Walk In Lay Down). This included posters, Snapchat geofilters, backstage passes, and the social media artist reveal campaign and subsequent posts.

For my second round of designing WILD promotions I wanted to explore the common associations we have with the word “wild” such as wild animals (and therefore fur. True to its name, the day of the WILD concert at WashU is wild: students drink, let loose, and celebrate classes being finished for the semester.

This two-sided event calendar poster was a project that focused on microtypography and hierarchy.

Student project for Typography class at the Sam Fox School in St Louis, USA. The purpose of this final project was to create a clear typographic system using a strong grid that allowed for typographic variation as defined by a range of editorial content. I interweaved the assigned Beatrice Warde essay, “The Crystal Goblet” with Michael Bierut’s piece “I’m With Her” to show how Warde's essay can be used as an analytical lens to view Bierut’s “H” logo.

This print experience visually gives the reader windows with transparencies and outlined type to highlight the complementing window theme between Bierut’s and Warde’s respective essays.

This rapid assignment was to design a 2–3 color monogram for a randomly assigned current or historical figure. The monogram was to be applied to a business card for the person, in my case architect and designer, Alexander Girard. For my monogram and business card I drew inspiration from Girard’s personally designed typeface and textile pattern designs.

The WashU Medical School approached me and illustrator Kevin Schneider to redesign their Research Study Participants campaign. The goal was to create tabling materials and an overall brand that would encourage St. Louis citizens of all types to sign up for the program.

The Center for Community Health Partnership and Research (CCHPR) at Washington University tables at various public gathering places throughout St. Louis such as YMCAs, libraries, and schools. Their goal is to educate the community about the power of medical research studies to improve lives and encourage citizens to participate themselves.

Their REACH program (Research Engagement to Advance Community Health) targets people of all ages, races, and socioeconomic standings. It is extremely important that medical research is as inclusive as possible as illnesses can affect races differently.

We had to not only update the tabling materials' look, but also their messaging. Their current materials were confusing, long-winded, and had complicated vocabulary that would not be approachable to potential participants who were younger or less educated. This meant not only rewriting the bulk of their copy, but also reformatting the entire booth system. They had lots of handouts, magnets, and posters, but none seemed related to each other and it was not clear how a reader could get involved.

Student work for Typography I class at the Sam Fox School of Design and Visual Arts.

Booklet containing an op-ed by Maggie Montagna and Mortimer Singer (“Why Mindful Millennials are Modern Pagans”, Business of Fashion, 2017). Halftone graphics accompany an exploration of the tribal codes evident in the contemporary consumer's mindset.

Display and header type is set in FF DIN. Body copy is set in Quadraat.

Student project for Typography I class at the Sam Fox School in St Louis, USA. A monochrome booklet presenting works by designer Karel Martens and the text from a Robin Kinross article – “Let the Object Speak” (Eye Magazine 1993) – which discusses Dutch graphic design with a focus on the work of Karel Martens. The fonts in use are the Regular and Ultra Black Extended styles of Univers.

Student project for the Sam Fox School of Design & Visual Arts in Saint Louis, USA.

This booklet intends to highlight the current definition of masculinity as a catalyst for mental health issues in young boys of America. It integrates two New York Times articles: “The Boys are Not All Right” by Michael Ian Black and “A New Model of Masculinity” (a series of letters in response to Michael Ian Black's article).

A two-sided event calendar made for the Fall 2017 Semester events for the Sam Fox School of Design & Visual Arts. Starting with the words “Sam Fox”, I created multiple interactions between the created shapes and the names of the female visiting artists.

Student project. A fold-out paper piece, done to help educate visitors of the Missouri Botanical Gardens about which flowers are in bloom each season. The shapes were traced from the bloom shapes from each species of plant/flower, to help create a different yet relevant viewing experience.

White Soled Platform Boots is a project for typography class. It is also the marriage of two essays, the first of which The Crystal Goblet by Beatrice Warde, and the second a short essay of my choosing. I chose Life Goals and Loafers: A Love Story by Christene Barberich. The essay I chose contradicts the notion of physical adornment adding excessive information to the content at hand. With a two book binding system, I hope readers to treat the book like a paper doll, feeling free to ‘dress’ their reading experience however they wish, and to find joy in the control of physical adornment.