I designed, illustrated, and wrote this, my
second book, in collaboration with Abrams
Noterie, launched in 2019. It is two books
in one and includes both an instruction
book and corresponding workbook. The
cover art is a play with circles, mixed tex-
tures, and ombré color.
Other credits include Editor Bridget
Waterhouse and Art Directors Diane Shaw
and Hana Nakamura.
I designed, illustrated, and wrote this, my
second book, in collaboration with Abrams
Noterie, launched in 2019. It is two books
in one and includes both an instruction
book and corresponding workbook. The
instruction book entices artists to take
their drawing, doodling, and lettering to
the next level and explore the incredibly
diverse medium of fine-tip markers. It
begins with swatch tests and works up to
more intricate compositions. It is filled
with step-by-step technique breakdowns,
helpful hints, and examples of marker
art to inspire.
Other credits include Editor Bridget
Waterhouse and Art Directors Diane Shaw
and Hana Nakamura.
I designed, illustrated, and wrote this, my
second book, in collaboration with Abrams
Noterie, launched in 2019. It is two books
in one and includes both an instruction
book and corresponding workbook. The
instruction book intices artists to take
their drawing, doodling, and lettering to
the next level and explore the incredibly
diverse medium of fine-tip markers. The
corresponding workbook is printed on
heavy-weight paper, so there’s no danger
of bleed-through as you work you ink
each of the fifty experiments.
Other credits include Editor Bridget
Waterhouse and Art Directors Diane Shaw
and Hana Nakamura.
I designed, illustrated, and wrote this, my
first book, in collaboration with Abrams
Noterie, launched in 2018. It was concei-
ved to bring a sense of freedom and fun
to watercolor instruction, while covering
the skills needed to get started. Through
100 experiments I teach both traditional
and more experimental techniques.
Each exercise includes a hand-painted
example and space to paint on the pages.
Graphis named Watercolor Workshop
a Typography4 Merit Award and Design
Annual 2019 Honorable Mention winner.
Other credits include foreword by Steven
Heller, Editor Bridget Waterhouse, and Art
Directors Hana Nakamura and Diane Shaw.
This hardbound journal was developed
to accompany my first book, launched
in 2018. I designed and illustrated it in
collaboration with Abrams Noterie. It
includes watercolor swatches arranged
in a crisp, geometric pattern on the cover
with holographic foil-stamped accents.
It has a ribbon marker, stained edges,
full-color interior art interspersed among
lined pages, and a lay-flat binding.
Other credits include Editor Bridget
Waterhouse, and Art Directors Hana
Nakamura and Diane Shaw.
This softbound notebook was created
to accompany my first book, launched
in 2018. I designed and illustrated it in
collaboration with Abrams Noterie. It
includes watercolor swatches arranged
in a crisp, geometric pattern on a holo-
graphic foil-stamped cover, with half
lined and half gridded interior pages.
Other credits include Editor Bridget
Waterhouse, and Art Directors Hana
Nakamura and Diane Shaw.
These notecards were developed to
accompany my first book, launched in
2018. I designed and illustrated them
in collaboration with Abrams Noterie.
They include watercolor swatches
arranged in geometric configurations
to create a clean, modern-art-inspired.
aesthetic There are ten designs and
a coordinating envelope, packaged in
a box with holographic foil accents.
Other credits include Editor Bridget
Waterhouse, and Art Directors Hana
Nakamura and Diane Shaw.
This food-focused activity book was
created in 2015 for my Master’s thesis
at the School of Visual Arts. Hila is
an illustrated activity book series for
children ages four to seven and their
caregivers to complete together. These
books are designed to meet the deve-
lopmental needs of this age group,
combining a range of accessible exper-
iences with drawing projects in order
to encourage creative growth.
School of Visual Arts selected Hila as
a '15 Alumni Award winner and Graphis
named it a New Talent '16 Merit winner.
Other credits include Abrams Editor
at Large, Advisor Howard W. Reeves.
These hand-painted logos were created
in 2015 for my Master’s thesis at the
School of Visual Arts. Hila refers to the
connection between two structures, for
example on a plant, the site where the
seed is created. This invokes the concept
of two elements initially dependent on
each other, now separating and growing
on their own. This concept is the basis
of the Hila brand, where caregivers and
children interact, resulting in growth.
School of Visual Arts selected Hila as
a '15 Alumni Award winner and Graphis
named it a New Talent '16 Merit winner.
Other credits include Abrams Editor
at Large, Advisor Howard W. Reeves.
This pitch book was designed in 2015
for my Master’s thesis at the School of
Visual Arts. It describes all aspects of
Hila, my children's activity book series,
from the story behind my venture, to
the brand and product development, to
the market and business plan, to the
research backing my design choices.
School of Visual Arts selected Hila as
a '15 Alumni Award winner and Graphis
named it a New Talent '16 Merit winner.
Other credits include Abrams Editor
at Large, Advisor Howard W. Reeves.
This hand-inked cover was created in 2017
as a personal exploration into a potential
children's book project. This book idea
was a riff off of my SVA MFA Design Mas-
ter's thesis and created with the support
of my litarary agent Kate Woodrow of
Present Perfect Dept. The Curious World
of Color was concieved as a way to
introduce children to all aspects of color
through the examination of their local
enviroment, followed by drawing activities.
