I love to read, think, talk, and write about the state of design.

From The Dinner Party to Obsidian Ladder: Mapping feminist theory from the 1970s through contemporary art

Gals & Gears Moto Roundup: GDVX502 Course Project

TYPO Berlin: Typographic poster design

TYPO Berlin Poster Project, Fall 2019 (GDVX501)

Project completed in the Typographic Communication (GDVX501) Course as part of the MFA Graphic Design and Visual Experience Track at SCAD.

Process Book (here) includes assignment overview, strategy, type studies, grids, color studies and final printed posters.

Deconstructivism and Reconstructivism in Modern Art: Judy Baca’s “Great Wall of Los Angeles”

At the point at which Modernism and the avant-garde were declared dead – stemming from the increasing commoditization of art and the idea that originality was impossible in the technological age of mass circulation and availability of information and images – Suzi Gablik defined art in her 1985 book, Has Modernism Failed?, as a ritual, which artists could now approach in one of two ways:

  1. Going through the motions of the ritual in order to examine the codes and beliefs upon which art and society are founded, or,
  2. Engage with the ritual because it is meaningful, transformative, and has the power to heal art and society.

The former approach is that of Deconstructivism in art – a dismantling and examination of the codes and beliefs of Modernism, and an ironic reflection of the rampant capitalism and consumerism in Western society of the age. This was accomplished via a complete objectification of the art via seriality, repetition, and a focus on found materials and cultural iconography. Artists like Warhol (who appropriated pop culture imagery and employed repetition and a machine-like production process) and McCollum (with his seriality, overt objectification of art as commodity and mass-production) are known for Deconstructivist art.

On the other hand, the latter approach deals with Reconstructivism – a re-enchantment with art via the belief that it has the power to heal and transform artists and viewers, and imbuing art with a moral authority to achieve such transformation. This art was highly individual, sometimes fleeting, not neatly packaged or saleable – performance art for example, or public art that democratized art and “belonged” to everyone and no one. Reconstructive artists sought to raise public consciousness, promote a reconnection with the earth, nature, animals, and other human beings, and to point the way for society by encouraging social discourse, particularly for Civil Rights, Vietnam War Protests, Feminism and LGBTQ Liberation.

Both Deconstructive and Reconstructive artists recognized the challenges posed by the increased commoditization of art, and the hypocrisy in and failure of (as Koons referred to it) Modernism and Modern Art’s responsibility to communicate (Caicco 2019), but their responses to the challenge were vastly different. It appears to me that Deconstructive artists focused on pointing out the problems, failures and inconsistencies with art and society, perhaps as a means to draw attention and raise awareness to instigate change, whereas the Reconstructive artists focused on actually initiating and leading change towards a better society with their work. I personally identify with the latter – not only for the tendency to actively lead and instigate change, but for the tenets of having closer connection with the earth, animals and other human beings, and for using what’s at my disposal to attempt to make my world a better place. The piece of Reconstructivist art that resonated most with me in this unit is Judy Baca’s The Great Wall of Los Angeles.

Judy Baca, The Great Wall of Los Angeles, 1984, Tujunga Flood Control Channel,
Los Angeles, California.

Click here for Google Street View of the Great Wall of Los Angeles, and here for a short independent documentary video of the mural’s construction during the first summer of the project.

In 1974, the Army Corps of Engineering contacted Mexican-American artist and muralist Judith F. Baca about a beautification project for the Tujunga Flood Control Channel in the San Fernando Valley, in Los Angeles, California. Baca worked with a team of ten artist supervisors, five historians and over 400 at-risk youth muralists to research, plan, design, prepare and paint a mural for the project over summers in the following twelve years. The mural, which was already the longest mural in the world after the first summer installment, now stretches over half a mile and stands nearly fourteen feet high. The subject of the mural is the history of California from prehistoric times through the 1950s (although additional decades are in the research and design phases), through the lens of the ethnic peoples of California.

The process of constructing such a work was arduous – Baca spent a year per depicted decade researching and consulting with historians, who identified and selected the various historically significant events to be included in the work. She then oversaw the artist supervisors who worked with groups of at-risk youth to design the artwork for each section of the mural. Once final designs were approved, teams of muralists descended into the flood control channel to sandblast, waterblast, and seal the concrete in order to prepare for several layers of white paint, grid lines, transferred designs, and finally the mural work itself. Once the new section of mural was completed, it was sealed in order to protect the fresh paint from the elements.

