Using three essays about the inseparable relationship between art and life, we were asked to create a 48-page book to illustrate our interpretation of the text. I sought to communicate everyday innovation by pairing two visually unrelated yet functionally similar objects. I cut the text pages to incorporate an element of surprise and independent discovery for the reader.
Illustration for Bar Sixty Five at Rainbow Room
Poster about my time-induced anxiety. Typeface: Linotype Case Study No. 1
For a motion graphics class, we were required to invent and animate a story that preceded the final, static image in a postage stamp. To contrast the stillness of the stamp, I created a frantic scene of a factory packing and shipping boxes. I used film alongside vector illustrations to add a surreal quality to the animation. The audio is from Charlie Chaplin's A Modern Factory.
While living in London for a year I began to collect words that I found amusing or different in some way. I wrote, designed, and illustrated this book to share my words and experiences with others.
The concept for this project was initially realized as part of a collaborative assignment at the University of Connecticut. Other group members were Emily Nitti, Kathleen McIntyre, Sara Jamshidi, and Taurean Stovall.
For my undergraduate thesis, I focused on visualizing time in order to communicate its significance. The final result was an interactive newspaper that contains one week's worth of wasted time, that I documented through photography. In addition to inserting common language associated with these experiences, I embedded videos in some of the still images to fully immerse the viewer in a period of stillness. I brought this paper to life using the Layar app.
Daphne Geismar, New Haven–based book designer, makes beautifully thoughtful books for artists and museums. As a collaborative experiment, I joined her and two of my peers in designing her new portfolio site. We wanted to embrace the physicality of these books with large photos, horizontal scrolling and an arrangement of the books on the site that mirrors how one would experience them in real life.
A rejected logo option for the 25th Anniversary of Chazen Institute of International Business within Columbia University. Created at Taylor Design.
This is the event marketing campaign we created for Strategie Seating Solutions. Rather than focusing on the functionality of the chair, I wanted to create a dynamic, colorful composition of this otherwise mundane object. Created at Taylor Design.
The sun, a perfect metaphor for endurance, continues to rise day after day despite weather conditions. For some, the beginning of a day is a dreaded realization and reaching the end is a valiant accomplishment. I paired this visual metaphor with a passage from Maira Kalman's Principles of Uncertainty that voices everything I believe about empathy. I can't truly feel another's' pain, I can only have compassion. Created as a personal project for someone significant.
Every year Taylor Design creates a promotional holiday calendar to send to friends and clients. As a studio we decided to base this year’s annual holiday calendar on the theme of “Sweet 16,” using facts about famous candy to fuel the illustration and design. I lead the design of the identity, structure, and layout while Vaughn Fender took charge of the illustrations. This was truly a collaborative effort as everyone in the studio contributed concepts for the illustrations. Art direction by Dan Taylor and Steve Habersang. Writing by Stacey Resnikoff.
In my continuing education class, “The Feeling of Design,” we each had to design a logo for a fictional bank called “International Bank.” Since there were no known characteristics of this bank other than the name, I focused on creating a memorable acronym. Created at The School of Visual Arts.
I created this logo for Marsh + Woods Architects based on the idea of exactness. The two partners had the same number of letters in their names, a happy coincidence that also aligns with the precision required in the practice of architecture. To offset the technical perfection of the square, I chose a quirkier typeface to render their names. The business card shows a reverse image of the logo on the back to mimic the experience of looking through a window. Created at Taylor Design.
The MasterCard brand is highly restrictive. When asked to create a manifesto for web developers that re-imagines the brand with a focus on technology, I took this as an opportunity to strip away everything I could. The remains consisted of the three iconic colors and the circle shapes I extracted from the logo. Created at Taylor Design. Art Direction: Dan Taylor
This invitation and identity was created for a lecture given by textile artist, Vibehke Rohland. The identity references stitching and the form of the invitation, two inter-locking pieces that unfold into a poster, speaks to the tactile quality of textiles. This was a collaborative project with Sara Jamshidi, Emily Nitti, and Amanda Batula.
When prompted to redesign an existing electric bill so the information was made visual and immediate, I transformed this two-dimensional document into an expressive box. The dimensions of the box are determined by the amount of electricity used in the month.
We were asked to create a walking tour of our favorite part of London. I chose to take my tour through the tube, passing through all of the underground lines in the order they were conceived. I used a multicolored thread to visually represent the individual lines and the knots to represent the stops on the tour. The experience of unraveling and inevitably tangling the thread is similar to the frustrating experience of the crowded underground.
We were asked to choose an artifact from the British Museum and create a 12-page book about it. I chose an ancient wool comb. The simplicity of its function demanded an equally simple narrative and visual treatment. I also re-imagined the book form itself with cut pages and a vertical orientation, in order to accurately illustrate the object. Created at Central Saint Martins.