A Wordmark for a Design Conference

Wordmark and branding for Verizon’s internal design summit.

Discipline: Graphic Design, Identity
Client: Verizon
Sector: Telecommunications, Design
Location: New York, New York
Date: August 2020

Verizon organizes a yearly design summit to gather all designers under one roof to share updates on Verizon’s design body.

I wanted to allude to the technology dominant side of Verizon in this design, thus I embraced a binary aesthetic and kept the graphics really basic. To allude to the newly burgeoning design side of Verizon I used a mental reference to legos to create this wordmark and decide on its colors. The color set is using all 4 of Verizon’s secondary color, along with the brand’s main color, red.

An Interactive Dance Show

Dynamic and reactive digital installation for a dance performance: Perceivable Interface

Discipline: Software Development, Exhibition Design, Generative Design
Sector: Entertainment
Esra Şefik
Annahstasia Enuke
Annie Roome
Location: Cambridge, Massachusetts
Date: April 2015

An undergrad graduation project under the supervision of Professor Markus Wilczek of Tufts University.In this dance performance, dancers dance on a stage. There is a large projection display to the back of the dancers and a motion sensor in front. The motion sensor tracks and records the dancer’s bodies as they dance. The data captured with the sensor is run through an open-source algorithm to translate the recorded motion data into an animation. This animation is projected on the display at the back of the dancers, in real-time. The goal behind this project is to artfully visualize human-computer interaction. When dancers dance in front of a sensor, they interact with the computer. When the computer records, interprets and projects this dance on the display, the computer interacts back with the dancers. Dancers see their live image on the display and they reinterpret and change their mood and dance movements. The communication goes on back and forth.

I wanted the visual aesthetic of the animation to be very pixelated and digital looking to support the idea behind the project. Everything looked was very raw, like the visual aesthetic of the terminal program in Mac. Since this performance was meant to visualize a human-computer interaction, there was no need to polish the graphics. I also filmed the first performance and edited my footage.

Even though dancers had a loosely defined choreography and learned how Kinect work in rehearsals, at the final show the choreography was mostly improvisational. The goal was to generate a different performance and a new conversation, between dancers and the computer, at each show.

An Infographic for an NGO

An infographic demonstrating the operating model and purpose of a humanitarian startup: Colibri Global Infographic

Discipline: Data Visualization
Client: Colibri Global formerly Solar Route
Sector: Non-Governmental Organization, Startup Company
Location: Matagalpa, Nicaragua
Date: August 2015

Colibrí was founded in 2015 in Matagalpa, Nicaragua with the vision to catalyze the transition to clean energy and unlock the purchasing power of Latin American households. Its mission is to provide affordable, reliable solar energy for households & small businesses within and in and out of the electricity grid in Nicaragua.

The founders and CEO of Colibri Global Morgan Babbs came to me to help them illustrate Colibri’s mission and purpose with an infographic targeted for its investors.

The company was at a very early stage, so I kept the graphics very elementary to go with the rest of its branding.

I designed the infographic as a poster. I created a ladder-like maze graphic and narrated the story along the direction of this maze. The company was nascent and small but they were making a big change. This reminded me, graphically, of a stick figure: stick figure might simple, but it goes a long way in telling a story. Thus I used stick figures as my characters.

Since this design Colibri Global grew in scale and rebranded their infographic, but they stayed loyal to the hand-sketched stick figure aesthetic I came up for the initial visualization.

Virtual Sculpture

A virtual sculpture, created using a 3D modeling software. View it in AR here.

Discipline: Digital Design
Location: Istanbul, Turkey
Date: March 2020

An Easy Man was part of the first edition of Accessible Objects, an online platform for showcasing works of independent emerging creators. View it here.

An Illustrative Selfie Instagram Filter

An illustrative augmented reality face filter for Instagram: Maras Instagram Filter

Discipline: Digital Design, Illustration, Software Development
Sector: Technology
Collaborator: Charlotte Rea
Location: New York, New York
Date: May 2019

Maras is an Instagram filter that lives under the user @charreel. When faced the selfie camera, the filter overlays my line drawings to a user’s face. Charlotte Rea, an employee of Facebook/Instagram offered to collaborate on an Instagram Filter created with Instagram’s proprietary software Spark AR, before this software released for public use.

Our goal was to create an Instagram filter using my characteristic line-based face sketches. We used the node-based tool Spark AR to program this. Charlotte Rea, who has been creating filters, set up the workflow, I provided the sketches and we refined the end result together.

The design uses 5 line sketches to create this filter. When the user points the camera at their face, they can see the line filter overlaid on their faces. If they tap, the drawings start toggling between different sketches. If the user opens their mouth the drawing gets bigger. There is also a blur filter on the camera footage to make the face appear smoother.

The filter was a huge success. It ranked on the top of Instagram’s Effects gallery under the selfies category. It got millions of uses. People from all over the country created artworks as a tribute to the filter, like make-up and illustration. Shortly after the launch of Maras filter, Facebook launched Spark AR to the public, and people created replicas of the Maras filter. The filter can be found under the user profile @charreel. You can access the live filter here with a device with Instagram App.

Music Visualizer for a Modern Jukebox

Motion design for a modern jukebox music visualizer: TouchTunes Music Visualizer

Discipline: Motion Design, Generative Design
Client: TouchTunes
Sector: Consumer Electronics, Entertainment Electronics
Creative Director: Francois Nguyen
Location: New York, New York Time: June 2016

TouchTunes Interactive is the leading company in designing modern jukeboxes. They have a close partnership with frog Design’s Industrial Design team.As frog Industrial Design team prepared a pitch for the 3rd generation design of the TouchTunes jukebox, I proposed to include a music visualizer in the new design. I created sample visual directions for this visualizer and designed motion studies. We added these in the pitch deck. The client loved the new jukebox design, alone with the idea of having a custom music visualizer, and frog Design got the project.

My task was to design a music visualizer that can be shown in an RGB led matrix display. I designed 4 different concepts keeping the jukebox’s form factor requirements and limitations in mind.

To get our designs right, we did field trips to bars that owned TouchTunes jukeboxes. We observed that these bars had loud music and were very crowded. Thus I decided to make the visualizer’s design feel ambient and relaxing, and avoid crowding the space even more with a hectic music visualizer. All of my design directions had an ambient feel and look. They featured soft gradients and bulbous shapes. I used a lot of Gaussian blur. This soft look made the designs feel meditative and differed from a traditional music visualizer with bars.

After pitching and getting the project, I had to take time off to get a new work visa and wasn’t able to implement my designs. frog Design hired Brian Banton as a senior visual designer and tasked him to finish this project. You can see the final work, in his portfolio, here.

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