I am a designer, educator, and publisher living in Austin, Texas. I am a co-founder of Track and Field Publications where I use publications and experimental print to explore how motion, typography, and design systems translate across media. At Texas State University, I work as an Associate Professor of Communication Design and Coordinator of the BFA program.
I have presented and exhibited my work internationally at venues that include Columbia University, MICA, Boston University, Haus der Kulturen der Welt, American University of Sharjah, Pioneer Works, and Knockdown Center. My writing has appeared in publications from Focal Press and MIT Press. Since starting in 2006 as an Art Director at the Chicago Tribune, I have worked as a designer with Whitehouse & Company, Trollbäck+Company, and C&G Partners on projects for Union Station (Washington, DC), Prudential Financial, JPMorgan Chase, Game Show Network, Fuse, and the Nonprofit Finance Fund.
Previously, I taught at SUNY New Paltz, served as Critic in Illustration at RISD, and taught at Parsons. I hold an MFA from RISD, a BFA from SAIC, and a BA from the University of Chicago. trackandfield.pub collectivedocuments.com
Type of WorkTitle of WorkYearDescription
TypographyIntimately Unfamilar2016I worked with the show’s curators Ursula Morgan and Michael Asbill to design the catalog for a show of work by SUNY New Paltz Art Faculty at the Samuel Dorsky Museum of Art New Paltz, NY.
TypographyNon Profit Finance Fund2014Design for a double-sided 18 x 24" poster for Nonprofit Finance Funds Annual Survey. The survey "explores the challenges facing nonprofits and calls out some of the targeted investments we can start to agree on to better support the social infrastructure we all rely on." The poster was designed to fold down to a 6x9" mailer as well. The pdf version of the survey can be seen here. (Designed at C&G Partners Creative Director: Sam Shenova)
Branding/MotionPrudentialTimes Square2013Instead of competing with fast transitions and typography of other billboards in Times Square, Prudential asked for a visually beautiful, slow-moving animation, based around their iconic logo. The animation takes cues from the Powers of Ten film by Ray and Charles Eames using zooms as well interplay of light emerging from the logo for transitions. (Designed at Trollback and Company. Art Director: Peter Alfino)
WayfindingUnion Station Wayfinding, Washington DC2013I contributed to the design and did the 3D rendering and compositing for these studies of the new wayfinding system for Union Station, Washington DC. (Designed at Whitehouse and Company. Creative directors: Roger Whitehouse and Lance Wyman)
IdentityUnion Station, Washington, DC2013Studies for the new identity and sketches for a custom typeface for Union Station in Washington DC that used the station's architecture as a starting point. (Designed at Whitehouse and Company. Creative Directors: Roger Whitehouse and Lance Wyman)
Branding/MotionGame Show Network2013In-depth exploration of new identity system for the Game Show Network. Versions include cleaning up the existing 9-square logo by creating custom typography and adjusting the square shapes and new identity systems and behaviors. (Designed at Trollback and Company Creative Director: Michael Darmanin)
Environmental Commission for Sheila C. Johnson Design Center at Parsons The New School for Design2014Working with the curators I created a 20 x 4 foot editorial illustration for the Offense and Dissent: An Exhibition about Image, Conflict and Belonging. The piece contextualizes the events surrounding the controversy that erupted in late 80’s when a member of the New School faculty expressed his disapproval by defacing an image included in the exhibition of the work of Japanese designer, Shin Matsunaga. As the exhibition material states: “The offending image was a minstrel show blackface figure, the long-time logo of a soft-drink company. It was 1989 amid the 'culture wars' when representations of race, religion and homosexuality in artistic imagery were under attack by the religious right in an aggressive campaign against the National Endowment for the Arts." The form of the piece mirrors the way Shin Matsunaga presented his work in the original show and selections of archived News School and Parsons course catalog covers are arranged chronologically to create a visual timeline.
Motion GraphicsEducation Outside Open and Animation2013The great people at San Francisco's Education Outside, an organization that advances science in San Francisco public schools, asked me to animate their logo for the opening and make an ending infographic for a film that explains their mission.
WebMy Connecticut Story2012The design for the site was done at Chowder Inc for the Connecticut Bureau of Tourism who was launching a contest to encourage residents to share stories about their state.
Identity/WebDoppelstandard Identity and Webiste2014IIdentity design, packaging design and visual design and development for an e-commerce site. Andy Chow approached us in the winter of 2013 about helping him transform his successful Etsy store, Standard Vintage, into Doppelstandard, an independent brand that specializes in retail of vintage japanese dresses and more contemporary fashion items. Designed in collaboration with Marc Choi as part of Track and Field.
IdentityMenswear Project2014Commissioned studies for an identity for a service-based initiative for the menswear industry in NYC. It was going to be comprised of luminaries from the menswear fashion industry coming together to do charitable work. Designed in collaboration with Marc Choi as part of Track and Field.
