I MAY NOT SEE YOU, BUT JESUS AND THIS CAMERA DOES is a collection of theories, first hand experiences, and found footage discussing the different states of surveillance. From organized mass surveillance to civilian surveillance or, in other words, sousveillance (to observe those in positions of power), this publication showcases the reality of monitoring systems currently in place and their effect on the public.

Texts by Xavier Marquez, @camera_duels, Malte Ziewitz, Kate Palmer Albers, Robin Williams, Gregory R. Brown, Sara Morrison, and Adam Clark Estes.

The typefaces used are Milling and ABC Diatype.

For my master’s thesis, I dove deep into the ways that artificial intelligence represents identity. After conducting hundreds of studies utilizing generative AI, what I found was that the nuance of the human experience is flattened, and that stereotypes and bias found in the real-world get amplified and distorted by the machine.

To bring these results to life I developed a pop-up exhibit and talk, as well as a book summarizing my findings. Typography played a crucial role distinguishing the human elements from that of the machine. Mixing typefaces and hindering legibility became a tool to get visitors to engage with the exhibit studies more closely.

Developed as part of ArtCenter College of Design MFA in Graphic Design program.

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.

This fictional civic platform was conceived as a student project at ArtCenter College of Design.

ARC/LA offers a structure that mirrors the reality of Los Angeles: decentralized, diverse, and dynamic. As a participatory and connected civic platform, it reflects on the city’s architectural memory through stories, print-based tools, and neighborhood activations, turning collective memory into a living archive.

Ugly Society is a fictional media art exhibition conceived as student project at ArtCenter College of Design.

It explores the darker sides of contemporary society through immersive installations. Featuring six internationally renowned artists—Harun Farocki, Wong Ping, Hito Steyerl, Cao Fei, Sungsil Ryu, and Julian Rosefeldt—the exhibition presents critical perspectives on surveillance, capitalism, digital alienation, and cultural fragmentation.

I developed the visual identity of the exhibition, including the exhibition poster and printed catalog. The design reflects the tension between digital aesthetics and raw social commentary, aiming to create a cohesive yet unsettling atmosphere that mirrors the themes of the artworks. Each design element—from typography to layout—was crafted to invite viewers into a provocative, immersive experience.

Fermented. Propaganda to Authenticity: Korea’s Evolution in Cinema was made as a student project at ArtCenter College of Design.

Korea has made various historical developments in a short period. Accordingly, the film industry has grown through multiple periods. We followed the contents of developed countries mainly at first. We would now be known to the world based on Korea's culture. This process is contained in a book using overlapping and bitmap effects.

Lying in the Weeds is a 64-page book dedicated to decolonizing social injustice in war. The Guatemalan Civil War is infamous for the countless lives that were killed, tortured, and traumatized. Using my own family’s story, who fled in search of asylum, this book is an effort to preserve and share the testimonies of those who have been silenced.

I was tasked with transforming Eleanor Heartney’s essay “Postmodern Heretics” into a standalone zine. The essay, originally published in Art in America in February 1997, examines the Catholic influence on postmodern art, specifically the transgressive art movement of the late 1980s and early 1990s.

The design of the publication takes cues from Catholic visual vernacular to mirror the essay's themes. The zine opens like a triptych, and each page utilizes a cross-like proportion. The paper stock, color palette, and typography all take inspiration from biblical layouts, and other subtle design gestures throughout the piece call back to themes of the church.

Made as student project at ArtCenter College of Design.

Weaponized Innocence is a newsprint publication made as student project at the ArtCenter College of Design. It explores the exploitation of children in warfare, combining striking visuals, impactful storytelling, and a thoughtful design. It transitions from the harsh realities of child soldiering to messages of hope and recovery, emphasizing UNICEF’s vital role in protecting and rehabilitating affected children.

Permanent Headline was chosen for headers due to its bold intensity and resemblance to war headlines. In the first half of the editorial, the tightly tracked, blurred, and posterized letters convey the chaos and brutality of war. In contrast, the second half transitions to loosely and evenly tracked letters, symbolizing the hope and freedom UNICEF brings to children.

Pitch was selected for body text, offering a contemporary take on monospaced typewriter fonts that lend a governmental and matter-of-fact tone. Quotes are highlighted in red in the first half and blue in the second, with larger, all-caps type emphasizing key points at the end of each paragraph.

Made as student project at the ArtCenter College of Design, this 64-page book offers an in-depth exploration of yellow journalism, combining ironic imagery with thought-provoking captions to challenge readers' perceptions of sensationalist media. Each image is carefully paired with insights into common logical fallacies, creating a compelling narrative that critically examines the mechanics and impact of fake news. By deconstructing these deceptive tactics, the book invites readers to engage with the content on a deeper level, fostering media literacy and skepticism.

The design draws heavily from traditional newspaper aesthetics to reinforce the theme. The use of Garamond Premier provides a classic, authoritative tone, while the incorporation of a grainy texture evokes the tactile feel of old-school print media. This juxtaposition of traditional elements with absurd, exaggerated visuals highlights the inherent contradictions of yellow journalism, amplifying its critique.

