April 3, 2010
The hard cover, flexible binding, and intermittent envelope pages made it a sturdy and convenient travel companion to collect my thoughts and souvenirs.
The primary writing pages are graph paper and the cover is constructed using screen-printed paper covering a book board. The spine is a coptic stitch with maroon thread.
February 8, 2010
When I was assigned the Meatpacking District for my designing local currency project I knew I wanted to incorporate its rich and varied past in my designs.
I created a set of five bills that reflect the period of the neighborhood’s history when it was a functional slaughterhouse district set in contrast to the 1980s and 90s when the neighborhood was revived as a center for nightlife in Manhattan.
January 2, 2009
The project lasted an entire semester, with about two thirds of that time dedicated to research and methodology.
January 2, 2009
I selected images from the Diderot set of 18th century illustrated encyclopedias and constructed two related narratives about the contrast between masculine and feminine gender roles. Both books were designed, printed and bound by hand. In Soldier, the only word is in the first spread: “bang.”
January 2, 2009
The pages are printed on a light, fleshy toned paper with a pink, soft cover binding. The text used is the first line of Simone de Beauvoir’s The Second Sex: “Woman? Very simple, say the fanciers of simple formulas: she is a womb, an ovary; she is female—this word is sufficient to define her.”
January 2, 2009
For my final project in a silkscreen class, I decided to make an ironic travel card from “fabulous Williamsburg.” I made an edition of 40: half on white, half on black.
November 2, 2007
I began my senior thesis project wanting to research and design a book that would reflect my own experiences, but through exploration the project evolved to focus on the variation in experiences between different individuals at a single location.
After a broad investigation of the topic I narrowed my project on individuals’ experiences at American national monuments. I was curious how people from different backgrounds and places would reflect on their visits to these monoliths.
I received a good number of responses from my interviews and learned that even though the monuments themselves do not change, everyone who visits has a slightly different memory of them. I complemented my ethnographic research with the factual and visual history of each monument, collecting first-hand accounts, souvenirs and travel memorabilia as part of my research. The spreads in the book combine this information with the images and words of the individuals I interviewed.
