This set was created as a project to produce a self promotion package to give to potential clients. The set consists of a handcrafted box, inspired by vintage type drawers; an introductory letter; a branding guide which contains questions for the client to answer to help determine their needs; and my digital portfolio on a flash drive that I rehoused in a wooden block that I modified to resemble a wooden T letter sort.
The overall design is very minimal and type focused, reflection my personal focus on typography and love of object style design.
The Grown Up Chocolate Company put out a call for designers to create package labels for a new line of nut-free, dairy-free, vegan chocolates. There is an assumption (formerly rightfully) that dairy-free and, especially, vegan products are not tasty. I decided it would be important to focus on the flavors. Therefore, I added closeup images of the ingredients, which took up half of the front side of the box. I placed the descriptors prominently between the flavor name and the company name. Since the images didn’t convey the company’s sense of fun and quirkiness, I reworked the typography of the company name to suggest these qualities.
The requirement for this brief was to produce an interesting and high quality gift box for holders of annual VIP passes for the Royal Opera house. The box would contain an introduction letter, an “About the ROH” page and a brief history of the performance style I had chosen to represent.
My chosen style was Théâtre Francais. I chose to represent it’s history on the box cover by depicting the spirit of a dancer in a classical tutu rising behind a dancer wearing a modern, avant-garde tutu. I presented the welcome letter and “About the ROH” page in a handmade envelope sealed with gold sealing wax. The brief history was presented in an accordion book held closed with a ribbon that appeared to be held shut with sealing wax, but was actually held by a magnetic clasp. The interior of the box and cover of the book were covered in paper printed with designs resembling those of the wallpaper in Marie Antionette’s theater hall.
The Adult, Non-fiction category choice for the 2018 Penguin Randomhouse student design competition was Stephen Hawking’s A Brief History of Time. For the background I wanted to represent the passage of time. The imagery I created was influenced by time lapse celestial photography with colors inspired by Italian Futurist paintings. In order to suggest the double slit experiment, I created the lettering of the title by shining light through a hand cut stencil.
This project was to create a location poster for an annual meeting of the International Typography Association, ATypI. The location for the conference was the Print Media Academy, a conference and training center owned by Heidelberger Druckmaschinen AG (Heidelberg Printing Presses). In front of the building is a sculpture, Jürgen Goertz’s S-Printing Horse.
To represent both the building and the printing process, I created an object style poster featuring the sculpture. To suggest the technological progression that the printing process has undergone, I created the image of the sculpture digitally, but placed in on a hand-painted background.
The objective for creating these covers was to produce covers for two paperback books from a set of six popular classics that a publisher was re-releasing as part of an anniversary celebration. The first two were created with idea of them being published separately. The other two were created with the idea that they could be produced as a set and the common features could be used in the development of the other four titles to produce a boxed set.
One of the main themes of The Hitchhiker’s Guide to the Galaxy was that of the fish out of water. There is a constant disconnect between the mundane and the fantastic throughout the book. In order to reflect that disconnect, I created a cover featuring a normal car dashboard (my own) beneath a view screen/windshield looking out on a star rising over an alien planet. To emphasize the quirkiness of the book, I added a tea cup on the dashboard with a label hanging down that says, “Not entirely unlike tea”, reflecting a comment made by the main character.
A Midsummer Night’s Dream is effectively a pastoral fantasy. For my cover design, I decided to step away from the ubiquitous image of the characters of Bottom and Tatiana, instead focusing on the forest. My design gave minimal information for the purpose of engendering the viewer’s curiosity. My short description emphasized this idea by listing a number of things that appear in the story and asking the reader the question, “What could go wrong?”
The Design for the version of The Hitchhiker’s Guide intended as part of a set was based heavily on the styling of NASA training manuals.The version of A Midsummer Night’s Dream followed suit with a central, debossed line image; in this case a love-in-idleness flower, the main ingredient of the love potion that causes much of the story’s confusion.
The objective of this design was to create in-house promotion for an exhibit celebrating Sci Fi films of the fifties.
For the poster, I focused on space travel which, along with giant radioactive monsters and alien invaders, comprised the core of the genre. The movie posters of the time generally fell into the categories of movie stills or fantastical paintings depicting a major event or threat. I decided to go the latter route and suggest a sense of non-stop excitement by include a number of elements: a rocket taking off, an invading fleet of flying saucers, and a giant robot threatening a domed city.
For the gift shop, I designed a package for a toy atom bomb that would fizz and dissolve in water, revealing a to monster which would absorb the water and grow in size.
As the, usually military, mission to another planet was a common feature of Sci Fi films of the fifties. I felt that fantastical mission patches would allow the visitor to immerse themselves by pretending to be a member of one of those flights.
The first two patches were styled after NASA mission patches. The third was modeled after naval mission patches. The final patch was a combination of the NASA pilot patch, worn on the left breast, with the styling and colors of the US Army to make it more martial in appearance.