JCGD
LINKEDIN
INSTAGRAM
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 LAB
New York Knicks Poster — March, 2025EMSC Summer Tournament Poster — June, 2026 Rauh Welt Begriff Poster — February, 2025Charlie Parker Poster — March, 2025Rosefsky Gallery AO Print — June, 2025 Burton Snowboarding Poster — February, 2025Nike SB Poster — April, 2025BFA Show Catalogue (Mockup) — March, 2026Miles Davis Poster — February, 2025French Wheels Poster — October, 2025AIGA Eboard Poster — August, 2025Cube Mask (Sculpture) — April, 2024Solarization Experiment 1 — December, 2024Photograph — November, 2025Solarization Experiment 2 — December, 2024
Ferrari Poster — February, 2025Tate Foley Exhibition Poster — December, 2024Olympic’s Skiing Poster — February, 2026
MISCELLANEOUS
DECEMBER 2024 — PRESENT
INTERDISCIPLINARY
DESCRIPTION
This collection showcases a range of work spanning photography, graphic design, sculpture, and other interdisciplinary mediums. Bringing together personal projects, professional experiences, and academic assignments. These pieces reflect my evolving creative practice, visual language, and approach to problem-solving through design.
Included in this body of work are self-initiated poster designs that explore typography, composition, and experimentation, as well as projects created during my internship at the Rosefsky Gallery. In this role, I developed exhibition posters, promotional materials, and visual assets that supported and highlighted the work of emerging artists and gallery programming.
The collection also features projects from various fine art courses, including photography and sculpture, which allowed me to expand my understanding of material, form, and image-making beyond traditional graphic design. Together, these works demonstrate my interest in working across mediums and my belief that creativity thrives through exploration, experimentation, and the intersection of different artistic disciplines.
PROCESS
My personal work often begins with a subject that has recently captured my interest, usually sports, music, or popular culture. I gather references from these areas and use them as a foundation for exploration. Each project challenges me to incorporate something new—such as a visual effect, typeface, grid system, or compositional approach—while still maintaining a consistent visual language that feels like my own. This process helps me continuously refine my style and discover new techniques that inform future work.
My professional work at the Rosefsky Gallery required a more responsive approach. For each exhibition, I was given a selection of artwork and created promotional materials that reflected the artist’s practice and visual tone. Rather than imposing my own style, I designed in response to each show’s themes and imagery. For example, in Bathed in the Imaginary Omnipotent by Tate Foley, I drew from the work’s typography and color palette to create a cohesive identity. Each project went through multiple rounds of critique and revision before completion.
In my fine art practice, I am interested in the overlap between art and design. I often move between photography, sculpture, and design-based thinking to test the boundaries of each field. Through experimentation with materials and process, I aim to strengthen my understanding of composition, storytelling, and visual communication.