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TYPOGRAPHY PROJECT         //         MULTIMEDIA PROJECT       //     CRITIQUES

PHOTOGRAPHY

 

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Photography

These pictures were taken for a radio story for WUFT News about the strange alcohol laws of North Central Florida. This region has one of the last dry counties, and many other counties that will not sell liquor at all. These photos show the landscape of North Central Florida — rural, empty and quiet — and the economic impact of strict liquor laws.

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Main Street in Mayo, Fla., the only town and municipality in Lafayette County. The rest of the county, one of the last dry ones in the state, is farmland. Main Street is empty and hot on a summer day, with few people walking the streets. Most of the businesses are closed and run down from lack of use, a common factor in many towns in North Central Florida. 

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The Dust Catcher is one of the only thriving businesses in Mayo, Fla. The owner of the store — known by everyone in town as Miss Vi — is the head of the historical society and hosts Chamber of Commerce meetings in her store. Miss Vi said she believed that regardless of whether or not it is because it is a dry county, the local economy is at a low point, and the county needs help. 

 

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Next door to The Dust Catcher is one of two gas stations that sells malt liquor and beer, the only kind of alcohol available within 15 miles. The gas station has the most car traffic of any other store along Main Street, partly due to the constant stock of beer. 

 

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Three beers have been stolen from a six-pack in Mayo Food Mart in Mayo, Fla.

 

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About a fifth of the daily stock for the May Food Mart, a gas station in Mayo, Fla.,  alongside other assorted snacks and treats. Behind this is an entire wall of fridges devoted to only beer and malt beverages, as well as soda. 

 

Critiques

 CRITIQUE TWO

Medium.com is a web-based visual storytelling platform used by many of my favorite writers. It allows anyone to tell a story and accompany it with pictures, video or audio, making the creation of visually appealing, multi-media stories available to anyone. It functions as a means of democratizing the pursuit of prestigious writing. You do not have to work for a huge company with a big enough budget to have the space to write something complex and interactive.

Medium is initially compelling because it has a simple, clean interface. You can see it from the front page, which introduces the viewer to a simple design using minimal colors. This allows the user’s visual media to stand for itself. Its top banner is refreshingly simple. It is pared down to only text—the logo, only an “m,” is relegated to the top left corner—and features only one button, to “learn more.” The interface has understated grey links to other features, like bookmarks, and this lets the eye wander down to the meat of the site, its users stories.

 

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The front-page features two large colorful pictures from other users’ stories, laid out at an imbalance: One picture is longer than the other, but both are the same length. The two-story structure repeats with the site’s infinity scroll. The layout in this way is asymmetrical but still sleek.

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Medium lets you write anything: fiction, opinions, outright journalism. In one person’s story, “One Year in China,” the author, Jordan Phillips, writes a personal essay on his travels abroad. Phillips is a product manager at a consulting firm for students trying to get into college. He is not a designer, photographer or even journalist by profession. But his story looks polished. The interface lets the user simply upload content, and the website builds the page to look balanced and professional, like a story you would find on The New Republic’s or The New York Times Magazine’s website. It is easy and intuitive to use, but the result looks like it took a lot of time.

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The platform also boasts a few interesting features. The first is that when you post a story, it is available for everybody to see. You can “like” a story or “recommend” it. Your personal profile shows up among the others who recommend or like it, which is a form of feedback. However, you cannot post comments, which I consider a pitfall, although understandably allowing comments can be a gamble. But when you whittle feedback down to “liking,” “recommending,” or doing nothing, the writer doesn’t really get the collective, communicative feedback that comments allow. It also doesn’t give a place for discussion—although perhaps that is the point.

Medium also shows how long each piece approximately takes to read. I think this is a clever feature; as I browsed, I found myself clicking on stories that said they were one or two minutes in length because I knew it would only take a bit of my time. It had me clicking on more stories because I knew what I was getting into ahead of time. As a site devoted to giving people democratized airtime, I like this feature a lot. It really makes clicking around the site worthwhile, and puts more eyes on peoples’ stories.

Medium.com does a great job in a lot of ways. It knows to be restrained and simple in its overall design to let its users content have the spotlight. It knows to be intuitive and easy-to-use, but provide professional results. But mostly it makes a platform for everyday storytelling to look legitimate and worthwhile. Although these writers do not work for a known company, their words are still useful and important. Medium.com, through its design and usability, respects that idea.

