Client Work & Fun Things

Congruence 

Congruence is an all-inclusive, genderless clothing brand focused on ethical production and sustainability. Through conscious, slow production Congruence creates a space where people feel seen, confident, and empowered. Fitting with their core values, the brand places an emphasis on thoughtful design and inclusion.

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Official Logo for Animals on TV

Animals on TV is a 5-piece Rock and Roll band based in Austin, Texas. As their fan base quickly grew in 2020, they were in search of a custom wordmark that their fans could better identify them by.

Before crafting their logo, the band and I looked at classic Rock and Roll bands and their logos ~ to draw inspiration from the tradition they're building upon. Band Logo Jukebox was a valuable resource for this.

The band really enjoyed the wordmarks that were energetic and fun in nature ~ the Yardbirds logo was a crowd favorite.

With Rock and Roll and Punk being their main music influences, breaking a few rules of good typography was only appropriate. The lack of a definitive baseline gives the amorphous letterforms a playful rhythm, embracing a look that is spontaneous and slightly undone ~ in the slickest way possible.

It’s a little punk and plenty of nice. They’re Animals of TV, and they don’t give a f#*k.

Zhong Lin Logotype

The assignment for this project was to design a logotype for an artist of our choosing in the context of an exhibition of theirs.
I chose the photographer Zhong Lin, who has recently burst into the limelight with her compelling and highly stylized surreal portraits.

The logo I designed was heavily inspired by this recurring line motif that interacts with the models’ faces in Lin’s work.

Runa Simi

Runa Simi is a typographic project that was enthused by my half Peruvian hertiage, self reflection, and a profound interest in the endangered language of Quechua—an indigenous language that my grandmother (in addition to Spanish) was fluent in.

Quechua was largely an oral language, never a written one. The fact that it has survived for as long as it has, is something I find quite remarkable.

Instead of developing an alphabet for the language of Quechua, the Incas recorded their world in knotted strings using the Khipu.

I saw an opportunity here to design a typeface in response to this unique string-and-knot based medium that served as a way of communicating and documenting statistical information, oral traditions, cosmology & philosophy.