Work Index
Modular Luggage
Date
08.30.24 – [ongoing]
Overview
As part of ART 345: Dematerial/Material, I designed a modular aluminum luggage system, featuring a chest and briefcase that join to form a suitcase.
Throughout the last year, I’ve gotten into the habit of carrying around an aluminum briefcase wherever I go. Not only has the briefcase become part of my uniform, but it feels practical, allowing me to carry my laptop, chargers, medicine, snacks, and even a change of clothes with me at all times. It feels more organized than carrying everything in a tote bag (as I used to), and it feels more professional than lugging around a backpack.
In spite of its practical and stylistic advantages, the briefcase has introduced new problems into my daily lifestyle. Problems with the original aluminum briefcase include the following:
- The interior is completely hollow, so unless the laptop were padded by other items (e.g. clothing or snacks), it would rattle around inside.
- The briefcase is deep enough that working on the laptop while inside the briefcase is difficult; the sides were are high for wrists to rest comfortably while typing or scrolling.
- The briefcase does not fit comfortably into any rolling luggage, making air travel cumbersome and expensive (I’d have to pay extra to take both a briefcase and a separate suitcase on a flight)
- The briefcase features a unibody design; if one part of the aluminum gets scratched or dented, the only solution is to purchase an entirely new briefcase.
- The aluminum is entirely anodized, which, though attractive, further reduces the repairability of the briefcase. It is difficult to sand or polish out scratches and dents from anodized aluminum, while, with raw aluminum, polishing and sanding is relatively straightforward.
Materials
I loved the all-aluminum design of the original briefcase. It matched with my other silver devices and looked clean on top of all-black clothing. I wanted to preserve a mainly-aluminum build in the new design.
Though my modular luggage system features a mostly-aluminum design, I made notable changes to the build and finish of the aluminum. Firstly, instead of designing a unibody briefcase from one sheet of aluminum, I mainly used 2020 (20mm x 20mm) aluminum extrusions, a popular style of aluminum beam used in small-scale construction. These beams helped me build a briefcase that is structurally rigid while entirely de-constructable. If any beam endures significant damage, the beam can be easily replaced, allowing for less wasteful and more cost-efficient luggage. Each beam is fastened using a corner bracket designed to be used with 2020 aluminum extrusions.
Additionally, I inserted raw aluminum panels into the grooves of the beams to cover the sides of the luggage. Because these panels are not anodized, any scratches and dents that the luggage may accumulate over time can be easily buffed out.
The components of the luggage system, as well as the lids of the chest and the briefcase, are held together with a set of toggle latches and catches.
Dimensions
The dimensions of the chest and briefcase, when secured together, measure 40 x 33 x 22cm. These dimensions measure just below the maximum dimensions of the under-seat area of a Boeing 737 (44 x 33 x 22cm) or Airbus A330 (45.72 x 40.64 x 27.94cm). This tight fit economizes on available storage while avoiding an extra charge for a carry-on item. The entire luggage system can be comfortably stored below an airplane seat.
The luggage system is split into three main components: a main chest, a briefcase, and a wheel tray. The main chest measures 40 x 32 x 16cm and uses a locking lid to store personal items such as clothing, snacks, and toiletries. The briefcase measures 40 x 32 x 60cm, designed for an exact fit with the 16” M1 Pro MacBook Pro, and closes via a locking lid. The wheel tray measures 32 x 22 x 9 cm and contains four caster wheels, allowing the luggage system to roll smoothly in all directions.
Briefcase
The briefcase was the first component to be built. The width of the briefcase measures 40cm, allowing 36cm of width on the interior –– the exact width of the 16” M1 Pro MacBook Pro that I use for all of my work. This tight fit allowed the computer to sit snugly inside the briefcase, reducing some of the rattling and sliding that the laptop would endure in my previous briefcase. The height measures 32cm, allowing 28cm of interior height and allowing for an inch of clearance on either side, where the latches are fastened. This height provided enough room for the lid of the laptop to open and stretch back. Originally, I had planned a depth of 4cm –– the equivalent of two aluminum extrusions. However, this depth would have made storage of other items in the briefcase (e.g. chargers, cords, drives) difficult. The 6cm depth, the equivalent of three extrusions, allows the laptop to rest securely next to other small items stored in the briefcase.