As a student, Baca “studied the great Mexican muralists (Siquieros, Rivera, Orozco and others)” (Feinberg 2011, 377) and that influence shows up in this work – particularly Rivera’s Dream of a Sunday Afternoon in Alameda Park (1947-48), with its crowded composition, depiction of Mexican historical figures and ethnic symbolism. The work, particularly the first 1000 feet painting during the first summer, is made up of pictorials of ethnic history, each one conceived, designed, and painted by a different group of muralists. As such, though the scenes blend together in a running timeline, there is a certain disjointedness between scenes as the styles differ slightly. Baca oversaw the project, however, and there are certain unifying characteristics that pull the work together at a high level – the use of definitive lines throughout the design, the slightly-exaggerated figuration of the depicted scenes and the tri-color method of shading endemic to the Chicano art movement (which involved highlighting/shadowing with a single lighter/darker shade of the primary shade).

The mural has the shallow depth, for the most part, of cubism – even great distances are depicted on very close planes, distorting the perspective slightly. There is a certain rhythm to the work – each scene is depicted on a single panel of the concrete wall, so the scenes appear in a regular and orderly manner. However, because each scene is developed and painted by a different group, there is not a contiguous, unifying background – while this does cause breaks in continuity, it serves to highlight each scene individually, allowing each to stand on its own for examination, instead of running or blurring into one another.

Like Rivera and Orozco, who painted murals as a way to democratize art and engage a wider audience than the museum-going class, Baca realized the value of art in community engagement and opening social discourse, saying, “I have always known the value of art as a tool for transformation both personal and political” (Baca, Artist Statement 2019). Of The Great Wall of Los Angeles, Baca stated, “I envisioned a long narrative of another history of California; one which included ethnic peoples, women and minorities who were so invisible in conventional text book accounts” (Baca, The Great Wall of Los Angeles, 2019). Her art, like that of the Mexican masters and contemporaries of the Reconstructionist art of her period, served a moral, shamanic purpose – to awaken community consciousness to the reality of the ethnic peoples of California, giving a voice to those who had all-too-frequently been silenced in the retelling of American history, and giving the members of the surrounding community a literal place in history, healing (or attempting to heal) a break between the Anglo and ethnic histories, communities and realities in Southern California.

Like Baca, I personally believe in using whatever you have at your disposal to make a positive impact on the people and the world around you. In her case, she used her artistic talent and notoriety to lift others along with her – using art to tell a powerful story, the process of which impacted a community economically (providing 400+ jobs in the community), culturally (by bringing groups from various backgrounds to bridge racial, economic and ethnic divides and work together on the project) and in terms of future growth (by providing alternative summer activities – including employment, education, affirmation, arts training and purpose – to at-risk teens who might have otherwise been prone to gang membership, drug use, sex trafficking, etc.).


Baca, Judy. “Artist Statement.” Judy Baca Artist Website, accessed July 8, 2019.

Baca, Judy. “The Great Wall Explained.” Judy Baca Artist Website, accessed July 8, 2019.

Caicco, Gregory. “Unit 4: Pop and Fluxus.” Course Content, Contemporary Art from Savannah College of Art and Design, Savannah, GA, July 7, 2019.

Doss, Erika. “Raising Community Consciousness with Public Art: Contrasting Projects by Judy Baca and Andrew Leicester.” American Art 6, no. 1 (1992): 63-81.

Fineberg, Jonathan David. 2011. Art Since 1940: Strategies of Being. 3rd ed. New Jersey: Prentice Hall.

Gablik, Suzi. 2004. Has Modernism Failed?. 2nd ed. New York, N.Y: Thames and Hudson.

National Parks Service. “Great Wall of Los Angeles (Mural).” NPS Website, accessed July 7, 2019.

SPARC. “The Great Wall of Los Angeles.” SPARC in LA website, accessed July 7, 2019.

The Personal Nature of Process in the 1950s and 60s: Jackson Pollock’s “Echo: Number 25, 1951”

The Personal Nature of Process in the 1950s and 60s: Jackson Pollock’s “Echo: Number 25, 1951”

During the 1950s and 1960s, the art world saw the “seeds of discontent with Modernism, with a formalist aesthetic, and with the value systems that underpinned it” (Caicco 2019). As Harold Rosenberg came onto the art scene in the late 1940s, he challenged Greenberg’s framework, rejecting that the Abstract Expressionist artists of the New York School were an evolution or extension of European Modernism, and that art itself need not serve the purpose of pure aesthetic object.