These covers were created in 2015 at
the request of Barnard College’s Barnard
Magazine as part of a series of covers
designed to celebrate its 125th anniver-
sary. This art was inspired by the theme
"Barnard in Bloom" for their summer
edition. Each cover in the series reinterp-
rets their iconic wrought iron gates. For
the more abstract floral cover, I hand-
lettered “125,” building the forms out of
elements from their detailed gates. For
the more figurative ivy cover, I also hand-
lettered “125,” placing these forms into
a section of Barnard’s actual front gates.
Other credits include Art Director and
Designer Anna Nozaki.
This hand-painted cover was created
in 2012 at the request of the Penguin
Random House imprint, Penguin
India as a redesign for Rabindranath
Tagore’s classic book of poetry Gitanjali.
To emphasize Rabindranath's delicate,
nature-filled writing, I chose to paint
a bright, organic plant and water scene.
Other credits include Art Director
Gavin Morris.
This hand-inked cover was created in 2014
at the request of the Uncovered Classics
project. In response to Modern Library's
male dominated 100 Best Novels of the
20th century list, Feminista produced their
own female-author focused list. A select
group chose to showcase these books
by reinterpreting their cover art and writing
reviews for each one. I produced art for
Janette Winterson’s “Oranges Are Not the
Only Fruit.” In this book, oranges are the
symbol for the dominant religious ideology
in Janette’s upbringing. Visually interpret-
ing Janette’s perspective, I illustrated the
“religious” orange as a fractured illusion.
This edible invitation was created in 2011
at the request of the Madewell marketing
and PR team as part of a launch event
for the spring 2011 collection. Press and
VIPs had the opportunity to take a first
look at this Big Apple inspired attire. As
the primary designer on this project I took
a playful approach, giving each guest
a farmers market-inspired experience,
opening up various layers of the invitation
to reveal a tasty treat inside.
Other credits include fellow Madewell
designer Jim Datz and Senior Copywriter
Kendall Meade.
These packaging elements were created
in 2010 at the request of the Madewell
marketing and PR team as part of a full
packaging redesign. I was the primary
designer working on this project and
developed vintage, utilitarian inspired
designs. I developed an array of everyday
and holiday items, including gift boxes,
shoppers, jewelry pouches, tissue, tape,
and gift cards.
Other credits include fellow Madewell
designer Jim Datz.
This window display was created in
2010 at the request of the J.Crew in-store
design team. As the primary designer
on this project I was asked to create
a men's style guide to be used as a playful
oversized window display. The guide was
also available as an in-store takeaway.
This set of logo marks and store invite
were designed in 2010 as part of a larger
branding project for J.Crew Bridal. As
the primary designer on this project
I developed its look as a whole, as well
as specific elements for the newest store
located on Madison Avenue. These items
were created for this stores launch event.
These promotional pieces were created
in 2010 as part of a launch event for
the opening of crewcuts Madison Avenue
store. As the primary designer on this
project I developed ice cream-themed
discount cards and an exclusive customer
gift, along with other items for this VIP
party and shopping event.
This hand-painted logo art was created
in 2015 and 2016 at the request of
Agency Rush for use in various areas
of promotion. The pink/purple piece was
inspired by outerspace and used for
general '15 promotions. The blue/green
piece was inspired by the winter months
and used for holiday '16 promotions.
This hand-drawn mark was created in 2013
at the request of Jörgensen & Jörgensen
as part of Undersåkers Charkuteriefabrik’s
branding. UC, an artisanal meat producer
in Sweden wanted a logo that would blend
together the pig, Swedish moose, bird and
trout. I took a playful approach, creating
a handmade vintage-inspired, animal hybrid.
The final mark was featured in Gestalten's
“Los Logos 7” and selected as a HOW
Magazine '16 International Design Award
Merit Award winner.
Other credits include Founding Owner,
Art Direction Lotta Jörgensen.
This lettering was created in 2014 at the
request of Milton Glaser Inc. as part of
a new restaurant, Delaware and Hudson's
identity. Both the name and design of
the logo were inspired by a railroad line
that previously ran through the area.
Milton found a vintage map reference
and we worked together to interpret the
letterforms and refine the art. The final
mark was applied to signage, promo-
tions, business cards, menus, etc., all
coming together to create this vintage-
inspired Brooklyn-based eatery.
Other credits include Founding Owner,
Art Direction Milton Glaser.
These marks were created in 2010 at the
request of the Madewell marketing and
PR team as part of a full packaging redes-
ign. I was the primary designer working
on this project and developed these vintage
inspired elements for placement across
Madewell’s packaging.
These marks were featured in Gestalten's
"Los Logos 6."
These marks were created in 2009 at the
request of the Madewell marketing and
PR team to brand all denim events. Made-
well stores were hosting various events
monthly and we wanted to develop a look
and feel to bring consistency to them.
As the primary designer on this project
I developed a mix of neon marks. The
double circle logo was most widly used
and applied to signage, posters, and
promotions to pull all of the store events
together under a single playful aesthetic.
Other credits include fellow Madewell
designer Jim Datz and Senior Copywriter
Kendall Meade.
