About me

I value design that augments the way we interface with the physical and the digital world. During my design process, I will exhaust every possibility no matter how far out there it may seem, if it has the makings of an appropriate design solution. I feel accomplished when my work is able to be understood quickly in the form of legible typography or a minimal brand mark

I also contradict myself with the way that I love to break modernist design rules and create work that prioritizes creative freedom at the cost of readability and legibility. One of my beliefs as a designer is that we need to focus on the simple solutions instead of making things more complex for the sake of superficiality. To be simple is to be potent.

Humankind’s accomplishments are shown through design. For every group of people there is a visual style that is conveyed, from the utility of Russian Constructivism to the luxury of Pugin’s Gothic Revival. Design is a reflection of people and their problem solving in that time and context. Looking to the storied history of design is essential to present day designers to create a narrative that reaches back to these triumphs of human ingenuity. The ancient European scribes in the 7^th to 9^th century have greatly influenced my design through the way they celebrate every single character in a block of text and let the letters themselves decorate the page. The scribes paid great attention to each character and put a tremendous amount of effort into every little detail from the shape of a Majuscules bowl  to the way the tittle of an i tapers off. Prior to the scribes, I drew inspiration from Greek architecture. Greek architecture let the aesthetics of their arches and columns permeate into every other aspect of art and design from paintings to letterforms and created a design system.

Contemporarily, Victor Moscoso has been one of the greatest influences on my design practice. Moscoso has this attitude that resonates with me about not letting rules set by other people get in the way of creating my own for of expression. I still use vibrating color pairings when I can get away with it. Moscoso’s professor in art school was the infamous Josef Albers who taught him color theory. I draw inspiration from Alber’s use of color and his understanding of special relations between objects. These two artists are two sides of a coin that I reference regularly. In my own practice I try to be more like Mosocoso, willing to sacrifice legibility and universal appeal for creative freedom. When doing work for others and trying to appeal to a larger audience I will try to be more like Alber’s and use pleasant color combinations and unobstructed typography and images that allow for ease and quick comprehension.