Rosenberg defined the widely varied group of Abstract Expressionists artists by their “radical individuality” (Fineberg 2011, 34), which he proposed was a marker of their collective “American-ness” – the frontier spirit that gave them a bias to action, the tendency towards physicality in the creation process, “the individual overcoming space through self-initiated, self-motivated, and self-reliant activity” (Caicco 2019).

With the rejection of formalist tradition and principles and the de-aestheticization of art, the process of making art shifted away from a templatized, rigidly-defined technique for provoking an aesthetic emotional response and shifted towards a highly individualized and personal manifestation of art as a lived experience. Process in this period became artist-centric – instead of process focusing on a way to produce an end object for a viewer to receive, process became a way for artists to explore, decode and document their own experiences.

For Motherwell, process became a medium – a means by which
he could condense the “infinite background or feeling” into an object of perception (Caicco 2019). For Rothko, process was spiritual, a liberation from the mundane, material world – a means by which he could transcend ego, allowing
the sense of true emotion. And for Pollock, the process was autobiographical – a means by which he could objectify an intense, consuming experience as it unfolded (Fineberg 2011, 35).

Jackson Pollock, Echo: Number 25, 1951, 1951, enamel on canvas. Museum of Modern Art, New York, accessed June 23, 2019,

Jackson Pollock’s Echo: Number 25, 1951 is a painting of substantial size, roughly square (7’ 7 7/8” x 7’ 2”), enamel paint on unprimed canvas. The work was acquired by the Museum of Modern Art in New York through the Lillie P. Bliss Bequest (by exchange) and the Mr. and Mrs. David Rockefeller Fund. 

Echo is a stark departure from Pollock’s usual style – immediately evident is the severe color palette. In contrast to his previous works, Pollock limited himself to black and white for this piece. Additionally, the motion of the paint on the canvas lacks the usual energy, it is less frenetic, less explosive than his earlier works. For this work, Pollock “poured the enamel paint onto unprimed canvas with a slowness and control that resulted in compositions characterized more by delicacy and economy than by explosive, radiating energy” (D’Augustine 2017). This slower, more deliberate technique allowed Pollock to explore more figurative imagery, as in the eye seen in the upper-left hand corner, something he’d abandoned very early on.

Pollock understood that this work (and associated series) were not likely to be received by critics, saying, “I’ve had a period of drawing on canvas in black—with some of my early images coming thru—think the non-objectivists will find them disturbing” (Museum of Modern Art. “Jackson Pollock, Echo: Number 25, 1951”). This demonstrates Pollock’s focus on himself at the center and sole beneficiary of the process of making art – his concern was not for the end viewer, but for what he felt, and how his experience of those feelings compelled him to work. And because his individual process was documentary, it is logical that as his experiences changed and shifted over time, the process by which he documented them and the objectified experience as the end work would reflect that.


Caicco, Gregory. “Unit 1: Thinking about Contemporary Art.” Course Content, Contemporary Art from Savannah College of Art and Design, Savannah, GA, June 17, 2019.

Fineberg, Jonathan David. 2011. “Art Since 1940: Strategies of Being.” 3rd ed. New Jersey: Prentice Hall.

D’Augustine, Corey. “In the Studio: Postwar Abstract Painting.” Online Course, Coursera, 2017. Quoted in “Jackson Pollock, Echo: Number 25, 1951.” Museum of Modern Art, accessed June 23, 2019.

Museum of Modern Art. “Jackson Pollock, Echo: Number 25, 1951.” Museum of Modern Art online, accessed June 23, 2019.

Modernism vs. Postmodernism – David Smith’s “Hudson River Landscape”

Modernism vs. Postmodernism – David Smith’s “Hudson River Landscape”

David Smith, Hudson River Landscape, 1951, welded steel painted steel and stainless steel, Whitney Museum of American Art, New York, accessed June 16, 2019,