 

 CRITIQUE THREE

critiquecomicFrom The Nation Aug. 5

The Nation sets a good example for how to make a political cartoon refreshing and contemporary. It challenges the usual design of a political cartoon – black and white, usually caricatures of people, minimal text, so on– and injects humor and color into it. The result is a mix between tongue-in-cheek infographic and political commentary.

The cartoon is eye-catching and designed to pop out of the page. He pairs bold colors like purple, yellow, pink and turquoise, but dims their saturation so the palette is unified. The characters get more muted colors – black, brown, and white – but each gets a pop of red that marries them with the background. In this way, the cartoonist instantly alerts the viewer that the cartoon is playful, bold and energetic.

He backs up this first impression with the cartoon’s premise and text. The concept of illustrating a circular argument is funny in itself, because arguments like these are self-explanatory, and its name is critique of the structure alone. But the cartoonist extends the joke by making the argument infinite, implying its frustratingly constant recycling with actual arrows that lead back to the beginning. The text, too, is funny in the way circular arguments can be when you’re not in the middle of one—they’re obviously flawed, but writing it out explicitly (especially between two animals) makes it funnier.

Although the cartoon is a critique of the way people talk about the Israel/Palestine conflict, it could be used for any number of political situations. In that way, it is a critique of not only the national discussion of this situation, but the habit many people have of not using critical thinking to analyze domestic or foreign problems.

The cartoon does a good job cashing in on a potent joke and doing it in a simple way—simply writing out an argument that is inherently silly, and doing it with funny-looking animals. Perhaps its only shortcoming is some of the design elements. For example, the cartoon is noisy and overwhelming to look at. This has less to do with the colors, which are strikingly and impressively unified despite being strange hues, and more to do with the placement and sizing of the text/images/panels. Using circles instead of squares to shape the panels would have let the eye travel from panel to panel in a circle less inhibited, and given a visual contrast to the square base panel that frames the cartoon.

The text, as well, is too plain for the ultra-contemporary colors and character design. Because the cartoon involves a lot of reading, it needs to draw the reader in immediately so that they’ll do the work of reading each speech bubble. With this in mind, the text in the very center could be a thin, cartoonish serif typeface to contrast with the speech bubbles’ usual cartoon sans serif typeface. In this way it would have been even more eye catching and satisfying to look at on first glance, enticing a viewer to read on.

But overall, the cartoon sets itself apart from most political cartoons by making bold, edgy choices in color, character design and joke structure. It is playful and tongue-in-cheek, which is fun to read in its wryness. The cartoon succeeds in making a political comment without being dry or pretentious, while also being interesting to look at.

 

Infographic Project

Continuing the theme of bold designs for activist causes, for my infographic project I used data from The American Education Research Journal. I culled information across two studies done by Skiba et. al that studied that young black boys were being punished in school at a disproportionate rate than any other race/gender cross-section. I illustrated how this can be linked to the School to Prison Pipeline, a well-known and troublesome trend of young black males being systematically forced out of schools and into crime.

Click the image to view the full-sized infographic in a new tab. 

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Here is a link to the study from which this primarily draws.

Typography Project

This spread is once again for the local advocacy magazine The Fine Print. It is the first two pages of an article titled “Band of Sisters,” which follows the creation of a local grassroots collective called Gainesville Grrrls. The group was formed in the wake of the sexual assaults that occurred near or on the University of Florida’s campus in early fall of 2014. The group hopes to provide a safe space for women to protect themselves and feel protected.
For this project, I chose to make the title large and imposing as a way to imply the group’s sense of power and agency it hopes to impress on all women. To play with this idea, I chose to use a pink- and mauve-based palette. Pairing the two together — power and pink — hopefully married the ideas of feminism and internalized agency. In order to include the trans- and queer-identified folks who are also welcome within the group, I chose to use not only the classical “female” symbol, but riffs off of it, combining the “male” and “female” to show a between-sex, or a transitioning from one sex to the other.
I chose to attribute the spread in the footer to  “Activism Monthly,” because the spread was not actually used in the magazine. However, this layout design continues the theme of providing bold, evocative designs for activist causes.

Click here for spread.

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Here is the header image I worked with to create the spread. I cut off the top part to make room for the headline, and then scattered many of these symbols throughout the text. You can see faint outlines of the symbol in the background to give the banner texture and less blank between the symbols.