 |
 | SCHOOlWORK I attended The Ohio State University, 2004—2009. |
 | EXPLORATIONS IN MODERN TYPOGRAPHY As a part of my junior-level typography course, I designed three posters advertising a ficticious lecture series taking place at The Wexner Center for the Arts. |
 | EXPLORATIONS IN MODERN TYPOGRAPHY The spreads from this booklet profile historic typographers who are the would-be lecturers in the ficticous event. |
 | EXPLORATIONS IN MODERN TYPOGRAPHY Each poster illustrates a different type of composition—orthogonal, diagonal, and freeform. |
 | EXPLORATIONS IN MODERN TYPOGRAPHY I chose to design the posters so that they can be used multifunctionally. The information concerning the lecture dates and times repeats thoughout the composition. As a result of this repetition, the posters can either be hung up and viewed holistically, or cut up and distributed as flyers. |
 | PACKAGING DESIGN: HERBAL ESSENCES When Chief Creative Director Nathan Hendricks of LPK Cincinnati first spoke to my senior-level packaging design class, he gave us three very specific goals. He asked that we re-design the current Herbal Essences brand with more credibility, maturity, and soul. After weeks of research and user-testing, I developed a design theme that both elevated the line of hair-care products and capitalized on the already strong equity of the brand. My design theme was one of a “fresh mash-up,” pulling inspiration from the layered and eclectic styles of today’s twenty-something hipster crowd. |
 | PACKAGING DESIGN: HERBAL ESSENCES In April 2009, my classmates and I finally had a chance to present our finished designs to a team of LPK designers, as well as Design Managers from P&G. From the 20 designs produced in my class, LPK chose my work for the “Best Concept” prize, as well as awarding me with first place for “Best Overall Design.” |
 | INFORMATION DESIGN: FRENCH REVOLUTION This piece is the result of my information graphics class. The assignment was to choose any sequence, cycle, or evolution and represent it graphically. The information was to be presented in two separate panels that were related but could also function independently of one another. |
 | INFORMATION DESIGN: FRENCH REVOLUTION I chose to document the stages of revolutionary upheaval, with the French Revolution of 1789 as a case study. I gave myself another challenge by deciding to create the posters in two languages—french and english. My first panel documents the preconditions or “symptoms” of a revolution as well as the events in France that led up to July 14, 1789—la prise de La Bastille. My second panel is meant to stand in stark contrast to the celebratory feel of the first. I chose to graphically represent the many executions in the years known as “the Terror.” |
 | DYMAXIONPROJECT The DYMAXIONPROJECT seeks to connect a community of international designers with global non-profit organizations who are working to obtain United Nations Millennium Development Goals by means of an awareness poster campaign. My senior thesis project proposed an opportunity for designers to participate in a creative social experiment while contributing to eight of the most challenging problems of the world, as defined by United Nations MDG’s (Millennium Development Goals). |
 | DYMAXIONPROJECT I created a flexible identity system which fluctuates depending on how many designers contribute. The identity is inspired by the "Dymaxion Map" developed by Buckminster Fuller. |
 | DYMAXIONPROJECT The end result is a unique piece of design work, done pro bono in the spirit of social change. The work will be truly global, touched by people of different ages, colors, backgrounds, and regions of the world. Like a game of “telephone,” the original basis of the work will change and evolve— resulting in a piece of design work that speaks to multiple cultures at once through the incorporation of images and languages from around the world. |
 | PROFESSIONAL EXPERIENCE I'm currently working at a design firm called Campfire in New York City. |
 | TOTAL IDENTITY AMSTERDAM A historic and innovative design firm, Total Design was started in 1963 by a group of dutch designers, including Wim Crouwel. Always changing and evolving, Total Design now functions under the title of Total Identity, with offices in Amsterdam, The Hague, Heerlen, and Antwerp. I interned at Total Identity for three months in 2008. |
 | TOTAL IDENTITY AMSTERDAM The client I did the most work for while at Total Identity was GITP—a human resources firm. |
 | WEXNER CENTER FOR THE ARTS Conceived as a research laboratory for all the arts, The Wexner Center has emphasized commissions for new work and artist residencies since its inception. The multidisciplinary programs encompass performing arts, exhibitions, and media arts (film/video) and have focused on cutting-edge culture from around the globe. These are two posters I designed that were featured in poster boxes outside of The Wex. |
 | WEXNER CENTER FOR THE ARTS PAGES is a program for Columbus high school students who come see exhibits at The Wexner Center and then write about their experiences. I designed this book documenting their visits and writings. |
 | WEXNER CENTER FOR THE ARTS The PAGES book is divided into sections by event. |
 | WEXNER CENTER FOR THE ARTS Secret Cinema is a Wexner Center event where the audience shows up to a film without knowing what they will be seeing. I developed six elements for this film series based off of question marks and the Rorschach ink blot test. |
 | WEXNER CENTER FOR THE ARTS This is one of many possible combinations of elements used to create the Secret Cinema identity. |
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