Typography at the center of my practice with 3+ years of experience in branding and advertising, I create tailored look and feel in consumer-facing environment through Type, Art Direction and Motion Design for brands in Lifestyle, Culture, Tech, Retail. A recent graduate from Rhode Island School of Design with a BFA in Graphic Design. Currently based in NYC.
Open to full-time positions/freelance works at the moment.
Previously @ Gradient Experience, EO Space, Siegel+Gale
Resume and PDF porfolio available upon Request
Previously @ Gradient Experience, EO Space, Siegel+Gale
Resume and PDF porfolio available upon Request
Introducing Argylle, where style meets performance in the perfect fusion of fashion and function. Elevate your active lifestyle with our cutting-edge athleisure wear that seamlessly transitions from the gym to the streets. Blurring the line between athleisure and street fashion, Argylle’s allure stunns in real-world settings with an edge of sophistication.
Speculative identity for Bata Shoe Museum in Toronto, Ontario. The original museum has a focus on shoe-making history, this project has a contemporary twist on the original look and feel, repositioning shoe as an apparel object and bringing in pop up store as part of the marketing strategy. The new identity continues with the red from the original logo with same hue but a brighter one, and a change into a serif typeface, Domaine Text by Klim Type Foundry, for an elegant feel but also speaks more to fashion industry.
Dear Pink is a campaign dedicated to educating the public about the Pink Tax phenomenon and advocating for its elimination to combat market and cultural disparities. Pink Tax is the theory that products marketed toward women cost more than nearly identical products targeted toward men.
Typeface In Use: Riforma by Lineto
Typeface In Use: Riforma by Lineto
New Ugly is a movement to honor, celebrate and revive ridiculed typefaces and vernacular design, bringing fresh perspectives into our prestigious design ecosystem. Through visual investigation and experiments with these typefaces that are usually poked fun at, New Ugly manifests potential design literacy and flexibility in these typefaces, behind all of which there is an anonymous graphic or non-graphic “designer.” New Ugly also addresses underlying colonialism and colonizing power behind the ugliness of typefaces like Karate and Papyrus. The ugliness is constructed by appropriating bits and pieces of another exotic culture, the Far East, Mysterious Asia, and the Tropics. New Ugly is a movement but it is also a manifesto and a way of being.