David Smith’s Hudson River Landscape, considered the artist’s first mature sculptural work (David Smith: Centennial Exhibition Resource Guide. New York: Solomon R. Guggenheim Museum, 2006, 1), was completed in 1951 at his studio at Bolton Landing in upstate New York. The sculpture is a moderately sized (by comparison to his later works) construction, measuring roughly four feet tall by six feet wide, with a depth of just over seventeen inches, whose materials include painted welded steel and stainless steel. Smith learned to weld during his employment as a riveter in the summer of 1925, at the Studebaker automobile plant in South Bend, Indiana (David Smith: A Centennial Exhibition Resource Guide 2006, 1). In his later sculptures, Smith primarily worked with stainless steel which he began to favor “partly to avoid the need to paint and laboriously maintain outdoor work that was otherwise prone to rust” (Fineberg 2011, 120), indicating that this earlier work of primarily painted welded steel was intended to be maintained and preserved in its original state, and not to age, rust or decay as part of the statement or process of the work. Smith’s early painting studies under Matulka at the Arts Students League in New York heavily influenced his sculptural style, which he first began exploring in the 1930s after his exposure to illustrations of metal sculptures by Pablo Picasso and Jose González (Fineberg 2011, 115). The cubist principles that featured so heavily in his education and early paintings – shallow plane, single viewing position, play between two and three-dimensional space – would feature heavily in his sculpture practice as well, as seen in Hudson River Landscape. His sculptural process had a two-dimensional foundation, which involved placing metal pieces against a table and “collaging” the sculpture together, adding additional elements and features once he had the work-in-progress standing upright (Fineberg 2011, 121). As early as 1946, Smith was purchasing steel scraps from local plants in order to have a supply of irregular forms on hand to incorporate into this process (Fineberg, 120), and throughout his career regularly incorporated agricultural tools and bits of machinery. It is notable that steel has an extremely high tensile strength, which made the material a suitable selection for what Smith referred to as his “drawings in space.” This work was purchased by the Whitney Museum of American Art (where it still resides) directly from the Estate of David Smith, which is recently reorganized under his two daughters, Rebecca and Candida. The work is regularly included in exhibitions on American sculpture, abstract expressionism and American artists of the twentieth century. Hudson River Landscape can be considered a Modern work for many reasons, not least of which is the celebration of Western technological advancement and progress inherent in its materials. Smith spoke of this idea directly, saying,  “the metal itself possesses … associations … of this century: power, structure, movement, progress, suspension, brutality” (Smith 1952). Famed Modernist critic Clement Greenberg considered Smith’s work to be some of the greatest American art of its day, precisely because it promoted “the essence of the age (basically, what it meant to be an American with gusto and machismo)” (Caicco 2019). Smith conceived of the idea for this sculpture during ten train journeys he took on the seventy-five mile stretch between Albany and Poughkeepsie. He made dozens of sketches of the Hudson River Valley landscape streaking past his window during his trips – wisps of clouds, mountains, the rolling river, blurs of trees – all of which informed the final work, which “synthesizes the feeling of that picturesque journey” (Fineberg 2011, 118). In this way, the work also adheres to Bell’s Modernist principle of provoking the aesthetic emotion – in this case, the sublime. The sculpture itself evokes this idea of viewing the passing landscape through a window or frame, with the shallow depth of the work forcing the viewer into single vantage point, to consider the work and perceive it from a set distance and perspective, not to approach, interact with, or consider it in any other way. It is interesting that this last point, turned on its head, is a significant consideration for how Hudson River Landscape might be viewed as Postmodern work: the single vantage point of this sculpture (and indeed of many of Smith’s works) is “antithetical to the traditional techniques of sculpture” (Fineberg 2011, 123). In contradiction to the prevailing Greenbergian approach to Modernism, he does not emphasize the medium (Caicco 2019), but takes a rather anti-Modernist approach by creating a two-dimensional work in a three-dimensional space. The work can also be considered Postmodern for its lack of a single, clear purpose, message or interpretation. Smith’s own perspective (though it seems like a distinctly Modern point of view at first glance) seems to account for the viewer’s experience and interpretation of the work, leaving the purpose of Hudson River Landscape fairly vague: “Is my work Hudson River Landscape, the Hudson River, or is it the travel, the vision, the ink spot? Does it matter? The sculpture exists on its own. It is the entity. The name is an affectionate designation of the point prior to travel. My objective was not these words or the Hudson River, but to create the existence of a sculpture. Your response may not travel down the Hudson River, but it may travel on any river, or on a higher level” (Smith 1926-1965). Even Greenberg “particularly appreciated the complexities of his abstract forms, which were left somewhat open-ended in terms of the possible references” (Caicco 2019). Sources: David Smith: A Centennial Exhibition Resource Guide. New York: Solomon R. Guggenheim Museum. 2006. Fineberg, Jonathan David. 2011. “Art Since 1940: Strategies of Being.” 3rd ed. New Jersey: Prentice Hall. Smith, David. 1952. A paper delivered in “The New Sculpture” symposium, Museum of Modern Art, New York; cited in Garnett McCoy, ed. David Smith (New York, Praeger, 1973), 84. Caicco, Gregory. “Unit 1: Thinking about Contemporary Art.” Course Content, Contemporary Art from Savannah College of Art and Design, Savannah, GA, June 17, 2019. Smith, David. 1926-1965. “David Smith papers.” Archives of American Art, Smithsonian Institution.