After building the structure of the briefcase, I installed two 36 x 28 aluminum panels to cover the front and back. To prevent the rattling of these panels during movement, I inserted a rubber gasket between the panels and the grooves of the extrusions. I then added rubber strips to the sides of the interior to help further cushion the laptop, and drilled a hole in the side of the briefcase where the ports of the laptop are positioned, allowing for full access of the laptop’s ports while in the briefcase. With this design, the laptop can remain in the briefcase at all times, while remaining usable both on the go and when connected to an external display.
I then installed a handle, two latches to the top of the briefcase to ensure closure of the lid, and two catches on the right side of the briefcase exterior, where the latches of the chest can connect to the briefcase.
Wheel Tray
Originally, I had bolted four 1” casters directly onto the frame of the chest portion of the luggage. While the luggage remained within the dimensions of the under-seat area of the plane, such small wheels came with multiple drawbacks. Firstly, because the diameter of the wheels was so small, the entire suitcase would rumble violently when going over uneven terrain. If a bump was too harsh, part of the aluminum frame would scrape on the ground –– leading to gradual damage. Moreover, with the wheels directly attached to the chest area, there was an overhang where the briefcase connected to the front of the chest, leading to an unbalanced luggage system when rolling. Sometimes the entire set of luggage would tip over, even when standing idle, due to the unbalanced wheel system.
As a solution, I designed a removable wheel tray –– a separate component entirely –– to replace the bolted-on wheels. The wheel tray attaches to the chest via latches when the briefcase is attached. This separate component provides multiple practical advantages over directly bolting the wheels onto the frame. Firstly, because the tray is detachable, larger wheels can be accommodated (in this case, I use 50cm rugged casters) while the rest of the system (40 x 33 x 22cm) remains within the under-seat dimensions of the plane. At the gate, the wheel tray can be detached and stowed in a jacket, while the chest-briefcase portion can be measured. This system allows the luggage to avoid the carry-on charge.
Moreover, because the wheel tray is a separate component, the brackets on each wheel are more structurally reinforced. Previously, when the wheels were directly bolted onto the frame, only three of the four screw holes on each wheel bracket were filled; one screw hole extended beyond the beams under the chest and was not able to be screwed in. On the dedicated wheel tray, two extra beams are added on the sides, allowing all four holes in the wheel brackets to be screwed in.
Robert Verdi & Friends Mega Fashion Sale Ads
Date
12.15.24 – 01.08.25
Overview
Television personality Robert Verdi commissioned a digital ad design for the Robert Verdi & Friends Mega Fashion Sale, where Verdi and others sold high-end designer clothes from the closets of stylists in NYC.
The visual identity for this ad design takes inspiration from both classic sale typography and generic black shirts. The black tee takes center stage in the ad design, making it clear that the sale specifically involves fashion. Using a combination of sans-serif typography and a script font, we designed a typographic layout that both felt reminiscent of a sale and remained formally simplistic.
The typography was then mapped directly onto the shirt, as if the text were part of the shirt design. With this gesture, the ad took on a degree of playfulness and uniqueness in comparison to other generic event ads.
For the title of the sale, we used Sign Painter Brush, a font with a hand-painted style similar to the sale designs you’d see painted on a storefront or on a car windshield. We contrasted this flowing, handwriting-style font with Helvetica, a more machine-like font, for the subsequent logistical information about the event. The difference in font created a contrast in style, where the sale title took on a playful mood while the event information below remained relatively neutral.
Shirt
To simulate a real shirt with the lettering on top, we used a t-shirt mockup from Adobe Stock. As soon as we placed our design into the mockup, the shirt design automatically updated to feature the design, laid out across the wrinkles and folds of the shirt.
To ensure legibility, we formatted the shirt so that the dates of the events would run on the top of a prominent fold on the shirt, while the rest of the information continued across the recesses and other folds of the shirt.
Long Wharf Theatre Experience Design
Date
10.06.24 – 12.30.24
Location
The Lab at ConnCORP
496 Newhall St
Hamden, CT 06517
Overview
Long Wharf Theatre commissioned an experience design for their 2024 – 2025 Winter show, She Loves Me. The experience involved lighting design, interior design, and printed matter for the lobby, hallway, and cafe in the venue. Additionally, Long Wharf Theatre commissioned installation and purchase consultation services before the opening of the show.
