Digital Design

Creating a set of designs that are both similar and distinct can be challenging. To achieve this, I used a small but intentional color palette to unify the look across the posters, along with reusing simple shapes to enhance unity. By altering certain variables—such as color shades and shape sizes—I was able to create a set that feels distinct yet cohesive.

These posters represent (from left to right) the design principles of hierarchy, balance, and repetition. The color scheme is inspired by a 1930s magazine cover, while the overall style draws from Cold War-era propaganda posters.

In my work, researching a design’s context is as crucial as designing it. For example, I studied the Bauhaus Movement in interwar Germany to understand its philosophy and approach. I then examined Bauhaus posters, paying close attention to their colors and layouts. After researching the Bauhaus typeface, I created a poster about the font, ensuring it was styled to reflect the movement’s design principles.

Harmony and Tetrad are named after the color schemes used to create them. Harmony employs a harmonious color scheme, while Tetrad follows a tetrad color scheme. Both works were designed for a fictional jazz quartet, with their color choices reflecting the dynamic and balanced nature of the music.

Self Image is a double entendre—it's both a literal image of myself and a commentary on personal self-image and how we perceive ourselves. I used a variety of brushes to create this expressionist painting, featuring myself with a ghoul in the corner, which may symbolize the negative aspects of self-image.

This poster highlights the Futura typeface, embracing the design principles of the era in which it was created. By channeling the style of its original development period, the design both reflects the historical context of the font and showcases its lasting influence. It serves as a visual tribute to Futura’s bold, modernist roots while effectively conveying its continued relevance and impact on contemporary design.