TreePeople is Southern California's largest homegrown environmental movement. TreePeople unites with communities to grow a greener, shadier, and more water-secure city in homes, neighborhoods, schools, and the local mountains.
Back in 2020, I joined TreePeople’s Marketing & Communication’s team as the organization’s first in-house graphic designer. I was first tasked with implementing design standards, principles, and procedures across the organization. I worked cross-departmentally to audit all print, digital, and environmental design to holistically refresh, update, and bring new energy and perspective to all materials.
Over the course of four years, I was promoted to senior graphic designer and creative manager to further champion and elevate TreePeople’s branding. I oversaw the development of all of our creative assets across the 140-person strong organization while managing a junior designer and leading creative direction for myriad projects and marketing campaigns.
Place & Page is a community-centered graphic design studio based in downtown Los Angeles that works with local organizations and public agencies on branding, events, signage, publications, illustrations, design interventions, community outreach, and more.
Alongside the creative director and senior designer, my role was to assist in managing projects from end to end, handling client feedback, and creating myriad deliverables spanning both print and digital.
Here, I’ve included samples of assets from a variety of different projects I had a major hand in. These include publication design for city-wide initiatives, brand refresh for nonprofit digital campaigns, event branding, city planning project identities, nonprofit annual reports, event invitations, and stickers and icon sets.
Gender Equity Policy Institute (GEPI) is a nonprofit organization dedicated to accelerating gender equality in the United States through data-based applied research, strategic advocacy, and policy development.
As a graphic design consultant, I assisted GEPI with building out their branding across publication design, infographics, social media campaigns, event promotion, and a visual system to categorize their key research areas.
Nominated Finalist and Exhibitioner at PRIMER19, The New School, June 2019
It is my firm belief that design should contribute to solving today’s social, environmental, and political instabilities through engaging in critical analysis of the present and posing tough questions for the future. I’m interested in moments where design critically engages viewers by challenging them to question their experiences and realities, and helps viewers access their humanity through the vehicle of empathy.
For my thesis, I chose to play the role of design futurist. Instead of envisioning future products or technologies, I focused on the future of social structures. Through the use of speculative design, I situated my audience in a post-apocalyptic future 300 years in the future where a survivalist colony is thriving. This new society takes the opportunity to reinvent humanity through a code of conduct based on empathy and scientific reason. Through this exercise, I encouraged viewers to contemplate their own role and impact in society, and how we might begin to shift paradigms and structures in order to build a more just and sustainable future.
Speculative Futures is an international community of meetups focused on Speculative & Critical Design, Design Fiction, Futurism, and Strategy & Foresight.
Joining the Los Angeles chapter of Speculative Futures, I worked with chapter organizers to re-envision the branding for the local chapter. This has included exploring new type, color, and graphic systems to promote upcoming talks and events. On the left are some of my explorations and iterations.
MFA Student project
For a rebrand project, I chose to create a new identity for the Museum of Science in Boston. The Museum of Science is one of world’s largest centers for dynamic, interactive science and technology exhibits and programming and is Boston’s most attended cultural institution.
For this rebrand, I wanted to breathe fresh life into a stale and dated identity in order to reflect the institution’s extensive breadth of programming and to attract younger audiences through an approachable, playful, and iconic mark.
The new mark, read ‘Sci’ is an abbreviation for ‘Science’ or ‘Scifi.’ The Saturn icon in the exclamation point is active and interchangeable, translating for usage in programs, swag, and advertising.
The color palette is inspired by one of the museum’s center attractions, ‘Lighting’, a live presentation on electricity. Any combination of the four colors can be paired together for a flexible identity. The existing red, blue, and green wings of the museum can be transitioned to this new palette.