A distillation of Humanist letterforms. Typeface designed with guidance from Sumner Stone and Sara Soskolne at the Type@Cooper Condensed program in 2011. At the final guest critique, Matthew Carter called the typeface “consistent in its eccentricities”.
A reinterpretation of a typeface originally created by Michael Freiburger, Martin Kranz, and Ulrich Gering for the first Bible printed in France. Designed during Jesse Ragan’s Typeface Design class at Pratt Institute.
Selection from identity design projects at Pratt Institute and The Original Champions of Design.
Typeface designed at Other Means with direction from Gary Fogelson, Phil Lubliner, Ryan Waller and Vance Wellenstein. Originally designed for Yeasayer’s Fragrant World and used as the primary typeface for Prattonia—Pratt Institute’s yearbook that Christina Janus and I designed.
My senior thesis class project with Frank DeRose and Brendan Griffiths was a study in processing information and visual overload. Four subjects were chosen for their chaotic, overwhelming, and mysterious qualities: Chinatown, found decorative boxes featuring woodcut prints, a guzmania plant, and Craigslist. As a form of meditation, visual studies were created each week in an effort to essentialize each unlikely subject. Typefaces were then designed based on the visual studies to further distill form from the unconventional sources.
While interning for Jesse Ragan in 2012, I assisted in the production of this typeface he designed based on lettering spotted on cardboard boxes.
Where the glossy, luxurious chrome of fashion publications collides with the crass, clumsy pulp of tabloid and gossip magazines. My senior thesis class project with Kathleen Creighton was a study in contrived aesthetic façades through strictly physical manipulations and purposefully unpolished typeface design. The resulting Vogue Magazine is a frankenstein clash of extremes with moments of unexpected beauty. While refined editorial design is used in high culture magazines to proclaim the “rules” of fashion and lifestyle, heavy typography is used in tabloid newspapers to lend an authoritative voice to outlandish claims. The typeface designed for the faux publication is an attempt to subvert this disingenuous typographic authority. Subscribe now!
A work in progress.