House of Destiny Brand Identity and Guidelines

House of Destiny Brand Identity Guidelines

House of Destiny hired me to develop a brand identity system that addressed several things – 1) address current needs but allow for growth, 2) acknowledge the previous brand, and 3) identify a generally more modern aesthetic. 

The work for this guide fell into two streams: content/copywriting, and visual design. I created a tone of voice model for the brand and sub-brands, and leveraged my experience consulting brand guides throughout my career to organize the guide in a way that makes the brand accessible and executable. From those two pieces I was able to craft all the copy within this guide (with two exceptions). Simultaneously, I identified a typography hierarchy that leveraged a previous brand font, and proposed colors to fill gaps and modernize the previous palette. 

Once approved, I laid out the copy and content based on the above, and leveraged the new visual guidelines to create a piece of work that serves as a physical demonstration of how to execute the guidelines within.

PMG Brand Narrative

PMG Brand Narrative

The PMG Brand Narrative was a project commissioned by PMG around the launch of PMG’s rebrand and repositioning in 2017. The Narrative was intended to be a resource for employees as the brand transitioned, to bridge the old brand to the new brand, to make the story around PMG clear, consistent and ownable, and to equip employees with a standard set of language to use around the brand.

I worked with leadership to understand the new positioning and its context – the challenges with the previous brand that made a rebrand necessary, how they’d been addressed with the new brand, and the challenges presented by the transition to a new brand. The primary objectives were to differentiate the PMG story from other agency stories by infusing the personality of the brand into every aspect of the work, to provide a clear story for employees that connected them to the positioning of the brand, and to showcase the recent strength and growth the brand has experienced in recent years to be more reflective of its status as a major player in the digital agency space.

We worked over the course of several weeks to complete discovery and background research, after which I drafted an outline, wrote an initial draft, and then incorporated feedback and revisions to complete the final work.

The final Brand Narrative work is 5,500 words in length, and just shy of 30 pages printed. See selected sections below.


Welcome to the future (of marketing).

With the power of technology at our fingertips, we’ve arrived at a point in history where we’re faced with more opportunity to connect to information and to each other than ever before. We communicate, consume, create, and transact in an increasingly digital space. Always-On is table-stakes in this brave new world of digital marketing – the technology we rely on to power our connections is in a constant state of evolution, and demands our full attention and engagement in order to thrive.

At PMG, we are more than Always-On – we are Always-Engaged in these constantly-evolving technologies. We don’t simply exist in this ever-changing landscape. We’re continually mastering it, and we use our experience to shape it through our highly-evolved media strategy, distribution plan and advertising capabilities.

We form true partnerships with our clients, operating in full transparency with our data, insights and methodologies. We leverage our technology acumen, media expertise and data science authority to pioneer groundbreaking solutions that are tailored to our clients’ unique needs.

Our superior methodologies spark unseen, needle-in-the-haystack opportunities for our clients that scale across all media and sales channels while retaining audience precision. And we’re relentless in our pursuit of continuous improvement – we’re never satisfied with “good enough” and seek to continually improve our strategy, operations and processes in small ways, every day.

We are catalysts and guides who help clients reach, nurture and activate their customers, and turn customers into authentic relationships.

We create powerful connections.

We are PMG.

Who We Are – Creating Powerful Connections

To continue deepening our understanding of the above brand framework statement, we’ll examine the phrase, “creating powerful connections.” If you’ll recall from the section of this work explaining the concept of a Brand Narrative, this phrase is the fundamental human truth revealed in our story by the tension we experience between technology and relationship.

If you think of this tension like a wrestling match, each seeking to dominate the other, then it’s easy to see how we might struggle – and have struggled in the past – to maintain a controlled balance between the two. But if we instead liken them to the opposing magnetic forces that power high-speed Maglev (magnetic levitation) trains – we quickly come to an understanding of how we might exploit this tension as a means of propelling our business.

The difference in the two scenarios above is the presence of an overarching goal. Left to their own devices, the two forces can’t help but fight for dominance – technology over relationship turns into tactical execution, and relationship over technology turns into service. But identify a goal for these forces – for example: creating powerful connections – and you can guide and direct the tension between the two, harnessing their energy in perfect balance to create a powerful driving force.

