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 TOUR DE FRANCEDOC 45456
TOUR DE FRANCE
FEBRUARY - MAY, 2025
GENERATIVE POSTER SERIES (PROCESSING, DIGITAL IMAGES)
A0 PRINT / 11 X 17 PRINTS
DESCRIPTION
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.
PROCESS
The process behind this project was both challenging and rewarding, as it marked my first introduction to both Processing and creative coding. I approached the project by using a particle system that translated an image of a cyclist into hundreds of individual points. Rather than treating the cyclist as a static image, the figure became a collection of data that could be manipulated through code.
Using Processing's P3D renderer, I positioned the particle-based cyclist within a three-dimensional space. This allowed me to rotate the form, alter the viewing angle, and generate multiple compositions from a single dataset. By shifting the perspective of the model, I was able to create a wide range of visual outcomes while maintaining the recognizable structure of the cyclist.
The typographic elements were designed separately in InDesign and then imported into Processing as transparent overlays. The canvas was scaled to match the dimensions of an 11 × 17-inch poster, allowing the code-generated imagery and typography to function together as a complete poster system.
Color became another generative component of the project. I sampled palettes inspired by the national flags represented in the Tour de France and used these color sets to control both the particles and the typographic overlays. To streamline the process, I mapped keyboard inputs to specific functions that adjusted particle density, size, color schemes, and viewing angles. I also implemented a randomization function that could generate an entirely new composition with a single key press.