PromotionalPromotional materials for Aperiodix: a wall tiling system for Oso Industries2013I designed promotional materials and logo for Aperiodix, a concrete wall tiling system developed by Brooklyn-based Oso Industries and Situ Studio.
TypographyNate Burkis Show2010I was very fortunate to spend a few weeks in the summer of 2010 in the studio of Sarofsky Corp. Along with helping out on other projects, I was able to help them with some of the design work on the bumpers, on set graphics, and info graphics for Nate Burkis Show graphics package. Below are some examples of the bumpers.
Art DirectionShameless Opening Pitch2010I was very fortunate to spend a few weeks in the summer of 2010 in the studio of Sarofsky Corp. Along with helping out on other projects, I created this storyboard as part of their pitch for the opening title to Showtime's Shameless. In this main title treatment I created a meaningful connection between the characters of Shameless and our reality. Every one of us engages in shameless behavior to a certain degree. By combining everyday scenes with the informational language of percentagesand surveys, we show how commonplace "shameless" behavior can be.Title frames slide in from left to right to replace the images of everyday scenes. The clean typography of the names contrasts sharply with the opinionated scrawl of the informational frames, setting apart the titling information as well as creating meaningful pauses. The end result of the opening brings Shameless out of the exotic and into the viewer's consciousness, bringing the viewer into the Shameless family.
Typography/ExhibitionRISD MFA Thesis Show2011Collaborative exhibit design, printed catalog and promotional website for the final thesis work from the RISD MFA Graphic Design class of 2011 in Providence, RI.In collaboration with: Salem Al-Qassimi, Jane Androski, Marc Choi, Hope Chu, Eliza Fitzhugh, Jessica Greenfield, Seung Chan Lim, Sara Raffo, Benjamin Shaykin, Mat Stevens, Erika Tarte, Dimitry Tetin, Olivia Verdugo, Emily Sara Wilson
TypographyTraverse2011This book is part catalog and part process document of my thesis work at RISD. The field of my inquiry is described and summarized in the abstract and the introduction and then explored in the curated selection of projects in a variety of media translated into the book form and accompanied by supporting secondary materials.
TypographyKrapp’s Last Tape2010A typographic score of a Samuel Becket play as performed by Patrick Magee in 1990 for a BBC broadcast.
TypographyLooking For Le Petite Maison2010Corbusier built La Villa Le Lac in 1923-24 as a home for his parents. In 1954, Corbusier reflected on the making of the house in a smaller book. It contained a retrospective text, photographs of the house and sketches made especially for it. Corbusier revisited the building he created 30 years earlier through text, images and new drawings he made from the photographs. This book was created as part of a weekend workshop with designer and publisher Lars Müller, who urged us to create a contemporary take on Corbusier’s book. This book is my own attempt to see Corbusier’s Le Petite Maison using satellite and Street View imagery from Google and photographs of the house uploaded to the internet. It is a visual memoir that ponders ways to look at places and possibilities of imaginary travel in 2012. It recognizes that each of the modes of travel—through memory, physically or via the internet has its own distinctive characteristics and I sincerely hope it contains seeds for a template for subsequent journeys.
3D AnimationType as Architecture20103-D renderings of typography that becomes architectural, as the camera takes the viewer through the spaces between letters to reveal definitions of terms that have meaning in both the language of typography and space. I also created a sketch for a motion piece using Maya and After Effects that animates the movement through 3-D typography in search of definitions.
Motion GraphicsRespond Design Open2010Logo animation for the RISD Respond Design's Sustainability Film Series.
Artist BookTour of the Providence River 2010In this book, each site was a source of a photograph for another site, creating a flattened panoramic view of the river, that used the structure of a book spread to flatten 3-D space into a 2-D form, creating a view that would be impossible in reality.
The project that traces the path of the path of the Providence River. It explores a historical site that functions as a public space and the relationship between the museum, which is memory archived, localized and legible, and the chaotic interplay of our conscious memory, which lacks a spatial articulation. By erasing the contents of the historical signs, I made explicit that I was not interested in the backward looking historical vision of imagined space as created by the historical markers, but rather the concrete language of geographical space and location and how it can perceived by the walker, the viewer or the thinker.
Motion Graphic Place Vignette 2010 I initially tried to use the text from Gertrude Stein’s Tender Buttons poem about space to convey a sense of movement through language with analog means, but only was able to achieve the desired effect when physical manipulation of the ribbon into typographic shapes was combined with digital typography. Thus an alternate space that merges digital and analog dimensions emerges through time, through the experience of reading.
Typography/Book MakingEssays on Typography2009A hard cover bound book consisting of three essays on typography from El Lissitzky, Ian Tschichold and Max Bill, illustrated by examples of typography from opening titles.
Art Direction/DesignChicago Tribune '07-082007–2008 Some section covers that I art directed (conceptualizing the visual solution, working with photographers and stylists in the studio, assigning the execution of a concept to an illustrator) and designed. They ran in the Chicago Tribune in ’07-’08.