I wanted to break open the white light emitted from my iMac in order to see its composition. When I sprayed water on the monitor, the shimmering disco droplets acted as lenses, revealing the vibrant, harmonious inner-workings of RGB light.
A graphic identity for Museum Sounds—an online initiative to promote 4 sound shows at 4 great NYC museums over the month of December, 2017: Museum of Arts and Design, Cooper Hewitt, Rubin Museum of Art, and Smithsonian Museum of the Native American.
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A project created at 2x4 with Lonni Tanner and Christoph Niemann—we turned a 24/7 nursery (where children are brought when they're removed from their homes for suspected child abuse and neglect) into a place of engagement and joy. The nursery is now activated with a wraparound mural that illustrates "A day in the city" (by Christoph Niemann), a coloring book take-away, a staff training guide, and 2 gallery walls for the children to display their work created while staying at the Center. Everything is designed to boost the childrens learning and critical thinking skills, while also engaging the staff. (Client: NYC Administration for Children's Services, for the Children's Center.
Studio: 2x4, Partner and Creative Director: Georgie Stout. Associate Design Director / Designer: Joshua Graver. 2x4 Architecture Team: David Regone (Designer), Amber Foo (Associate Design Director ), Chris Kupski (Design Director). Photos: ESTO/Albert Vecerka. Illustrator: Christoph Niemann
Studio: 2x4. Creative Director/Partner: Michael Rock. Creative Director: Sung Kim. Associate Design Director/Designer: Joshua Graver. Senior Designer: Kee Kim. Project Manager: Brynn Johanna. Project Manager: Melanie Malkin. Writer: Natasha Stagg. Animation studio: Nathan Love. Music: Perfume Genius. Original footage: Steven Meisel.
An expandable and modular frame system created for The Museum of Arts and Design's exhibition: Studio Views: Craft in the Expanded Field, was carried out across all exhibition materials (print and digital).The top image shows how the gallery was divided into two artist studio spaces, with the wall graphic expanding into each. MAD hosted 2 artists at a time to work in the museum galleries (Cycle 1: Sarah Zapata, LJ Roberts; Cycle 2: Xenobia Bailey, Maria Hupfield). The bottom image shows how the graphic expanded across 3 frames on Instagram slideshows, allowing the user to swipe across each artists documented gallery space.
With the help of Jonathan Zalben, I altered and wore a wireless heart monitor that triggered a kick-drum tone using Arduino and MIDI signals.
Jam band: Carr Chadwick, Sam Davis, Ben Fehrman-Lee, Yotam Hadar, Erin Knutson, and Tim Ripper
This is an invitation package for the Hirshhorn Museum's 40th Anniversary Gala. It was printed offset on Crane's paper, with a blind embossed cover and metallic foil-stamped logo.
Depending on the circumstances, shame can be both a negative and positive force. This 42-page RISO printed book focuses on queer and ethnic shame within the 1960s NYC underground queer cinema scene. Figures such as Mario Montez, Holly Woodlawn, Jose Rodriguez-Soltero, Jack Smith, and Andy Warhol are all collaged together in this complex exploration, focusing in on Puerto Rican artists within this community.
Special thanks to Ron Gregg (Senior Lecturer and Programming Director, Film Studies at Yale) for all the guidance and wisdom that led to creating this book.
“Aunt nell” is Polari—a (dead) gay-subcultural language from the U.K.—for “LISTEN!” I made this typeface by first designing and constructing a single stencil that would create the entire alphabet by aligning and overlapping shapes taken from iconic representations of sound waves (square/triangle/sawtooth).
This Spanglish poster reads in both English and Spanish. “Taller Lindo” translates to “pretty workshop” in Spanish. The poster was created to announce a workshop led by Linda van Deursen in the Yale MFA Graphic Design program. The display type was inspired by Boymans (Radim Pesko) which I made taller in the z-dimension.
WAVs Anthology aims to explore relationships between sound, music, politics, and technology in recent(ish) U.S. history.
The book is 144 pages and divided into four sections—Democracy / Oppression / Cityscapes / Music.
Collaboration with Maziyar Pahlevan, Martin Bek, and Ben Fehrman–Lee
At the heart of this collaboration was “The Yarrow”—a “Y” letterform mutated into an arrow that served as a modular brand, poster hang-er, and as a clear wayfinding system for visitors attending Yale Open Studios 2015. We printed the most important information for the event on masking tape and applied The Yarrow in, throughout, and between the three School of Art buildings (and shuttle buses). We also projected animations of tape covering (or closing off) the facade of Greene building on opening night.