Ginger’s Treats Logo Work

Ginger’s Treats Logo Design and Branding Work

Illustrated Logo for Ginger's Treats Dog Treats, tagline: They're Barkin' Delicious!

Katie Metz hired me to design a logo for her new business – an organic, preservative and additive-free line of dog treats she originally developed for her adopted pit bull mix, Ginger. 

It was important to Katie that Ginger be a core part of her brand, and had specific stylistic ideas about the logo. Knowing that Katie wanted an illustrated Ginger as the focus of the logo, I began with a photo of Ginger and worked through several rounds of color passes, vector conversions and digital painting in order to land at the first iteration of the art. From that illustration, I tweaked lines to get Ginger’s “smile” just right, worked through color variations and typefaces in order to land on a final logo that Katie, Ginger and I loved. 

Ginger has since crossed the Rainbow Bridge and Katie eventually sold her business, but the logo and branding I developed for Ginger’s Treats lived on her website, on her packaging and marketing materials, including emails, social media and print advertising.

Image of packages of Ginger's Treats Dog Treats.
Image of a package of Oatmeal Crisp flavored Ginger's Treats Dog Treats
Image of a package of Pumpkin Snackers flavored Ginger's Treats Dog Treats
Photo of a mixed-breed dog named Ginger, mascot of Ginger's Treats Dog Treats
Photo of a mixed-breed dog named Ginger in front of packages of Ginger's Treats Dog Treats

Cash Will Trash Your Culture Infographic

Cash Will Trash Your Culture Infographic

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F Infographic for Print pg1
F Infographic for Print pg2

The purpose of this infographic was to concisely explain the complex idea that cash-based award programs are detrimental to workplace culture and provide actionable information that HR managers could use to transition their programs away from cash awards. I worked with our strategy team to aggregate the relevant studies, articles and original research, which I then organized into a story, punctuated by supporting data. 

Once the narrative was approved, I developed the visual organization of the content. I leveraged our secondary color palette to disrupt from the sea of design work in our primary colors and illustrated original vector artwork to support the narrative and illustrate some of the more lofty ideas. I chose simple, mostly flat designs in a limited color palette in order to partner with – not distract from – the text and the narrative as a whole. 

This piece was designed for both print and for digital distribution – design and illustration – Illustrator, layout – InDesign.

FWSSR Commemorative Badges

I had the opportunity to design the commemorative badge for the Fort Worth Stock Show and Rodeo for several years (2011-2014) while I worked for Inspirus, LLC in Fort Worth, TX.


I worked with the client (FWSSR), the account manager and the engraver onsite at our facility to develop designs based on the criteria and requirements for that year.The general process was to meet with the client to understand any creative elements, motifs or information they’d like to include with the badge design. I’d start with sketches that I presented to the account manager, who selected a final concept. We then worked with the engraver to understand constraints around metal thickness, enamel fill properties, modeling and machine capabilities.


Once we had a mocked, workable design, we sought client feedback and eventually approval, then went into production for delivery by January of each year.

The Red Airplanes Show Poster

The Red Airplanes Show Poster

Mockup of a poster designed by Amelia Leicht for The Red Airplanes.

From 2013-2015, my husband (the character with the beard and glasses) played bass for a group called The Red Airplanes. I was asked to produce a poster for an upcoming local show.

I illustrated silhouettes of each member of the group in Adobe Illustrator from social media profile pictures I pulled, them created a color palette that would ultimately serve to draw all attention to the red of the lead singer’s signature tie, which pointed down to the word “RED” in the group’s logo.

Mockup of a hanging poster for an event called TeamDeMonium

Team-De-Monium Poster Campaign

Team-de-monium Poster Campaign

poster for an event called TeamDeMonium
poster for an event called TeamDeMonium
poster for an event called TeamDeMonium
poster for an event called TeamDeMonium

Inspirus launched a hackathon event, for which I was tapped to develop an internal marketing campaign that would communicate the purpose of the event, generate interest, and deliver critical information for prospective attendees (dates, times, signups, etc.). 

Knowing that our office was outfitted in very neutral colors, I immediately planned to leverage our secondary/tertiary color palettes to create a visually disruptive poster initiative that would lean in to the vibrant, spirited, creative theme of the event. 

I identified a list of phrases that would build excitement and speak to the fun, collaborative and highly engaging environment planned for the actual event. I set these in oversized type that filled the page, which when combined with the colors chosen, made the poster campaign a little over-the-top. This generated a lot of curiosity – which was then turned to focus on the relevant details that I added in bright white to provide a stark contrast to the poster backgrounds.