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The creation of this piece stemmed from my curiosity of astrology. I grew up surrounded by the talks of it, but never truly understood it past my own zodiac sign; and with the mass rise in the co-star app, it got me interested. In doing some research I became immersed in the many facets and complexities of the lunar cycle and the astrology behind it. So to scratch my creative itch during reading week, I compiled some information I had obtained and created a lunar calendar infographic for the year of 2019.

Both a functioning calendar and educational infographic piece that displays and explains the meaning and purpose of the lunar cycle. This calendar explores the connections of various zodiacs that intermingle and connect within the lunar cycle. The three zodiacs included in this infographic (Western, Chinese, and Celtic Tree) not only all follow the lunar calendar, but are all used to predict the personality traits, horoscope and future actions and relations of every individual.
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Taking advantage of the unique print and textures of spot colour printing, this piece compliments the idea of new and full moon (black and white paper). It also utilizes a combination of symbols, shapes, and classic serif with a sci-fi-esque monospace type pairing to imitate the feeling of astrological spirituality.

A Korean hangul typeface that breaks out of the literal ‘box’ East-Asian type comes from; Hangul Ipsum gives a whimsical and fun feel as well as interesting form to experiment with. Keeping in mind overall character form, consistency, and respect of historical and traditional East-Asian type forms, as well immersing components of whimsical style, Hangul Ipsum is able to create an expressive typeface that not only emotes a childlike whimsy but also questions the strictness and rules set in East-Asian type forms. It boarders the lines of experimentalism while grounding its roots in tradition and history.
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Inspired by Korean typographer Ahn Sang-Soo's 'I-Sang' typeface and concept; rethinking character forms within traditional East-Asian language to further emote and express.
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For display and small sectioned body copy.
Likely for editorial use.
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Here, Hangul Ipsum is displayed in a poetry booklet narrating ‘Cottony Snowflakes’ by Korean poet Choi Don-Sun.

Given the prompt of a 16 page 'Hello' book for an assignment in book design, I chose a slightly more whimsical narrative.
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Using the motif of the compass rose, as well as combinations of black and white fills and outlines, the book ultimately goes through the narrative of teaching someone about the compass rose and its directions. The reader is thrown into confusion with an abstract, nonsensical layout with minimal information accompanied by a spread which displays an upside down world map on a jarring black background and outlined version of the compass. The reader is then introduced to the compass rose directions with a translucent piece of mylar with an outlined version of the compass rose, which when placed over each page fills in the correct direction of the compass. This clarifies the concept of directions and the compass rose for the reader, allowing them to view the map with colours inverted to a more readable black ink on white background, right side up, and the compass in a full fill; alluding to comprehension and wholeness.

The translucent mylar sheet detailed with the compass rose can be used in other areas when re-reading the book as well to develop a more complex narrative and storyline. Though not introduced in the beginning, if placed on top of all the spreads throughout the book, the compass rose is never able to be fully filled in the beginning half of the book. With fills being used to complete the outline of the mylar sheet at the end of the book, it further connotes to the reader's understanding and comprehension of the narrative.

A collection of prints created through my journey of both learning about the process and exploring the capabilities of silk screen printing.

Learning and understanding about screen printing's many methods and limits, allows for play with its layering processes. This exploration with print has allowed me to delve further into playing with pattern, repetition, space and layering methods and techniques.

After having the absolute privilege of being taught book design by Reg Beatty, books have become a slight obsession of mine to produce. And what better present than an entirely hand-made notebook or set of notebooks?!

Made for both myself and friends and family, using scrap materials from previous projects to create the covers and grey riso-ink to create the lined paper. I create perfect bound, saddle stitched and coil bound notebook set combinations, as well as single notebooks. I enjoy playing with different binding methods and material/paper combinations in order to create custom and personal notebooks. I find the production of these notebooks to not only satisfy my creative itch by allowing my to play with different components that are physical and tactile, but it allows me to become immersed in the physical process of production, which is something I've learned I love.

Done because the holidays are my absolute favourite time of the year and making handmade prints/cards adds so much more value and sentiment in comparison to the typical thrown away, store bought holiday card.

With my friends and family in mind I created two riso-compatible designs, as I knew using the risograph would be ideal for creating many of these prints for a low cost. I wanted to challenge myself and create a non-denominational holiday/winter card as well, resulting in both the colour combination (opting for grey and gold instead of the typical green and red) and the snow man forest print design on the right. To compliment the quality of the riso-print I opted for a nice cream/off-white Japanese rice paper which I ran through the risograph first, then mounted it to pieces of thicker watercolour paper in order to create a thick, card-like sturdiness. After laying to dry and flattening, final trimming was done.