| blæk dɒt |
[rugby] the mark on the underside of a goal post, often used by kickers as an aiming aid
[cultural symbol] nonconformity, ostracism, protest, dissent
Blackdot began as a brief identity exercise for the marketing scrum team of a tech/finance startup. I chose the name Blackdot as a nod to the etymology of the word scrum, a rugby shorthand for scrummage in which players pack tightly together to gain possession of the ball. With intentional contrast to the etymology, I crafted the identity's tone and logic around blackdot's cultural connotations of defiance and aberration. In a marketing context, it took the form of critics and critiques of capitalism: sprints were dedicated to the critics and pursuant typefaces to the cardinal critiques of capitalism
Brand identity for Atlanta-based firm Titus Law, a self-started office specializing in personal-injury and corporate law
Type installation & 3-D display face; fabricated with a laser-cutter
Featured in the show 'Working Women: 36 Contemporary Women Artists' at Marian Graves Mugar Art Gallery
Photo Credit: Kristen Shaw
Consumer Online Marketing Optimization [COMO] is the consumer experience redesign of Dell's financing and rewards programs. In addition to the redesign, COMO added personalization and responsiveness to the experience and offered an integrated experience of the programs. My role as UX Designer involved establishing responsive pages across seven user states, designing engaging financing tools, and clarifying the application process. I worked with strategists, financing stakeholders, user testers, a 50-page business requirements document, and multiple dev teams across the globe. Once presented to leadership, designs were so well received that the pages were adopted as template standards for all of Dell’s consumer benefit programs.
LV+Putnam SEM introduced potential Putnam clients to LearnVest's program for personal finances by showcasing the online tools, apps, Certified Financial Planners, and steps using one consolidated and digestible card-based format. The card-based approach was then adopted as a brand asset that I integrated into the re-design of the website's home page and additional assets.
MakerBot Brand assets: icons and signage designed for MakerBot Factory & Headquarters; email templates designed for MakerBot retail store & sales teams; screen redesign for MakerWare software team
Photo Credit: Louis Seigal
Responsive microsite and assets designed to promote Financially Fearless book and events
2011 graduate book for Cranbrook Academy of Art, featuring the 81 artists, designers, and architects in Cranbrook’s 2011 class
HereHere title: celebrates Cranbrook grad book tradition, noting a marked history of using here in title (e.g. 2005: Made Here, 2006: From Here On Out, 2008: The Here and Now). HereHere focuses on PLACE and its definitive, formative, and educational role at Cranbrook; each artist portrait is a full-bleed spread of that artist in her studio.
HereHere tone: celebration, reference, reverence, whim; set by juxtapositions color, form, and texture
Photo Credit: Kristen Shaw
Identity, Mastheads, Covers, Illustrations for Womanzine, a topical webzine started amongst woman-friends at a local woman-dinner.
Portraits of eleven famous cult leaders: Marshall Applewhite (Heaven's Gate), Bhagwan Shree Rajneesh, David Berg (Children of God), Claude Vorilhon (Raëlism), Jim Jones (People's Temple), David Koresh (Branch Davidians), Shoko Asahara (Aum Shinrikyo), L Ron Hubbard (Scientology), Jim 'Father Yod' Baker (the Source Family), Marina Tsvigun (The Great White Brotherhood), Charles Manson (The Family)
Photo Credit: Kristen Shaw
LearnVest Live 2014 event signage, decals, workbook, and overall identity re-design/ client's re-design objectives: more gender-neutral, easily updated, modern and flexible
Brand assets— art-directed photo shoots, illustrations, patterns, packaging, info-graphics, etc— created for Quirky, a startup that crowd-sourced product ideas from phase 1 to shelf.
Wedding suite & menus designed for John and Diana Hoover
Site designed for the band volcano! using a direct, straightforward framework allowing easy and effective customization
Logo, exploration, and site design for NYC-based psychiatrist, Dr. Namgyal Bhutia
Site redesign for Metcenter, a development project in Austin, TX
In-room fragrance packaging and cards designed for the W Hotel
Printed and digital pdf versions of LearnVest's welcome kit designed for new premium members
Hybridized zodiac, combining eastern and western pictorial signs; ongoing project
Infographics created for LearnVest editorials
Personalized birthday gifs
253 x 54 in
Masonite & plywood structure: Built with Charlie O'Geen
Photo Credit: Kristen Shaw
Statement: Drawings 01–03 are the process of searching for an intuitive logic within the analytical, syntactic logic of navigational structures. Using a collection of mapped and diagrammed imagery as my source material, I traced and connected various lines of information until I resolved a composition that contained a sense of the Known and the Unknown. This process yielded three different large-scale drawings, each using logical way-finding lines to become lost in the process of making while flattening hierarchies of information. The drawings stem from my interest in the territorial boundaries of language and identity construction.
Statement: The series is a set of blind portraits, playing with the old idea that the generic portrait one draws is some form of self portrait as well as the premise that drawing is a mechanism that relies on and reveals self-knowledge. At some point, my work shifted from the abstraction of placeless place to the figuration of characterless character— the construction of Other through subconscious repressions of Self, collectively and individually.
"Self-discovery through a complex and sometimes arduous search for an Absolute Other is a basic theme of civilization, a theme supporting an enormous literature: Odysseus, Aeneas, The Diaspora, Chaucer, Christopher Columbus, Pilgrim’s Progress, Gulliver, Jules Verne, Western ethnography, Mao’s Long March. It grows and develops, arriving at a kind of final flowering in modernity. What begins as the proper activity of a hero (Alexander the Great) develops into the goal of a socially organized group (the Crusaders), into the mark of status of an entire social class (the Grand Tour of the British “gentleman”), eventually becoming a universal experience (the tourist)." —MacCannell
"Those who study or write about the primitive usually by defining it as different from (usually opposite to) the present. After that, reactions to the present take over. Is the present too materialistic: Primitive life is not— it is a precapitalist utopia in which only use value, never exchange value, prevails. Is the present sexually repressed? Not primitive life—primitives live life whole, without fear of the body." —Torgovnick
“In a world which really is topsy-turvy, the true is a moment of the false.” —Debord
(left to right) 01 The Conductor; 02 The Composer; 03 The Impostor; 04 The Other; 05 The Drifter; 06 The Doubter; 07 The Buyer; 08 The Thinker
Hand-drawn type and signage for LearnVest Live 2013
Posters created for the group show Google [(your name) + Naked], in which each member performed a google search of her name + 'naked' and then created poster/s from the material
Introduction to What
Wandering by a canal
Through meadows in a dream
Uninvited to a party,
“Where is the secret passage?”
(which, when found,
proved to be dirty and unusable—
my coat dragging through the damnedest plaecs)
I must read more Schopenhauer
(him saying in sum:
“Will must blindly seek completion,
“Life is sex, and Death excretion”)
Remember how once snow-flakes
Stood still in mid-air,
The earth coming up to meet them?
Yet I’ve been different
Ever since I found
That snow is crazy
Some people read maps and see the grids of place fairly easily. For me, something gets lost in translation. I generally miss the geographic connection; I move straight through lines that cross over color and shape—that simple geometry that connects and divides place, identifying passages of transportation as boundaries of territory. Those mapped lines punctuate composition with an authority that claims geographic fact and objectivity, as though the land itself authored the representation. And at the same time, the visual language of maps seems to hold the internal logic of a script that writes about the geometry of existence... something words can access on a strictly utilitarian and analytical level. The mystery of that indecipherable yet understood language quietly offers potential that exists in-between tensions of constructed limitation. I want to go to there.
Temporary instalation; thread and nails on wall