The aesthetic language of this audience experience takes inspiration from 19th-century Hungarian interiors –– specifically the Interior of the Royal Palace of Budapest. Notable for dim lighting, warm accents, and smoky atmosphere, these intimate spaces maintain a timeless charm. Predominant colors featured in this style of antique interior design include:
- Rich amber hues
- Off whites / faded beiges
- Shining gold and deep brown accents
Examples of home furnishings of this style include:
- Gilded candle-lit chandeliers
- Detailed oriental rugs
- Draping frabrics
- Dark wooden tables and pedestals
- Gilded picture frames
- Calligraphy / stationery sets
- Perfume bottles / vanities
The ambiance can be characterized by:
- Warm, dim lighting concentrated on tables and rugs
- Light conversation and acoustic music
- Scents of coffee and smoke in the air
Lobby
As the first room the guests enter, the lobby sets the precedent for the entire audience experience. It is essential that the space feels, looks, and smells welcoming, warm, and quaint. In the context of She Loves Me, the lobby also functions as a space for conversation, whether verbal or written. Attendees can gather in the lobby to discuss the show, reconnect with neighbors, or meet new friends. Furthermore, attendees can use the lobby to write letters –– a hallmark of the plot and message of the show.
Hallway
The hallway leads the audience directly to the theatre. Walking through this space, therefore, should provide an experience that sets the stage for the show itself. Whether for a family taking a heartfelt photograph or for a couple enjoying a warm drink, the hallway should feel like a space for intimacy. The hallway should also offer a glimpse into the history of Long Wharf Theatre on its 60th anniversary. This information should celebrate the theatre’s past in a manner that is clear and accessible to all members of the audience.
Cafe
The cafe serves as a primary space for camaraderie and conversation. With warm drinks, pleasant smells, and live music, this space plays a critical role in enhancing the audience experience. This space should be a welcoming place for all. Couples can share a drink, children can grab a delicious snack, and families can sit down at a table together. As for the lobby and hallway, the cafe should promote intimacy and reflection through a combination of aesthetics, sounds, smells, and temperatures.
The existing lobby design felt cold and sterile –– far from the intimate, warm spaces of She Loves Me or of quaint Hungarian interior design. With solid grey concrete floors, a red tiled desk, black pillars and beams, muted yellow walls, and bright overhead lighting, the existing interior design appeared more corporate than antique. Furthermore, with the air conditioner running, the lobby felt especially cold amid the autumn weather. And without a distinct smell, the space lacked the olfactory component that helps make homes feel more like a haven than a building.
Our lobby design created a more welcoming space. It became both elegant and inclusive, especially for an audience that may not be familiar with theatre. By incorporating warm lighting, rustic fabrics, gold accents, and other sensory components, our redesign elevated the aesthetics of the space while contributing to a friendlier environment. The redesign of the lobby incorporated the following visual elements: brown oriental rugs, dark wooden writing desk, round standing tables with tablecloths, gilded furnishings, tall artificial candles, and warm upward light sources.
Hallway
The existing hallway design again feels cold, literally and metaphorically. The pale walls and tiled floor recall those of a doctor’s office, while the bright overhead lights make the space feel unwelcoming. The low AC and lack of music exaggerate the cold atmosphere.
Our hallway design both created a more welcoming space and provide information about the history of Long Wharf Theatre. It should be both elegant and inclusive, especially for an audience that may not be familiar with the theatre arts. To celebrate the history of Long Wharf Theatre, sepia-toned photo albums of historical moments of Long Wharf Theatre may be placed on top of the standing tables. Guests may also take photographs together in the hallway.
By incorporating warm dim lighting, brown fabrics, and gold accents, a redesign can elevate the aesthetics of the space while contributing to a friendlier environment. Moreover, by considering the temperature and smell, we helped enhance the homeliness of the experience. Our redesign of the hallway includes the incorporation of the following visual elements: brown oriental rugs, standing tables with tablecloths, artificial tall candles, a Long Wharf Theatre 60th anniversary projection, warm upward light sources, and a Long Wharf Theatre retrospective photo album, featuring photos from the theatre’s archive since its founding in 1965.
Cafe
Though the existing cafe design felt less cold and sterile than the lobby and hallway, it can feel more inviting and intimate. The existing brick backsplash and warm lighting help warm up the space, though the concrete floors, white granite counters, and industrial beams detract from the homely aura.
