In 2017, AIGA, the professional organization for design, and Google partnered tosurvey the US Design Industry. Just over 13,000 people participated, and the information they gathered is now freely available to all. The goal of the survey is to collect informationthat can be used to empower the design community to take charge of its professional development and achieve greater happiness through insight.
The information collected was anonymized and made available to the public. The developers encouraged everyone to explore the data and react to it, whether in a tweet, a poster, a website, or an essay. The following infographic is a visualization of some of the data, specifically focusing on how gender and LGBTQ identification affect designers’ experiences.
This is a branding and packaging project for a summer internship with Facture Goods. Facture Goods produces handmade, small-batch kitchen wares which are constantly changing in size and shape, so the challenge was to design packaging options that were flexible and helped unify the handmade brand identity.
I started with some illustrations of Facture Goods products then used these illustrations to draft iterations for a tape. In addition, we began to consider ways to print on boxes and other wrapping and packing materials. Screen-printing in-house gave the flexibility to order boxes and packing materials in sizes needed for current products without having to order in large batches that may go to waste when the product design changes. In addition to allowing this flexibility, screen printing the illustrations worked in harmony with the brand’s handmade image.
In addition to designing a large silk screen to be used to personalize packing materials, I was also tasked with designing two tapes: a 3” wide tape that could be used for packing and closing boxes, and also a 1” wide tape that would function as a tag for products, specifically when working with one of the corporate accounts, URBN Brands, who require “Made in USA” to be listed in three languages on all products they sell.
Once we had all the pieces of the packing puzzle to play with, we spent some time printing, taping and packaging items to determine some of the best ways to combine these elements. All together, I feel that the two dimensional designs reflect the unique voice of the brand well, and provides an opportunity to send customers a fun, printed package that further enhances their experience of the brand.
This has been a really great internship for me because I love working both by hand and digitally. I really enjoyed being able to move back and forth between processes and it kept me excited and engaged with the work. I really enjoyed seeing a process through from idea to production!
This project involved flattening a complex image and then creating typography to match it. We had to choose an insect to illustrate, simplify and flatten it in ink, and then create a type based on images that we found "in the wild"
The process shows my development of type inspired by letter forms "found in the wild" and the cicada I chose to draw and simplify to match the type. The final step was to create a poster that combined image and type to convey the idea of the insect we chose.
In this project for Corporate ID, we created a brand identity for a new coffee shop opening in San Francisco. We were tasked with creating multiple brand touch points, including cups, coffee bags, and two other related items that might be sold or used in the coffee shop.
For this project I used a combination of linocut printing and digital type design to create a final identity that was fun, funky, and reflective of the values of the shop, which donates to the Harvey Milk Civil Rights Academy.
This assignment was to design wine labels for three varietals of wine from Judson Vineyards. Designing labels for wine bottles ended up being much more involved than I anticipated, but I learned a lot in the process. I created the images using intaglio printing and painting, scanned and laid out with type.
This project has taught me a lot about process. The project involved many steps in moving from handmade to digital, and I learned the importance of good organization of my files, and actively planning each step of my process.
This winery is located in the Los Carneros region in California, and it is a key component of the winery’s identity. I thought it might be interesting to see if I could find a map of the region, and maybe work up some abstract shapes from there. I knew that I wanted to use bright colors to represent the bright acidity that is the unique characteristic of wines from this region, and to break a bit from the traditional “stuffy” wine label look.
I was able to find a geological survey map in the public domain, and I used that as a basis to simplify my own version. I made a dry-point intaglio print of this map, and scanned that image to layer with my brightly painted color palettes. This gave a nice looking map with the right amount of antique feeling and the right amount of modern vibrant color. I also made a print of a ram, to symbolize the Carneros (“ram” in Spanish) region, which would seal each bottle.
The purpose of this project was to pick an arts organization to promote with a poster, a brochure, and a web ad. I chose AIGA’s Women’s Lead Initiative because I wanted to learn more about the work that they do. As part of my focus on women in leadership within graphic design, I decided to use only typefaces designed by women. I pulled from Adobe Typekit and Google Fonts to create all of the work, and found some beautiful new fonts designed by women that I will definitely be using in my future designs!
Initially I considered WWI style pointing poster, but I found I was more inspired by posters that were aimed toward recruiting women for the war cause. Having seen this design echoed in contemporary Women’s March posters, I thought it would be great to call back to these two iconic styles. In both, the silhouettes of women are lined up all facing one direction. I decided to change the direction of the silhouettes inthe poster to reflect the huge diversity of practice within design fields. I enjoy bringing handmade elements into my graphic design, so for the poster I cut the silhouettes out of tissue paper and layered them to create some extra texture in the image. With the brochure, I focused on information that might be helpful to women struggling with common problems in the workplace. The aim was also to inspire people to have productive conversations about the implicit biases and stereotypes that often hinder women from advancing in the workplace.
For this typography project, we were required to create a 27th letter of the alphabet. We chose which font we would like to work with, and were to create a Capitol and lowercase letter that were totally new but fit seamlessly into the alphabet in the font we had chosen. I chose to work with Caslon, as I enjoyed the challenge of working with the curves and serifs of this lovely font.
Below you can see my process in measuring the letter forms, drafting new possible forms, and taking them through to completion. Posters show the letter forms both on their own and nestled in their alphabet.
This project required us to create a specimen poster for a font of our choice. I chose one of the most well known and used (potentially overused?) digital fonts.
I enjoyed the challenge of trying to create a poster that might make this "everyday workhorse" digital font feel more elegant and refined. Below are a number of iterations that went through in the poster design, including a number of humorous quotes from other designers exasperated with the overuse of this font.
This Project drove home to me the challenges of creating an alphabet that reads well not just as individual letters but as a whole. The assignment was to choose a single letterform from a classmate’s former project, and develop an entire alphabet based on that form. I chose a classmate’s wireframe Z because I knew it would challenge me to make something fully digital, which was still a new process for me. This project served as a really great way to dive in and figure some things out in Illustrator, which was a new tool to me at the time.
I chose Futura largely because I felt its geometric forms would be easier for creating the panels. For the sake of simplicity, I settled on the upright arrangement with the panels on one consistent side. I wanted the letters to be readable but not too easy, so you really have to get up close and look at them. I love exploded diagrams, and I enjoyed making an exploded alphabet! Ultimately this was a great project for learning new tools. I imagine this is probably just the tiniest taste of what actually designing a full alphabet is like, and I have much more appreciation for the work that must go into that!