An exploration of graphic techniques to inject life and motion into maps. Using different pieces of design language, such as line, form and shape, Dynamic Cartography focuses on depicting three specific coastal phenomena: Shoreline Retreat, Storm Surges, and Sea Level Rise.

I wrote and designed a 64-page publication, Track, about the state-designated Station North Arts & Entertainment District in central Baltimore. The publication tracked the culture, stories, and change occurring in Station North in 2015. My goal was to create a portrait of the district at that moment in time—a pivotal juncture in the Station North story.

My work uses minimal visual elements to convey larger ideas. Through materials, settings, and situations, the pieces invite audiences to read them in both two and three dimensions.

Drop deeper and deeper into a dark place inspired by Dante Alighieri's epic poem. In this game, your light is essential and it is fleeting. You must find more throughout your journey or risk being lost forever. There is only one exit. Godspeed.

Blens is an iOS app that connects friends and strangers from around the world through the digital equivalent of a film swap. The act of blending photos allows us to discover intersections and juxtapositions across moments in our lives. The app experience removes a level of control from users by hiding their photos from each other until the collaboration is complete. Blens thus creates a sense of surprise in the act of superimposing unexpected images.

Three case studies in Uganda use design to augment the experience, enable access, and gracefully reflect the core values and mission of each entity.

These posters illustrate a series of traditional Korean proverbs. Hangul, the script of the Korean writing system, is typically manifested either in type or calligraphy. This project interprets hangul characters through a series of hand-lettered posters that fuse text and illustration.

This motion graphic animation is a myth about Saysiyat, that talked about Wa'on, the daughter of the Thunder god. In this myth, Wa’on gives three gifts to the Saisiyat people: love, vision, and agriculture. To remember Wa’on, the Saisiyat people employ the peaceful symbol of two bolts of lightning. This symbol resemble the European swastica but has its own origin.

This project uses images, type, sound, and motion to create dynamic, interactive environments.

Methods of visual communication are changing. To push the boundaries of graphic design, I considered the many ways people can interact with visual information. My project invites the audience into a multidimensional space. I used Leap motion, a popular and simple sensor, to allow people to see, listen, and play with graphic design.

Out of Print contains three parts: an interactive poster installation, still frames from the interactive process, and a instructional video that documents the entire project. These three parts tell a similar story across different media, building a connection between traditional graphic design practice and interaction design.

We all dream of getting away from the everyday and escaping to someplace different. When it's raining we seek the sun, while at work we long for trees and nature, and so on.These landscape patterns are designed to evoke and deliver a range of these dream escapes with discretion aimed only at the user.

A visual analysis of the economics of magazine design.

Rope Type Foundry is a makeshift foundry formed to bring together varied typographic projects by Shiva Nallaperumal and Iris Sprague. Each typeface designed under the Rope banner solves a specific typographic problem or meets a certain challenge, while being aesthetically modern, conceptually relevant and technically sound. The foundry's larger identity and ideals were explored to give the designer a base for his own future practice.

Rope Type Foundry is a makeshift foundry formed to bring together varied typographic projects by Shiva Nallaperumal and Iris Sprague. Iris focuses on her superfamily Theo. Theo is a super family based on the evolution of type styles. The family is inspired by the historical classifications in type, European Grotesque, Text, Humanist Sans, and Italian. While most super families are composed of a sans and a corresponding serif in one classification, Theo incorporates three classifications of type while sharing the same skeleton.

Finding time to read is a serious challenge in the real world. Steeped in a dystopian future, Captivism attempts to solve this problem with three extreme solutions. This speculative project questions our relationship with reading and our expectations of technology.

What are you eating and may I have some?