Our cafe design both created a more welcoming space and augmented the existing aesthetic elements. It became more elegant and inclusive for all who request a snack or drink. Guests were welcome to sit down at the tables, listen to the live music, or stand and chat. By incorporating warm dim candles, brown fabrics, and gold accents, our redesign elevated the aesthetics of the space while contributing to a friendlier environment. Moreover, by considering the temperature and smell, Long Wharf Theatre can enhanced the homeliness of the experience. Our redesign of the cafe involved the incorporation of the following visual elements: artificial tall candles, standing and sit-down tables with tablecloths, and warm upward light sources
Wayfinding
As part of the audience experience, we designed a wayfinding template to be used throughout the venue. These signs were integral for guiding guests to important locations around the building. Our design remained relatively simplistic with a solid color background, white text set in Archivo, and arrows in either direction. We selected the brown background to complement the browns and golds present throughout the rest of the experience. Moreover, to point audience members in the right direction, we used the same style of arrows that Long Wharf Theatre uses throughout their visual identity.
With a limited budget, we decided to focus on lighting (rather than physical alterations, such as curtains) in order to significantly alter the mood of the space. While we had originally planned to purchase opaque brown curtains to hang throughout the space, we decided that a lighting solution would be more cost-effective.
We found that setting the lights to a rich amber color significantly changed the mood of the space. Especially during the nighttime, when natural lighting was at a minimum, the
History
Long Wharf Theatre, though currently a diverse and inclusive institution, has not always been as culturally and racially heterogeneous. Much of the theatre's history has been dominated by majority-White communities. On the other hand, She Loves Me, as both a theatrical performance and a public event, largely focuses on communities of color. The show's cast features mostly BIPOC, and the targeted audience of the performance was the majority-Black community in Hamden, CT around the venue.
Originally, we had thought that creating a Long Wharf Theatre Photo Album, featuring archival images from the theatre's opening in 1965 to now, would be an effective addition to the audience experience. However, while we were reviewing photos through the years, we noticed that a majority of the photo archive featured only White individuals. We recognized that displaying a photo album with mostly White individuals to a majority-BIPOC audience –– much of which had not attended a formal theatrical performance before –– may feel exclusive.
To ensure an inclusive yet honest album, we selected photos that demonstrated a gradual increase in diversity since the theatre’s founding. Long Wharf Theatre then arranged the photos in chronological order, showing how the theatre has become more inclusive over the years.
McKenzie Liautaud Jewelry Ads
Date
11.28.24 – 12.21.24
Overview
Jewelry designer Mckenzie Liautaud commissioned both an Instagram story and an Instagram post to advertise a holiday sale in collaboration with luxury fashion retailer Joan Shepp.
McKenzie Liautaud is developing a recognizable visual identity, featuring a powder blue background, black overlayed text, and images of their crystalline jewelry. For all media advertisements, we decided to maintain this visual identity to maximize recognizability and brand clarity.
For each advertisement, we included logistical information about the McKenzie Liautaud x Joan Shepp Holiday Trunk sale while maintaining the McKenzie Liautaud visual identity. We selected the designer’s signature powder blue as a solid background, and we featured three of the designer’s most iconic necklaces around the black typography, set in Futura.
We took the product photography of three of Mckenzie Liautaud’s most iconic necklaces, removed the background, and staggered them to fit around the typography in the ads. We decided to use Futura, rather than Helvetica, for the typography to give the ads a more modern, pointed feel to accompany the jewelry. We designed the typographic hierarchy to feature the names of McKenzie Liautaud and Joan Shepp first, and then feature the invitation to the event, and then the event details.
Next, we optimized the design both for a vertical Instagram story and a square Instagram post and published the designs on the McKenzie Liautaud Instagram page.
Turnaround: Designing these ads in three days before they were due to be published proved difficult, especially with midterms and final projects.
Optimization: Optimizing the typography and images for a vertical Instagram story and a square Instagram post required space-planning and resizing of each element.
Mesler's at the Rubell Museum Visual Identity
Date
11.28.24 – 12.02.24
Overview
Contemporary artist Joel Mesler provided works for the interior design and visual identity for the opening of Vinny’s Residency, as part of Jon and Vinny’s Italian Restaurant at the Rubell Museum. In collaboration with the artist, Sharon Coplan, Lauren Taschen, and I designed the logo, invitations, and T-shirts for the restaurant’s opening.
Known for “food art,” Joel Mesler combines culinary elements with the aesthetics of pop art. In his trademark style, Mesler designed a logo for “Mesler’s,” a hot dog stand to accompany the restaurant’s opening. Notable in Mesler’s design is the presence of mustard, which squirts from the top-left of the logo to form the letters of “Mesler’s.” To simulate mustard being splattered to form these letters, we decided to use a mustard yellow to form the lettering and other splatters in the logo, and a dark blue to form the rest of the logo that Mesler himself designed.
