JCGD
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RESUME
WHO AM I
I’m a designer drawn to structure, balance, and simplicity. I think a lot about how things are organized and how clarity can come from complexity. My background as an athlete has shaped how I see things—I’m used to thinking in terms of movement, rhythm, and awareness of space, and that naturally carries into how I approach design.
WHAT I DO
I create visual systems and identity-driven work that sit between branding, digital design, and experimental visuals. I’m interested in how rules, patterns, and structure can be used to build identities that feel consistent but still flexible and alive.
A lot of my process starts with the human body—often through photos or studies of movement—which I then break apart and rebuild using digital tools. I use coding, 3D, motion tools, CAD, and print to turn these ideas into something visual and physical.
Across all of it, I’m trying to build work that feels structured but not fixed—something that can shift, respond, and evolve depending on how it’s experienced.
WHAT I BELIEVE
I believe structure isn’t about restriction—it’s about giving things room to make sense. When a system is strong, it doesn’t limit creativity; it supports it.
I’m especially interested in the body as a kind of visual language. Movement, repetition, and small changes in motion can say a lot without needing explanation. A lot of my work explores that space between control and fluidity—where things are intentionally shaped, but never completely fixed.
CV SELECTED WORK
LEAVE YOUR TRACE
This project stems from the initial group meeting with La’Rue Simmons, the owner of Stellar Human. In this conversation, learning about the film Wild Style, directed by Binghamton native Charlie Ahearn, and the impact the film had on the graffiti culture in the Binghamton area. Furthermore, this project reflects part of Stellar Human’s mission by providing an open medium for creativity and self-expression. By inviting individual participation, the work connects people through the accumulation of personal contributions that together form a larger whole. Drawing from the symbolism of graffiti, the project understands marks, tags, and symbols as expressions of personal or collective identity.
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FACULTY TALK POSTERS
This series of posters was designed to promote faculty lecture events within the Department of Art and Design. The project explores how a consistent visual identity can be established across multiple promotional materials while still allowing each event to maintain its own unique character. The primary objective was to create a system that clearly communicates essential information while generating interest and engagement among students, faculty, and visitors.
Throughout the design process, I focused on developing a flexible framework that could adapt to different speakers, topics, and presentation styles. Each poster was designed around the content and personality of the featured faculty member, allowing visual elements such as typography, composition, scale, and image treatment to reflect the themes of the talk. At the same time, recurring design elements were maintained throughout the series to create a cohesive identity that connected all of the events as part of a larger program.
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FOR THE RECORD
For The Record is a cyanotype series created in response to a trip to Toronto, exploring the relationship between memory, documentation, and the ways in which contemporary experiences are preserved. The project investigates how photographs have become inseparable from travel and personal experience, often serving as evidence that a moment occurred rather than as a means of remembering the moment itself. In an era where nearly every experience is documented, shared, and archived digitally, the work questions how technology influences our perception of memory and what is gained or lost through constant recording.
The cyanotype process was chosen for its physical and historical qualities, offering a deliberate contrast to the speed and impermanence of digital photography. Unlike digital images that can be endlessly duplicated, edited, or forgotten within vast online archives, cyanotypes require a hands-on process that emphasizes materiality, patience, and permanence. By transforming photographs from the trip into cyanotype prints, familiar moments are reinterpreted as tactile objects that carry both visual and physical traces of their creation.
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OLYMPIC BRANDING
This Olympic branding project was a semester-long exploration of identity design for the Los Angeles 2028 Summer Olympics. The project challenged me to develop a comprehensive visual system capable of representing one of the world's largest sporting events while capturing the spirit, diversity, and energy of the Olympic Games. The final identity extends across a wide range of applications, including posters, icons, promotional materials, motion graphics, environmental graphics, and branding mockups, creating a cohesive system that could function across both physical and digital platforms.
