Clarity is the design language and UX framework of Dell EMC. To articulate the concepts usage and of Clarity, I created diagrammatic illustrations for Clarity’s site and collaborated on the framework touchpoints and copy.

The DSM Style Guide provides the methodology and content of a detailed SVG library depicting DellEMC storage devices. The library provides the structure for maintaining stylistic consistency while remaining flexible enough for elaborating or editing process strategy

Partnerworld Style Guide is a sub-brand identity system that uses the overall guidance of IBM’s North Star standards. This specific sub-brand uses a tailored visual system to gain more explicit guidance on web pages and collateral.

IBM Cognitive Recommendation Tool is an interactive platform that use machine learning to curate AI business needs for target audiences in order to convey the importance of cognitive business and empower the user with clear, personalized steps for beginning or furthering their cognitive journey. The tool uses API-enabled natural language and classifiers as well as Watson’s speech-to-text service to get conversational, natural responses from users.

Website designed for esteemed theologian Natalie Carnes

Looking Glass uses backcasting to envision the collaborative, remote workplace of the future

UI Elements, concepts and illustration for flexible dual-screen folding tablet

UX, UI, and visual design for software of debut of Alienware gaming accessories; Given 3 months to design a robust experience for advanced gamers with working one fellow designerand a dev team in Singapore; My primary focus: UI framework and UX interactions; My secondary focus: visual component library, iconography, and QA of builds

Storyboarding and illustration for CTO Deck about contextual awareness technology

Consumer Online Marketing Optimization [COMO] is the consumer experience redesign of Dell's financing and rewards programs. In addition to the redesign, COMO added personalization and responsiveness to the experience and offered an integrated experience of the programs. My role as UX Designer involved establishing responsive pages across seven user states, designing engaging financing tools, and clarifying the application process. I worked with strategists, financing stakeholders, user testers, a 50-page business requirements document, and multiple dev teams across the globe. Once presented to leadership, designs were so well received that the pages were adopted as template standards for all of Dell’s consumer benefit programs.

MakerBot Brand assets: icons and signage designed for MakerBot Factory & Headquarters; email templates designed for MakerBot retail store & sales teams; screen redesign for MakerWare software team

Photo Credit: Louis Seigal

Designed w/ Haynes Riley, ft. photog by Erin Sweeney + Brittany Nelson

2011 graduate book for Cranbrook Academy of Art, featuring the 81 artists, designers, and architects in Cranbrook’s 2011 class

HereHere title: celebrates Cranbrook grad book tradition, noting a marked history of using here in title (e.g. 2005: Made Here, 2006: From Here On Out, 2008: The Here and Now). HereHere focuses on PLACE and its definitive, formative, and educational role at Cranbrook; each artist portrait is a full-bleed spread of that artist in her studio. 

HereHere tone: celebration, reference, reverence, whim; set by juxtapositions color, form, and texture

Photo Credit: Kristen Shaw

Identity, Mastheads, Covers, Illustrations for Womanzine, a topical webzine started amongst woman-friends at a local woman-dinner. 

Portraits of eleven famous cult leaders: Marshall Applewhite (Heaven's Gate), Bhagwan Shree Rajneesh, David Berg (Children of God), Claude Vorilhon (Raëlism), Jim Jones (People's Temple), David Koresh (Branch Davidians), Shoko Asahara (Aum Shinrikyo), L Ron Hubbard (Scientology), Jim 'Father Yod' Baker (the Source Family), Marina Tsvigun (The Great White Brotherhood), Charles Manson (The Family)

Photo Credit: Kristen Shaw

Brand assets— art-directed photo shoots, illustrations, patterns, packaging, info-graphics, etc— created for Quirky, a startup that crowd-sourced product ideas from phase 1 to shelf.

Wedding suite & menus designed for John and Diana Hoover

In-room fragrance packaging and cards designed for the W Hotel

Work-In-Progress

Hybridized zodiac, combining eastern and western pictorial signs; ongoing project

253 x 54 in

Masonite & plywood structure: Built with Charlie O'Geen

Statement: Drawings 01–03 are the process of searching for an intuitive logic within the analytical, syntactic logic of navigational structures. Using a collection of mapped and diagrammed imagery as my source material, I traced and connected various lines of information until I resolved a composition that contained a sense of the Known and the Unknown. This process yielded three different large-scale drawings, each using logical way-finding lines to become lost in the process of making while flattening hierarchies of information. The drawings stem from my interest in the territorial boundaries of language and identity construction.

Statement: The series is a set of blind portraits, playing with the old idea that the generic portrait one draws is some form of self portrait as well as the premise that drawing is a mechanism that relies on and reveals self-knowledge. At some point, my work shifted from the abstraction of placeless place to the figuration of characterless character— the construction of Other through subconscious repressions of Self, collectively and individually. 

"Self-discovery through a complex and sometimes arduous search for an Absolute Other is a basic theme of civilization, a theme supporting an enormous literature: Odysseus, Aeneas, The Diaspora, Chaucer, Christopher Columbus, Pilgrim’s Progress, Gulliver, Jules Verne, Western ethnography, Mao’s Long March. It grows and develops, arriving at a kind of final flowering in modernity. What begins as the proper activity of a hero (Alexander the Great) develops into the goal of a socially organized group (the Crusaders), into the mark of status of an entire social class (the Grand Tour of the British “gentleman”), eventually becoming a universal experience (the tourist)." —MacCannell

"Those who study or write about the primitive usually by defining it as different from (usually opposite to) the present. After that, reactions to the present take over. Is the present too materialistic: Primitive life is not— it is a precapitalist utopia in which only use value, never exchange value, prevails. Is the present sexually repressed? Not primitive life—primitives live life whole, without fear of the body." —Torgovnick 

“In a world which really is topsy-turvy, the true is a moment of the false.” —Debord 

(left to right) 01 The Conductor; 02 The Composer; 03 The Impostor; 04 The Other;  05 The Drifter; 06 The Doubter; 07 The Buyer; 08 The Thinker

Kenneth Burke,
Introduction to What

Wandering by a canal
Through meadows in a dream
Then later
Uninvited to a party,
Asking
“Where is the secret passage?” 
(which, when found,
proved to be dirty and unusable—
my coat dragging through the damnedest plaecs)
I must read more Schopenhauer
(him saying in sum:
“Will must blindly seek completion,
“Life is sex, and Death excretion”)
Remember how once snow-flakes
Stood still in mid-air,
The earth coming up to meet them?
Yet I’ve been different
Ever since I found
That snow is crazy

Some people read maps and see the grids of place fairly easily. For me, something gets lost in translation. I generally miss the geographic connection; I move straight through lines that cross over color and shape—that simple geometry that connects and divides place, identifying passages of transportation as boundaries of territory. Those mapped lines punctuate composition with an authority that claims geographic fact and objectivity, as though the land itself authored the representation. And at the same time, the visual language of maps seems to hold the internal logic of a script that writes about the geometry of existence... something words can access on a strictly utilitarian and analytical level. The mystery of that indecipherable yet understood  language quietly offers potential that exists in-between tensions of constructed limitation. I want to go to there.

The project of Drawing 04: Animal Other bridges the abstraction of my earlier work (e.g. Drawings 01–03) with the figuration of later work (e.g. Character Study 01), shifting in focus from the navigation of non-place to the portrayal of non-character, the Other.