Shirt Design
The design of the shirt, distributed on 12.02 at the opening of Jon and Vinny’s, incorporates three icons: the Jon and Vinny’s logo, “Rubell Museum” spelled out, and the Mesler’s logo. These logos stack in that order on the back side of the white long-sleeve shirt, and the Jon and Vinny’s logo also appears in the top-right of the front of the shirt.
To celebrate the opening of Jon and Vinny's, we designed custom invitations featuring Mesler's artwork and the Mesler's logo. We chose a relatively simplistic invitation design, comprised mainly of typography and the Mesler's logo. To help the logo feel more cohesive with the rest of the design, we removed the top and bottom borders from the design and set it across the middle of the invitation, with the text set above and below it.
Turnaround: With just a handful of days to prepare this design for printing, we struggled –– but managed –– to bring this deisgn to life.
Holiday: Much of the work behind this design took place before and during the Thanksgiving holiday. Sharon, Lauren, Joel, and I squeezed meetings and design proposals between festivities and time with family.
IFPDA Website Design
Date
11.07.24 – 11.11.24
Overview
The International Fine Print Dealers Association (IFPDA) commissioned a redesign of the scrolling home page of their website, ifpda.org. The redesign reflects the refined visual identity of the IFPDA and is cohesive with the colors and styles of the IFPDA logo.
With dealers and galleries displaying diverse prints, the IFPDA transcends any specific style or visual identity. However, to establish cohesion with as many prints and dealers as possible, the IFPDA has begun adopting a more simplistic visual identity. Redesigning the home page of the website to include only black sans-serif typography on a solid white background helped the IFPDA distill its visual presence to accommodate all prints and dealers.
The five scrolling slides presented in the home page of the website include the following information:
• The IFPDA mission statement
• Date and location for the 2025 IFPDA Print Fair
• A description of the IFPDA Foundation
• An advertisement for the STUDIO VISIT sale
• A link to member news and exhibitions
Existing Site-Building Platform: Working within an outdated Wix interface, in order to update the site as quickly as possible, proved a learning curve. While originally we had hoped to create a new ifpda.com site from scratch, time constraints with the upcoming STUDIO VISIT sale prompted us to update the existing site with the new designs instead.
IFPDA Foundation x Christie's Visual Identity
Date
10.20.24 – 11.11.24
Overview
The International Fine Print Dealers Association (IFPDA) commissioned an identity design and brochure design for Studio Visit, a sale of artist-led studio tours benefitting the IFPDA Foundation. Available for purchase were tours with leading contemporary artists such as Jeffrey Gibson, Jeff Koons, and Mickalene Thomas. The sale also featured an opening event at Christie’s Auction House, featuring a conversation with and site-specific installation by contemporary artist Tschabalala Self. The sale was curated by Sharon Coplan.
The following artists participated in the Studio Visit sale by offering studio tours:
- Katherine Bradford
- Jeffrey Gibson
- Vera Lutter
- Marilyn Minter
- Joel Shapiro
- Leonardo Drew
- Jeff Koons
- Joel Mesler
- Tschabalala Self
- Mickalene Thomas
Visual Identity
For the visual identity of this benefit sale, we developed a color palette that both popped and distinguished the names of the artists from one another. After trying several palettes, we settled on the following colors: magenta, green, indigo, purple, orange, and cyan. For advertisements and posters, bars of these colors separate the names of artists as well as lines of text. White, left-aligned sans-serif text rests inside each colored section. For specific artists’ thumbnails on the product page of the sale, we placed the artist’s name on top of one of the colors of the palette. All printed graphics are full-bleed, and each bar extends from the left side of the page to the right side. The Studio Visit title, call to action, and names of artists are in all caps, while the rest of the text is in sentence case.
To familiarize attendees of the sale’s opening night, we designed a flyer that includes information about the purpose of the sale and the artists offering studio tours. The flyer features an array of horizontal bars in alternating colors as prescribed by the visual identity. Each bar contains a distinct message or name of an artist.
Product Thumbnails
For each artist’s studio visit available for purchase online, we designed a simplistic, square product thumbnail. Each thumbnail features the name of the artist in white Helvetica Neue Bold, overlayed on a solid background in one of the colors of the visual identity.
Naming
Selecting a memorable, appropriate name was essential to the success and overall design of this benefit sale. We decided that the of the sale should be short but punchy. The name had to reference the object sold –– tours with leading contemporary artists. After deliberation, we decided that “Studio Visit” was a punchy and appropriate title. The singular noun, as opposed to plural, feels more personal and intimate than if the title were “Studio Visits.”
