I designed Acknowledgements, a book of aphorisms by Brandon Wilner and Willy Smart. Each aphorism was originally written around the letters of a loved one’s name placed diagonally within a grid, a writing constraint about which Brandon learned by sorting through 1990s François Caradec poems during a 2013 research stint in the Oulipo Archive of La Bibliothèque de l’Arsenal in Paris. Acknowledgements is published by Publication Studio.
I designed and published This is the ENDD, an essay by Tracy Jeanne Rosenthal that was originally presented as a lecture at Rhizome’s This is the ENDD: The E-Cigarette in Context symposium. This is the ENDD traces the history of cigarette marketing executives appealing to female consumers—featuring a cast of characters ranging from Sigmund Freud to Buckminster Fuller to Stephen Dorff—and offers revised strategies for doing so in a new economic environment.
Photo: Stella Berkofsky
I licensed a Gradient Puzzle through Areaware in two color variations: red–yellow and green–blue. Each puzzle is 500 pieces, 18 × 24", and printed in two inks.
I gave Laurel Schwulst a poem machine based on a word bank we keep together.
Baylee Champion, Diedre Corrigan, Ben Medina, Richard Medina, and Christopher Molina with inspirational question marks projection
Mollie Edgar and I conducted a typography workshop for the Teen Creative Agency at the Museum of Contemporary Art Chicago. Quoting Bruno Munari’s ABC con Fantasia, we gave each of the seven participants a limited set of modular shapes (culled from the MCA’s distinct northern staircase), basic dimensions, and loose instructions to create randomly assigned glyphs. By the end of the two-hour workshop, Eli Adams, Baylee Champion, Diedre Corrigan, Ben Medina, Richard Medina, Amaya Mensinger, and Christopher Molina completed a set of letters and numbers as well as some punctuation. We photographed each character and used these photographs to create a font.
Trunk Show cocurator Jesse Malmed with friend
I designed a clear bumper sticker for Trunk Show, a mobile exhibition space often located near Chicago’s Eckhart Park. At the show’s opening, I gave a short talk about Nothing in art, literature, music, and philosophy.
I did a window display for Medium Cool art book fair.
Winona Forever workshop cover image by Åbäke
As a participant in Asterisk Summer School in Tallinn, Estonia, I worked with David Benski, Émilie Ferrat, Sonya Isupova, Sanne Kat, Victoria Langmann, Olga Makaronskaja, Aaron McLaughlin, Federica Romani, Lena Rossbach, Kaspar Sellin, Juuso Siltanen, Tsukasa Tanimoto, Iida Kaisa Urm, Bohye Woo, and Åbäke on a piece of fiction and nonfiction that took the form of a seventeen minute audiobook. Listen here.
I designed How to Listen to and Understand Fake Music, a book of lectures written by Willy Smart and published by Publication Studio.
I designed a catalogue of photographs and writing by the artists Fatima Haider, Nazafarin Lotfi, and Sean Ward for Andrew Rafacz Gallery.
Specimen booklets and poster featuring Geometric typeface
I produced a type specimen booklet on the occasion of the Comfort Station’s Good Cheap Fast publishing workshop, an event hosted by Christopher Roeleveld on October 13, 2013.
Center spread detailing process drawings in Signature Capture
I published Signature Capture, a zine of thirty-one ink drawings that passed through Mac OS X Lion’s signature vectorizing feature. High-resolution versions of each drawing are available on Flickr.
Ficciones Typografika contributions from James Dolence (left poster) and Zach Collins (right poster)
I contributed a poster (pictured here, at center) to Erik Brandt’s ongoing Ficciones Typografika project.
I pressed my hands into a blue stamp pad and assembled twenty perfect-bound zines to create Book of Fingerprints.
Title page of La Martona's Yogurt, including the original logo-mark of La Martona, Adolfo Bioy Casares's uncle's dairy company
I designed and published La Martona’s Yogurt, a “semi-scientific, semi-commercial pamphlet about yogurt” by Jorge Luis Borges and Adolfo Bioy Casares. Brandon Wilner translated the 1935 text into English, and we worked together to present the English version alongside its original Spanish.