The concept centers on the relationship between athletic performance, movement, and technology. Inspired by the idea of "man as machine," the project examines how athletes push the limits of the human body through discipline, repetition, and precision. Through geometric figure studies and abstracted representations of athletic motion, the visual language celebrates the mechanics of movement while highlighting the strength, speed, and determination that define Olympic competition.
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RENA MAGAZINE
This project is a visual identity system developed for RENA, a student-run fashion organization dedicated to celebrating creativity, collaboration, and emerging talent. As Head of Marketing and Design, I was responsible for shaping and maintaining the organization's visual presence across a variety of platforms and events. My role involved creating a cohesive brand identity that could effectively communicate RENA's mission while capturing the energy, creativity, and culture that surround the organization.
The identity was designed to function across multiple touchpoints, including runway shows, fashion events, recruitment campaigns, posters, social media content, digital advertisements, newsletters, and promotional materials. A primary focus of the project was developing a bold and recognizable visual language that could adapt to different events and initiatives while maintaining consistency throughout the organization. Through the use of typography, layout systems, imagery, color, and graphic elements, the identity reflects the dynamic nature of fashion while creating a strong and memorable brand presence.
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TOUR DE FRANCE
A generative poster series inspired by the Tour de France that investigates themes of movement, speed, endurance, and transformation through computational design. Created in Processing, the project began with a three-dimensional model of a cyclist, which was deconstructed into a cloud of hundreds of particles and points. By translating the figure into data, I was able to manipulate and reinterpret the body through code, allowing the cyclist to exist somewhere between representation and abstraction.
Through adjustments to particle size, density, spacing, and distribution, each composition captures different moments of intensity and motion found within competitive cycling. Certain arrangements reveal the recognizable form of the rider, while others dissolve into fragmented fields of information, evoking acceleration, fatigue, and the fleeting nature of movement during a race.
Although every poster originates from the same generative system, no two outcomes are identical. The project embraces variability and chance, using code as a design tool that continuously produces new visual possibilities. By combining structure with unpredictability, the series reimagines cycling not simply as a sport, but as a dynamic expression of energy, rhythm, and human endurance translated through computational form.
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IN PROGRESS
A MOTION PICTURE
A Motion Picture explores new ways in which we see movement, interpreting it in abstract and unfamiliar ways. The project is mostly inspired by the early motion studies of Eadweard Muybridge, who used the photographic technique known as chronophotography to break movement into analyzable sequences and unique compositions. Similarly, this project uses contemporary digital tools to explore and reframe motion, shifting it from representation into data-driven visuals.
Through motion tracking and blob detection in Touchdesigner, I reimagine widely recognized sports events and moments, transforming familiarity into an abstract system that emphasizes the motion of the body over image, and energy over narrative. The material for this project is primarily drawn from archival clips that many people have already seen or are aware of, such as dissecting the movement of Mike Tyson’s infamous Dempsey Roll, or using a famous Olympic table tennis rally, or a dunk contest. These are not just personal memories, but shared cultural imprints. By stripping away visual detail and focusing on tracked movement, I redirect attention from the spectacle itself to the underlying choreography of bodies in motion and how these bodies interact with each other.
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MARKED MARBLE
Marked Marble is an interactive digital project that explores the relationship between two seemingly opposing forms of visual expression: classical sculpture and contemporary graffiti. Inspired by time spent in New York City, the work examines how society assigns value to different forms of art based on the spaces they occupy and the institutions that support them. While visiting the city, I became fascinated by the graffiti tags that covered walls, street signs, utility boxes, and other public surfaces. Although often viewed as vandalism or disorder, I saw a distinct visual beauty in their forms, symbols, and marks.
This experience led me to question the contrast between graffiti and the artwork displayed in museums. During a visit to the Metropolitan Museum of Art, I was struck by the way classical Roman sculptures were preserved, protected, and celebrated within a cultural institution, while graffiti existed outside in public spaces where it is often considered rebellious or illegal. Despite these differences, both art forms serve as records of human expression, identity, and presence. Both communicate ideas through marks, symbols, and visual language, yet they exist within vastly different social and cultural contexts.
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