With the name decided, we could finalize our designs and begin the production and printing process.
Cohesiveness: Designing a cohesive visual identity for 11 different contemporary artists, was a challenge. Using a simplistic yet colorful visual identity helped unify the artists without being overbearing.
Press
Artnet
Artnews
Hypebeast
Jeffrey Gibson Projection Designs
Date
09.19.24 to 09.30.24
Locations
- 30 Rockefeller Plaza, New York, NY
-
Atlanta, GA
- Baltimore, MD
- Brooklyn Academy of Music, New York, NY
- Brooklyn Bridge, New York, NY
- Cincinnati, OH
- CitiField, New York, NY
- Cleveland, OH
- Columbus Circle, New York, NY
- Columbus, OH
- Detroit, MI
- Dr. Susan Smith McKinney Steward Park, New York, NY
- Dumbo Archway, New York, NY
- Emerson Collective, New York, NY
- Grand Army Plaza, New York, NY
- High Line, New York, NY
- Houston, TX
- Kimalu Square, New York, NY
- Little Island, New York, NY
- Madison Square Garden, New York, NY
- Miami, FL
- Oakland, CA
- Pioneer Works, New York, NY
- Radio City Music Hall, New York, NY
- Tampa, FL
- The Arch Manhattan, New York, NY
- Union Square, New York, NY
Overview
Indigenous American artist Jeffrey Gibson commissioned a series of billboards and animated projections to be displayed across NYC/USA in September 2024 (concurrent with Climate Week). The designs were shown at the same time as the artist’s pavilion at the Venice Biennale was active. The artist commissioned the design and production of these works, from concept to projection and printing.
We began this project with a suite of bright colors. Vivid, bold colors from across the spectrum are a hallmark of the artist’s work. The artist created twenty sketches of radial color gradients, from which we began the design of all projections.
Poetry
For these projections, the artist wrote an original poem, titled “The Spirits Are Laughing.” In this poem five anthropomorphized beings speak: The Animals, The Sky, The Land, The Water, and The People. Through this work, the artist brings members of our world to life, giving them each a voice that communicates with the viewer. This speech not only highlights the life of each part of nature, but also emphasizes why climate week –– which preserves the life of many of these speakers –– is so important. This poem was to be incorporated throughout the projection designs.
Original Poem: “The Spirits Are Laughing”
The Sky: the spirits are laughing / i am your relative / look up at me and smile / laugh with me / cry with me / breathe me in / breathe me out / acknowledge the sun and moon / wish upon my stars / know that i love you
The Land: the spirits are laughing / i am your relative / you have consumed me / you will return to me / i have no boundaries / you don’t own me / i don’t own you / i have always been here / i will continue to change / i love you
The Water: the spirits are laughing / i flow through your body / i am your relative / i am transformative / please take care of me / don’t poison me / you can’t live without me / i am listening / talk to me / i love you
The People: the spirits are laughing / we are your relatives / we are your ancestors / we emerged from the earth / we have never left you / we see you / you can speak to us / we can hear you / don’t be afraid of us / we love you
The Animals: the spirits are laughing / we are your relatives / we live on the same land / we breathe the same air / we drink the same water / some of our relatives are extinct / we have families / we know the land / we can teach you / we love you
By blurring the gradients and animating them in After Effects, we created a continuously looping background animation that faded between the colors the artist chose. We then adjusted speed and scale for different projection and print resolutions.
Patterns
We proceeded to incorporate five of the artist’s original pattern designs into the background graphics. We decided to overlay the patterns onto the animation of blurred colors that we had already created. To do so, we recreated each of the artist’s designs as vectored Illustrator patterns, which we then converted to masks and applied to the background in After Effects. When played at a 0.25sec delay on top of the original animation, the patterns appeared subtly over the background. With tweaks to scale and contrast, we completed the pattern overlays, used in both the final animations and still displays.
Poetry
Our next priority was organizing and animating the lines of the poem (see end for original poem) to be displayed on top of the background. Originally, the artist had proposed using their original handwriting to spell out the lines of the poem. The artist had previously used their handwriting to design pieces featured at the Venice Biennale and other locations, so they felt comfortable using the same technique for these designs. After receiving the words of the poem written in the artist’s handwriting, we vectorized the words and animated the strokes to look like the words were being written in real time.