This reader mimics the motion of a sound wave in transmission. A fluctuating system of paragraph tab indentations is initiated on the first page, and the number of paragraph tabs increases with each story, until you reach the 9th and middle piece (total of 9 tabs). Then, the system progressively moves back to its initial state, story by story. The radio static distortion page breaker images work within the tab system as well, but in a z-index—zooming in and out.
Collaboration with Carr Chadwick
This is the first campaign that Pratt initiated to promote all of their end-of-year shows and Public Programs series across New York City. The campaign and sub-brand was carried out across all promotional materials for each department within the Institute, and also print / digital advertising in the New York Times, New Yorker, and New York Magazine.
The promotional mailer seen here was printed offset on 100% post cosumer paper with clear foil-stamping on the circular color markers.
Creative team: Me (creative direction), Kara Schlindwein (design), Peter Tannenbaum (photography), David Dupont (production)
Each book was printed offset, with a reverse blind-embossed cover, and bound with binders tape. The graphics were also carried over to the fashion shows, which took place at Center 548 in Chelsea, NYC.
The 2013 book was a year-long project, which began in the fall semester when I instructed the senior class (Portfolio: Branding and Identity) and ended with their fashion show. Photography by Dominik Tarabanski.
2014 Photography by Timothy Mulcare.
Additional photography support by Peter Tannenbaum. Each book and all graphics were established in collaboration with the Pratt Fashion Department.
motion and sound
Tocanono is a personal cognitive behavioral therapy tool that helps hinder your compulsions to check your phone.
Why can’t retail workers make ends meet? I worked with CUP and the Retail Action Project (RAP), along with Maxwell Sorensen (another CUP Fellow), to make a short animation about the changing scheduling practices in the retail industry. Shifty Business helps retail workers understand that their experiences are not isolated events but a systemic approach to cost-cutting by their employers. It also helps policy makers see the effect these practices have on workers’ lives.
Watch it here.
Story boards, design, animation, and music
I animated photographs from the Smileface Museum's archive and created the music for this promotional video.
The Smile Face Museum was founded by Mark Sachs in 1992 in his Silver Spring, Maryland basement. It operated for 2 years in that location, with over 400 hundred items on display. In 2014, The Smile Face Museum will be installed in Brooklyn, New York in the basement of a private garden apartment. Its collection now encompasses more than 1000 objects, and it will be on display March 30-April 27.
The spring 2014 presentation of the Smile Face Museum is organized by Adrienne Garbini, and hosted by 228 1/2. The Museum will also feature exhibitions of contemporary artwork.
Design, animation, and music
This is the official intro animation for all of Pratt Institute's video content created during the re-brand. Each letter was stop-animated (with the exception of the "r") using pencils, laser cut boxes, fabric, and a folded poster.
All materials were crafted and provided by students and it was shot by Peter Tannebaum.
Stop motion and music created for Areaware's online promotion and video installation at the 2012 NoHo Design District event to promote Harry Allen's glow in the dark piggy bank. Production: Lauryn Siegel
Sight Unseen write up here.
Stop-animation and music
When We Weren't Friends: a friend-sourced cassette tape-loop collage jam session through space-time, May 31, 2013 at Molasses Books in Bushwick.
Friends were asked to provide audio recordings of past projects from a time before we knew each other. These original files were transferred onto cassette tapes, randomly cut into loops, and placed within separate battery-powered handheld players throughout the bookstore.
Supplemental zines explored our shared experiences and struggles through spacetime.
Participants: Chris Beneke, Alex Decarli, Jim Gaylord, Ariel Goldberg, Liz Harris, Keaton Kail, Nick Lesley, Michael Marcelle, Ceci Moss, Thomas Wilk
To promote a lecture for the former head of Doctors Without Borders (Dr. Unni Karunakara), we wanted to first create communications free of any written language—that instead used sound and motion. I filmed Martin as he spelled out the event details in flag semaphore movements while holding two iPhones with flashlights illuminated. I also recorded three classmates separately singing the word “borderless” in Morse code. On the night of the event we projected the video across the entire atrium wall while three separate sound systems played each audio recording—creating a major chord when heard together. The poster designs were created last.
Collaboration with Martin Bek
The Morse Code Choir: Erik Freer, Sasha Portis, Qiong Li
I co-designed and co-wrote the site's code with Kirsten Nordine for Liz Harris. Visit the site here.
The soundscape of a city can be overwhelming and intimidating, especially when you are longing for familiarity and comfort in a new environment. Mixcape allows you to record, mix, and archive city soundscapes through collected field recordings.
You can add audible “distance” (delay) to the live audio feed, which is simply an input from your phone’s microphone. By adding this ambient effect, you can shift the color of the graphic interface to cooler tones, inspired by the visual effect of atmospheric perspective.