I came to graphic design by way of a lifetime of handmade crafting. Before I thought of myself as a designer, I was interested in looking closely at the pieces of the world around me and the stories attached to them. My background in painting specifically taught me to pay attention to texture, color, composition, and the feeling an image can create. Painting also taught me to be curious. I think that curiosity is still at the center of my work.

As a designer, I am drawn to things that are tactile, imperfect, nostalgic, and a little strange: old photographs, vintage clothing, found objects, handmade marks, imperfections, printed ephemera, natural forms, and things that show evidence of being used and lived in. I often find myself looking backward in order to make sense of the present. This interest in history and memory has become paramount to my design approach. 

Research is also an important part of my process. Projects like The Feminine Mystic allowed me to explore how historical narratives shape the way we understand women and spirituality, while WOVEN allowed me to think about our relationships with clothing, consumption, and care. In both, the visual identity grew out of the subject matter. I am most interested when the research, concept, typography, image-making, and physical or digital experience all feel connected.

I bring a background in fine art, education, and handmade crafts into my design practice. I think this makes me particularly interested in design as an experience rather than simply an image. I am zooming in on the intersection between my computer and what can be made by hand. In a world that is only continuing to rely on mechanical and robotic design, I want my work to be honest and human, with all of the imperfections that would imply. 

I hope that my the work in my portfolio communicates clearly, but I also want it to make people pause, feel something, or become curious enough to look closer.

Thanks for being here :----)