After multiple iterations with varied stroke widths, speeds, and colors, the we decided that typography would be more effective than handwriting, especially for onlookers who may struggle to read the handwriting. The artist had previously designed their own sans-serif typeface, titled “Jeffrey Gibson,” which we decided to substitute for the handwriting. We also decided to use white text to create high contrast from the colors of the background. We decided to organize the text such that the speaker (the animals, the sky, the land, the water, or the people) remained listed at the top of the design, while their 10 respective lines faded in and out below.
For increased contrast, we used regular weight to list the speaker and bold weight for each of the lines of the poem. As an extra touch, we added a slight wiggling effect to each of the letters of the text, creating a feeling of constant movement and liveliness in the final typography animation design.
Site-specific Optimization
Finally, we began to optimize our design for each of the moving and still displays on which we planned to project. Each display used a different resolution and required a different animation length; one display even required a four-channel animation.
Transitions: When the background faded between yellow and green, the white text on top of the background became difficult to read. We decided to time the animation so that the previous line faded out as the background turned to yellow. The next line faded in as the background turned from green to blue.
Typographic Hierarchy: Though it was clear that there was some relationship between the speaker and the line of the poem, it was not initially clear what that relationship was. We considered using phrases like “the animals say” or “the land whispers” to achieve a clearer speaker-text relationship. We found that a simple colon after the name of the speaker was sufficient to convey that the speaker was saying the phrase displayed below.
Patterns: Tastefully combining the patterns with the background proved challenging. Changing the blending mode of the pattern caused the colors in the background to become muted, while simply overlaying the shapes with a solid fill color created too much contrast. By using the patterns as a stencil and playing the background animation at a 0.25sec delay through the pattern, the colors remained rich and the contrast between the background and the patterns was subtle.
Turnaround: Deadlines were tight for this project. Turnaround time was just three weeks from start to finish. Through frequent meetings over Zoom and in the artist’s studio, we collaborated productively and quickly.
Press
Hyperallergic
Artsy
Sikkema Jenkins
Elm City Tickets Design
Date
Summer 2024 – Summer 2025
Overview
Elm City Tickets, a full-service ticketing agency in Connecticut, commissioned a redesign of their digital and printed tickets for the 2024–2025 season. The updated tickets are used across multiple performing arts venues in Connecticut, including Long Wharf Theatre and New Haven Symphony Orchestra. The ticket design incorporates relevant logistical and legal information about the venue and its sponsors, and features the updated design language that Elm City Tickets has begun incorporating into their brand.
The updated Elm City Tickets visual identity uses sans-serif typography and three accent colors: orange, dark blue, and magenta. These colors appear both in backgrounds for the printed tickets, as well as in the Elm City Tickets logo. We designed ticket versions in every color to be used at the discretion of the ticket provider.
The front of the updated Elm City Tickets printed ticket features the Elm City Tickets logo, the brand “Elm City Tickets” spelled out, and relevant contact information. The logo is positioned in the top right corner, followed to the right by “Elm City Tickets” in sans-serif typography. At the bottom, in a smaller font, the phone number, website, and email for contacting the ticketing agency are listed. The design incorporates significant negative space, contributing to a feeling of cleanliness and simplicity. Moreover, the negative space allows room for future additions, making the ticket more modular.
Printed Ticket Design: Back
The back of the Elm City Tickets printed ticket design features a greeting, a legal information section, the logos of sponsors, a brief description of the ticketing agency, and a legal information section to the left, all set in white, sans-serif typography. The greeting “SEE YOU SOON” appears in large, bold, sans-serif typography with a brief note of thanks beneath. The logos of sponsors appear beneath the greeting, followed by a short description of Elm City Tickets. To economize on space while ensuring legibility, the legal information about the ticket purchase runs vertically to the left of the ticket, providing a clear distinction from the rest of the ticket and a cleaner, more space-optimized typographic layout.
Digital Ticket Design
Long Wharf Theatre commissioned the design of a digital ticket to be sent to attendees ahead of time. The digital ticket design includes information about Long Wharf Theatre’s upcoming performances, the names of sponsors, and a large blank section where information about the specific performance can be placed. The design features the Long Wharf Theatre visual identity, including their purple/white color scheme, their arrows, and their stretched letters. The digital ticket design we presented includes both white and purple versions to be used at the discretion of the ticket provider.
Cohesiveness: Designing a cohesive ticket design to accompany all of Long Wharf Theatre’s and New Haven Symphony Orchestra’s productions, each of which is unique, presented a challenge. Designing the tickets in a simplistic, versatile format allows for modularity and customization to fit the needs of each production.
