This is the poster I made for my honours thesis defence.
I wanted to stand out from the crowd and deviate from the three panel standard.
In creating this, I learned a lot about margins and white space.
A student society needed a poster for an event, and I offered to make one for fun and to practice my skills.
This was a simple project, but good practice to make a simple but compelling design. I also experimented with grunge textures and layer blending, eventually settling on a Guilloché pattern, like you might see on a banknote.
I worked with Divest Dal again on an Instagram post. The colour scheme matches previous branding, and I used my own organic dappled texture to underscore the themes of fracking and fossil fuels. On Instagram, the post is seen over four seamless carousel slides.
Last summer, I worked at Italian Market, and I was asked by my boss to make something that I wanted to the world to see. This creative freedom was much appreciated, and I ended up making this carousel-style post for the Italian Market Instagram. Again, this is intended to be viewed as a seamless carousel.
[type design]
Used throughout this website is Georgia, my favourite typeface. As an ode to Georgia, the first typeface I've ever created is based off the classic typeface. After tracing out a stretched out version of Georgia for a few prototype designs, I decided to turn it into a typeface of its own.
As a twist on the classic design, and admittedly also as a crutch, I used an ellipsoid brush of constant shape, leading to blocky and often dense letterforms.
Still, for my first typeface, I'm proud of it. It's too heavy for standard type, but I think it can work well as a display font. One day, I hope to make a less dense weight that could be used for standard type.
This one is another personal passion project of mine. It’s the result of me analyzing and reverse engineering the typeface that Tyler, the Creator used for the lyric posters in his most recent album (Don’t Tap The Glass). The scuffed and misaligned letters immediately captured me, and it became an obsession that led to many, many prototypes.
I know it’s a jarring typeface, but the off-kilter and raw nature of the letterforms reflects the musical thesis of the album. It took a lot of problem-solving and frustration to build this font, and the kerning is still a little off compared to the posters. That said, I'm very happy with how it turned out and what it taught me about type design.
For the two years where I was most involved with the Dalhousie University Undergraduate Chem Society (DUUCS), I took on the role of designing a logo for merch. The main constraint was complexity, as fine detail would not not work well for small embroidered designs on the sweaters.
The first of the two, affectionately called 'the little guy,' was the logo for 2023. I adapted the design from an older sketch and rearranged the lettering