Viacom partnered with the amazing organization Girls Who Code to participate in its 7-week summer immersion program, hosting workshops, field trips, and events to teach 20 high school girls about how coding and technology are vital to a global media company.
I worked with a creative team at Viacom's internal design studio, Catalyst, to design a campaign welcoming the girls to Viacom and informing employees about this cool partnership. We created screen and web graphics, posters, and more for the program's orientation and graduation events as well as for display in Viacom's Broadway building.
Creative Director: John Farrar
Copywriters: Patrick O'Sullivan, Rachel Bass
Animator: Amanda Pecharsky
Viacom's Information Security division, known as InfoSec, helps employees protect their personal and business information, in part by displaying a series of tech security tips and reminders on screens in elevators and common areas of Viacom buildings worldwide.
The design and messaging of these tips, however, were bland and forgetabble; InfoSec needed something eye-catching and relatable. I worked with a creative team to make these screens more impactful, developing a concept around “street smarts” and relating information security to the common sense people use in everyday life.
Creative Director: John Farrar
Copywriters: Tanya Davis, Patrick O'Sullivan
Delphi grew from a logotype I produced using Greek-column-inspired letterforms. Intertwined, kinetic, and deliberate, Delphi carves itself onto the page and screen, encouraging variation and experimentation. The letterforms’ unique construction and predispostion for experimentation inspired two varying sets: Delphi Dio, comprised of two-line strokes, and Delphi Tria, built of both 2- and 3-line strokes.
With a design as elaborate, yet tightly tuned as this, the desire to add more and more was irresistible—you'll see a number of stylistic, swash, and titling alternates (and even more hidden away in further stylistic sets). Because Dio and Tria could only hold so much, alternate cuts were produced to better organize your options: the Delphi Alt fonts feature certain letter styles and stylistic alternate sets distinct from those in Delphi.
It's for sale now on MyFonts!
When Washington, D.C. was chosen as the host city for TypeCon 2014, the Society of Typographic Aficionados asked me to create a dining guide to be distributed to all conference attendees.
In keeping with TypeCon D.C.’s clever identity centered around redaction, confidentiality, and government secrecy designed by Build, I designed and wrote the guide along the concept of an FBI agent's guide.
With printing graciously donated to the conference by Scout Books, I aimed to use their pocket-size notebook format to maximize the information I could include. In a city with so much to do, see, and eat, I wanted this guide to be useful beyond simply listing the most popular places so I created detailed maps and offered transportation tips to help people get out and explore the city.
Click to enlarge the photos or see the complete guide as a PDF here.
The 11th Street Bridge Park is an exciting project under way in Washington, DC which, when completed, will take the form of an elevated park spanning the Anacostia River. Prior to the bridge's expected completion in 2018, project organizers held a festival to draw residents to the future bridge site, raising awareness and building excitement for the project.
They asked me to design a suite of materials to promote the festival. This proposed design direction uses the structure of the bridge, an X shape, as the foundation for illustrations showcasing the many activities the festival would offer.
In summer of 2014, the National Building Museum partnered with BIG-Bjarke Ingels Group to design a monumental-scale maze in the Museum's Great Hall for visitors to enter, get lost in, and navigate through.
I helped design and coordinate production of promotional graphics, signage, and collateral to support marketing efforts surrounding the spectacular structure.
As part of an international collaboration among type designers to digitize the Filmotype Company's library of typeface designs, I worked with Positype's Neil Summerour to transform Filmotype Dancer from a set of scans of photo-lettering films into a modern OpenType font.
I drew the characters from original filmstrip scans, maintaning the brush-drawn qualities of the strokes and preparing them for further refinement in FontLab. The final font is equipped with a full international character complement, automatic fractionals, ordinals, and a host of alternate characters in OpenType format.
When I announced to the world my plans to move to NYC, I made a typographic illustration combining two of my favorite things about design and New York: letters and bagels.
Bagels were harmed in the creation of this image; they were delicious.
The National Building Museum hosts dozens of events each year. Some events can use a template invitation, while others require something custom and more elaborate. Large exhibition openings sometimes merit a custom look, following a graphic identity used in the exhibition and the annual Honor Award gala, the Museum's largest award program, has an invitation and overall design theme conceptually related to that year's award recipient.
