Thank you very much for your interest in my typefaces that I might have shown you at my senior show at MICA or at the ADC Student Portfolio Review. I am finishing them up for consumer use and should be ready within a few months.
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I have had a long relationship with From the Earth to the Moon by Jules Verne. It combines two of my favorite subjects: post-civil war America, and fantasies about space travel. To top it all off, it’s funny! (A Frenchman writing about Americans, how could it not?)
I like this book so much that I embarked on a now 2-year+ project to re-read and provide footnotes correcting some of the inaccuracies of the text. I’m using the copyright-free text provided on Project Gutenburg. The type chosen is Bulmer MT, a digitization of a design by Morris Fuller Benton. Bulmer itself is a revival of the modern style, a style which is contemporaneous with the setting of the book.
Above are some sample spreads; I’m still working on the rest of the book.
A blocky stencil alphabet inspired by the roughness of Baltimore City, with Cyrillic counterparts. Created for a class taught by Ken Barber & Ben Kiel of House Industries.
It is a stencil alphabet in that it is made up of 7 shapes that could be stenciled individually and overlapped to make the solid letters.
A series of monoprints made at Globe Posters Baltimore with my friend and teacher Joe Galbreath.
These prints are intended to explore the unique typographic style and word phrasing that Globe Posters has by reprinting wood blocks that we found particularly fascinating. As their gigantic Miehle Presses were out of commission, we lovingly hand-inked and pressed every inch of the blocks to get an impression.
The prints measure about 3 feet wide by 5.5 feet tall. The inking technique was inspired by Jim Sheraden of Hatch Show Print
The Redacted project is a series of dystopian novels designed to look like they had been censored by the oppressive governments from the novels.
The designs quote the over-photocopied style of CIA documents released during the US Senate investigation of waterboarding which were entirely redacted except for a few words per page.
The layout of the interiors were heavily influenced by the Cranbrook post-modernist style and the design of The House of Leaves. I wanted the insides to have the same raw style as the outside without completely copying it.
And yes, the inside is set in Times. Seeing as it’s the official typeface of the US State Department I thought it was the only appropriate typeface for the job. Anything else would look too even and manicured.
Signage, apparel, and a Twitter page for the Undergraduate Graphic Design Department at the Maryland Institute College of Art.
The dimensions of the sign are 19 feet wide by 4 feet high, made from black and white vinyl on a mid-gray wall. I did all the lettering for the sign, and it was installed with the help of Robin Brunelle. It is installed on the 3rd floor of the Brown Center, right at the entrance to the department.
The phrases are supposed to relate to the different areas of graphic design, including some inside jokes just for designers.
In the tradition of IKEA instruction manuals, I tried to make a clean, easy to use manual for help in making a book binding cradle.
Featured on Hoefler & Frere Jones’s website.
I programed and co-designed a website for the new book from Princeton Architectural Press by Bruce Wilen and Nolen Strals.
Made while at Post Typography.
This is a concept cover for the “Space Travel” issue of New York Times Magazine, in which it would contain articles about the future of consumer space tourism.
I recreated the moon surface by mixing cement powder and charcoal powder, and throwing stones at it to simulate impacts. The “T” was modeled in 3DS MAX and printed in plaster on a three-dimensional printer.
I like to use the letterpress to explore letters in a way I don’t get to normally, sitting at a computer, pulling beziers. As I am blessed with access to Globe Posters Baltimore’s large wooden type collection, I figured I would make use of it every chance I have.
The first is a page from a collaborative 2010 calendar, and I got September. The colors are supposed to be moving from a Summer sort of feeling to a Fall feeling. The dates are organized in a way to reference schoolbook handwriting exercises.
The next two images is a letterpressed prop card for an art press called The Automatic Press.
The Automatic Press is a press that focuses on the automated aspects of letterpress printing, employing a Heidelberg Windmill, a Universal III, and miles of wood type made via computer-driven router.