The layout balances structured grids with dynamic compositions to guide the reader’s eye, ensuring each page is both visually engaging and informative. Strategic use of white space and high-contrast imagery creates tension, further emphasizing the dramatic and often misleading nature of sensational headlines. The book not only serves as an artistic exploration of the subject but also as an educational tool, equipping readers with the knowledge to identify and question false narratives in their everyday lives.

As a student assignment at the ArtCenter College of Design, instructor Charles Lin presented the following context:

Simon & Schuster, a publishing institution with a century-long legacy, undergoes a strategic rebranding following the US government’s intervention to thwart Penguin Random House's acquisition bid. This shift heralds a new era for the company, positioning it as a champion for underrepresented voices and diverse narratives.

Simon & Schuster now serves as a beacon for small-scale and marginalized authors, reshaping the literary landscape by elevating unconventional forms of expression. This rebranding initiative encapsulates the company’s commitment to fostering dialogue and inclusivity, envisioning a literary culture that transcends boundaries and embraces controversy as a catalyst for meaningful discourse.

The logo design utilizes the S from the typeface Voyage – which also reads as an ampersand. The ampersand symbolizes the brand’s commitment to unity, collaboration, and the joining of voices. Just as the ampersand brings together separate entities into a cohesive whole, the rebrand strives to amplify voices that have been marginalized, and illuminate stories that have been overlooked.

Editorial New, crafted by Pangram Pangram, elevates the brand with a sophisticated and contemporary aesthetic. Its lighter weights exude elegance, refinement, and subtlety, making them ideal for sub-headers. The heavier weights make bold statements, boasting lush curves and exaggerated forms for enhanced expressiveness. Additionally, the luscious and curvy italics serve as a pattern system, adding dynamic flair to the brand communication.

The brand voice echoes the harmony of the emotional and rational, the timeless and contemporary. IBM Plex Serif combines components from classic typefaces like Bodoni and Janson into a contemporary serif, bridging the gaps between Simon & Schuster’s long-standing heritage and relevance in the modern era.

Today’s Chinese government wields formidable tools—state-controlled media, pervasive surveillance, and censorship—to maintain its control. This book ventures into this paradoxical world where, amid escalating control, a brave group of Chinese artists employs photography, film, graphic design, and modern art to reveal truths, often at great personal risk. They stand as voices against the suppressive grip of censorship.

Seek Truth was made as a student project at ArtCenter College of Design. See more images on the project website.

Seek Truth spans across 72 pages of premium coated paper, organized into three distinct sections. The first section, “A History of Oppression”, chronicles the historical instances of Chinese citizens enduring various forms of oppression enforced by their government. In the second section, “Voices of Resistance”, the spotlight shines on contemporary Chinese artists who courageously defy the CCP, risking their lives to advocate for free speech and express dissenting viewpoints. Concluding the book, “A Silent Unity” delves into the ingenious strategies employed by protestors and ordinary citizens to amplify their voices within a perilous landscape where any form of dissent poses significant risks.

The poster unveiling the launch of Seek Truth, displayed prominently in Chinatown, showcases a provocative depiction: a defaced portrait of Chairman Mao, with the title revealed through a prominent tear. Overlaid onto this image is a gallery displaying all the featured art pieces from the book, serving as a tribute to the courage and sacrifices of Chinese artists. The tearing and paint alterations were executed by hand, photographed from above. The Chinatown landscape is realized through MidJourney AI.

A student project designed at ArtCenter College of Design in Pasadena for Donald Judd’s exhibition at MoMA, including a (fictional) exhibition catalogue and posters. By capturing the internal rhymes of Judd’s name and forming typography as an image, a typographic identity was created.

Geometric shapes are a significant aspect of Judd’s works. Therefore, for this project, I chose Futura and Avenir, two geometric typefaces, as the primary and secondary typeface. To mimic the style of Judd’s artworks, I created two strong vertical alignments. Additionally, Judd’s name contains several alphabets with rounded shapes (e.g., a, d, o). Therefore, all lowercase letters were used to create repeated graphic interests and utilize the nature of these rounded shapes.

Supervised by Simon Johnston.

This poster series announces the (fictional) launch of the book X by Y – a collection of materials that explores the theory of queer ecology and promote the key ideas from the book. Both the posters and the book are part of a student project made at ArtCenter College of Design in Pasadena.

While queer sexuality is frequently criticized as a crime against nature, nature is exploited and considered lower than culture. Queer ecology critiques the heterosexist notion of nature and dualistic ways of thinking. The project invites viewers to appreciate the non-binary world and challenge prevailing heterosexist discursive and institutional articulations of sexuality and nature.

How would one’s source of identity and meaningfulness be associated with the presence of home?

The Unwanted is an experimental typography project made at ArtCenter College of Design. It conveys invisible emotions and the situation of homelessness. This book highlights the conversation and tension between rooflessness and rootlessness: looking at homeless people’s perspectives and stories to reveal what life is like being unwanted and unheard.

The Art Center College of Design View Book appeared around the Art Center College of Design 1999/2000 catalog, that was previously published on Fonts In Use.

The catalog (107 pages) introduces each area of study together with course requirements and course features. The “View Book” is a much condensed version of the comprehensive ACCD catalog consisting of 24 pages with an order form for the catalog.