PROJECTS


2025


BU MFA 2025 ExhibitionVisual Identity
Scroll(s)
Exhibition Design

Index—Open / Index—ClosedExperimental Book Design
111 FT
Participatory Design

Linear Loop
Experimental Book Design


2024


BU MFA 2024 ExhibitionVisual Identity
Tara Donovan: HyperobjectsPublication Design
Typographic Constraints
Participatory Design

Shifting Perspectives
Publication Design

BU GD Studio Website
Website Design

REACT
Experimental Book Design

Craquelure
Typeface Design

What If / Then
Generative Design

Research & PublishPublication Design

Angular AntiquaTypeface Design
Angular Antiqua, specimenExperimental Design

AI__&&__MEZine

Meet Me in MontgomeryInstallation, Publication

A Designer’s Guide to Pricing 
Risograph Work
Publication Design

Ashley James Keynote LecturePoster

Enclosed Conversations: Levels of Exchange Between FriendsPublication Design

StorefrontsPoster, Risograph

Words In Translation: My Life in FrancePublication Design

Multiple WorkshopsPoster

Selected Voices from Native America
and Syllabics
Typography
Publication Design

Prem Krishnamurthy LecturePoster

2023


Script & ScreenPublication Design

Designing ProgressPublication Design

Animal BooksOrigami Books

APhotography Book

Graphic Design is Serious, 
Not Solemn
Publication Design, Risograph

2022


Family TreePoster
Jewelry CollectionPoster


Typographic Constraints
Participatory Design
2024

    SIZE: 17 x 11 in. and 6 x 4 in.  
    Typographic Constraints is a collaborative experiment in form-making. Rooted in a rule-based framework, the project invited 26 participants, including friends, peers, and family members, to each design a letter of the alphabet using only a limited set of pre-cut paper shapes. The shapes varied in size but were intentionally angular, with no curves allowed. This constraint served not only as a technical challenge, but as a way to test how limitations influence typographic expression.

    I chose letterforms as the focus of this project because they are among the most familiar visual forms people encounter. Letters are everywhere. They are read, typed, and glanced over so often that their shapes start to become invisible. By asking participants to reconstruct a single letter from unfamiliar, irregular parts, the project attempts to defamiliarize these everyday forms. It slows down the act of seeing and making, encouraging participants to rethink the structure of something they usually perceive without noticing.

    Each participant received a “kit” containing an 11 × 17 inch sheet, a set of 9 paper shapes, tape, and a comment card. The task was simple: make a lowercase letter using only the materials provided. The responses were surprising and unpredictable. What emerged was a surprising range of formal interpretations—some literal, some abstract, some intuitive, some strategic—each one shaped by the individual’s relationship to the imposed limitations.

    The resulting alphabet reflects the diversity of its makers. Together, the letterforms act as a collective expression of how creativity can emerge through constraint. This experiment aligns closely with my broader thesis interests around openness, structure, and systems—specifically, how frameworks can create, rather than suppress, possibility.