Here are a few examples of invitations and proposed designs I've created for the Museum.
The National Building Museum opened a mini golf course inside its galleries in July 2012, featuring a 12-hole course with holes designed and constructed by architects, engineers, designers, and builders. I had the opportunity to design some related materials including scorecards, flyers, free round passes, and frequent golfer cards.
When the Museum decided to bring mini golf back in 2013, I took on a larger role in designing its graphics. In addition to updating the logo and designing ads and scorecards, I undertook the design of all the in-exhibition signage as well, creating directional and informational signage for each of the two 9-hole courses. I worked with curators, visitor services staff, the exhibition designer and installation team, printers, and other parties to design a signage scheme that was functional, informative, and sophisticated enough for a museum, yet playful enough to still feel like mini golf.
With a full slate of programs including concerts, lectures, a pop-up barbecue restaurant, and fun interactive exhibitions like mini golf or a larger-than-life maze, summer at the National Building Museum has a lot to offer each summer.
The Museum marketed its summer programing under one comprehensive campaign, first called "Summer at the Museum" and then "Summer Block Party" in subsequent years, relating it both to the children’s exhibition, PLAY WORK BUILD, and the idea of the Museum as a central community gathering place.
Each year I designed logos and supporting graphics to identify the programs as part of a larger whole and promote them through the Museum’s online presence, the monthly calendar, and Hill Country event space.
Occasionally the National Building Museum plans exhibitions that require in-house graphic design to produce a range of elements to support the show, from a logo and color scheme to labels and signage within the gallery to ads and press photos.
In spring 2012, the American Jewish World Service launched Where Do You Give?, a national contest asking designers to reimagine tzedakah, or monetary charity and design a new vehicle for giving that would inspire society to think differently about where we give, to whom and why, and to spark dialogue about philanthropy and social change.
I proposed a large-scale sculpture that functions both as a receptacle for tzedakah and as a catalyst for community engagement in local causes and reflection on the act of giving. Communities or organizations such as synagogues, companies, or schools could obtain a sculpture and select a recipient for all the change it takes to fill it. While all this change may not amount to that much money, it would raise awareness about about a deserving cause and could raise broader support for it. When the sculpture is full, the process starts over with a new recipient.My project was chosen as one of three grand prize winners among nearly 70 total entries by a panel of judges from both the Jewish and design communities. Read more about my entry here.
When I joined the National Building Museum, it was in the process of a major branding overhaul, which included redesigning the logo that had remained essentially unchanged since the Museum had opened 25 years earlier.
My task was to update instances of the old logo with the new one. Sometimes this was very straightforward, and sometimes it meant creatively adapting elements of the logo to the application while remaining within the constraints of the new identity.
In the aftermath of Hurricane Sandy, the Society of Typographic Aficionados organized Font Aid VI: Aster Effects to raise money for Red Cross relief efforts.
The project asked designers to submit original asterisk designs, to be compiled into a typeface consisting entirely of asterisks. The funds from its sales go directly to the Red Cross.
Over 250 designers from 41 countries contributed to Font Aid VI; this is my submission.
The final typeface is available for purchase through the SOTA store.
“In 2011, a group of girlfriends decided it was time to introduce something to the beer world that had never been done before: beer for women who love beer. No light, girly, watered-down beer here, thank you. They called it Ambrewsia, after Greek mythology's ambrosia, a nectar-like delicacy reserved only for the divine gods and goddesses on Mount Olympus. Brewed with the finest barley and choicest hops, this nectar of the goddesses came to life. For all the strong, beautiful, beer-loving women of the world, we're proud to give you Ambrewsia— for the goddess in all of us.”
I invented the Ambrewsia Beer Company, a craft beer marketed to women, and created its identity and applications from concept to (small-scale) production.
The challenge in designing for Ambrewsia was visually combining the concepts of beer, femininity, and Greek mythology into one. I came to a solution using a stylized Greek column as the basis for an elegant, custom-lettered logotype and used the column motif throughout the branding applications.
A new font in progress, to be released early 2017. Stay tuned!