Space planning: Including so much information on the back of the ticket while maintaining a sense of balance and order proved difficult. Our solution was to rotate the legal text to run vertically rather than horizontally, creating two distinct sections while optimizing on available space.
x, y, z Visual Identity and Curation
Date
09.13.24 – 09.27.24
Overview
x, y, z: through dimension was an experimental group art exhibition hosted at Botanica Grove Gallery in Brooklyn during the summer of 2024. The exhibition combined painting, sculpture, digital art, and performance to explore ways in which fine art can transcend the dimensions in which it is normally confined. Some of the artworks in the show included paintings with 3D textures, sculptures that move autonomously, and performance that occupies time and space, for instance.
The gallery commissioned a visual identity for the show to be implemented in exhibition pamphlets and social media posts, as well as technical writing for the exhibition description.
Additionally, the gallery offered the opportunity to co-curate the artwork featured in the exhibition.
Grids are everywhere. They’re on your waffle. They’re in your Chex Mix. They’re in a beehive. They let you play Chess or Chutes and Ladders or Chinese Checkers. They form and reform as you try in vain to solve that messy old Rubik’s cube. They organize your keyboard. They’re on the SAT. They separate neighborhoods. They graph the stocks. They distribute electricity. They keep mosquitoes out of your porch on those sticky summer days.
x, y, z aims to explore grids. While hard lines and strict axes can be controversial, they can inspire meaningful conversation and expression.
Naming
The title of the show references the three axes of three-dimensional space. As an exhibition focused on transcending dimensions in which artwork may be traditionally confined, x, y, z acknowledges the presence of these three axes while physically and metaphorically surpassing them. We decided to keep the name in all-lowercase to further reference the x, y, and z axes, usually labeled in lowercase. We separated each axis in the title using commas. We then created a punchy, relevant subtitle, “through dimension.”
Visual Identity
The x, y, z visual identity was inspired by math test booklets, many of which feature simple grids and axes in graphs. Our font choice was relatively simplistic; Times New Roman felt like a font typical of a generic exam booklet. The weight remains the same throughout the visual identity. A three-axis grid surrounds the typography and stretches to the margins in both x, y, and z directions. All typography is styled in black and all backgrounds are solid white.
With the visual identity established, we designed a tabloid-sized, printed poster to display information about the show, artists, and venue. The poster features a three-axis grid in the negative space surrounding the typography. The title of the show is displayed in the top-left corner, followed by the subtitle, logistical information about the show, and the names of the artists and the curators.
Instagram Posts
The Instagram post design for the show featured the same visual identity used in the poster –– a simple, three-axis grid surrounded by information about the show, formatted into a 1:1 post.
Artists
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David Ayala is a queer, gender non-binary Latinx artist making work that explores the complexities of their and their community’s existence in the heart of the Imperial core. Their paintings are distinguishable for their extreme textures that blur the line between painting and sculpture.
- Elric Ford is an American digital artist whose work concentrates on the relationship between the human heart and mathematical, graphical representation.
- France Rreally is a sculptor and filmmaker who envisions and actualizes alternate realities using found objects.
- Isabella Scott is a Brooklyn-based artist known for her Waste Paintings series, where geometric paintings come to life through recycled paint, repurposed canvases, and found frames.
- Kip Jacobs is a Brooklyn-based artist who uses a combination of CNC machining, artificial intelligence, and manual painting to create artworks that challenge the idea of traditional authorship.
- Mike Picos is a painter whose work incorporates elements of retro software.
- Timo Kuzme is a performance artist who explores the nature of being and becoming through their lens as an agendered person, deciphering the body through paint and mark making.
Animation
We designed a continuous, looping animation to accompany the media posts for the show. The animation features the signature three-axis grid expanding and contracting to reveal information about the show. Throughout the animation, the typography changes orientation and size to further convey feelings of transcending confinement.
Cohesiveness: Designing a visual identity for seven multidisciplinary, emerging artists, each of whom possesses a distinct visual style, proved difficult. However, maintaining a simplistic visual identity allowed the artworks themselves to shine without distraction.
Handling: Retrieving the art pieces, some of which were over six feet wide, was especially challenging. Coordinating moving trips and moving pieces into the gallery required significant assistance from the gallery.
Installation: Though I hadn’t anticipated it, I found myself installing the pieces alone. I spent 48 hours straight, without sleep, painting the gallery walls white, planning where each piece would be displayed, and hanging the artwork. This experience was a lesson in patience and endurance, but the result –– and the ability to say that I’ve curated an art show –– was worthwhile.