Booklet attempting to expand and complicate our definition of the term “Critique”. Each spread adds a new context and lens for which to view “critique” through. The cover and interior pages were deliberately designed to metaphorically communicate the process of definition. From something vague incomplete, to something more formalized and concrete. The cover via the hazy forms slowly coming together to become something more formalized and the interior pages via progression of opacity from opaque and harder to read on the first pages to 100% clear and easy to read by the final pages.

Alex is a typeface inspired by Alex Flournoy. A physicist, dedicated professor, avid adventurer, craft beer lover, fixer of all things, beloved brother, partner to my mother and stepfather to me. On November 3rd, 2023 Alex left this world after a long journey with brain cancer. This typeface was created as an ode to Alex and a rememberance of his spirit with the intention that it may continue to live on.

Glyph making exercise where I constructed a predefined grid and system of progression (four individual moves along the grid) as the basis for generating different glyph forms. Final set is 303 unique glyphs. 

Collaborative typeface designed in conjunction with Annabel Gillespie. Together we crafted a typeface using four disperate components. The project was a test in how to weave the components together to still make a legible and consistent system of glyphs. Specimen is 11x17in printed on newsprint with a laser printer. 

Faha is a typeface inspired by Niall Williams’ novel “This is Happiness”. The story is set in a ficticious town named Faha that chronicles the coming-of-age story of a young man and his endearing relationship with his grandparents. A text face by design this project is meant to hint at a warmth found in the love of your grandparents, with traces of a legible sophistication and seriousness that the poetry of Williams’ prose evokes. 

Experimental compositions initially made with paper, scissors, and glue. Eventually digitized and reprinted on inkjet as tabloid sized spreads.

Posters made with an experimental typeface design that makes use of the glyph space as a means to further generate form. Each glyph is set to a zero width that is meant to be paired with the other tools at our disposal such as kerning, leading, baseline shifts, etc. to craft a multitude of new formal possibilities. 

Acryllic stencil made using a lasercutter. Posters made using the forms stricly from the stencil.