2026
The DCBA celebrates their 50th anniversary in Los Angeles this year. To mark the occasion, they commissioned me to create a commemorative sticker set. The set of three includes two pieces nodding to key services the organization provides: scam call prevention and housing security, alongside a clean, logo-forward design.
The central design challenge was translating important public services like scam call prevention and housing into something playful and graphic enough to work as stickers — designs you might find peeling off a twenty-something’s Nalgene. Starting directly with the services themselves in mind, I developed two concept-direction illustrations that make the subject matter feel approachable and fun without undercutting the weight of the work. A logo-forward piece anchors the trio. A bold and retro color palette and texture system ties all three together, nodding to the department's 50 year history serving Los Angeles County. Shown above is an initial draft — finals were further refined with the client.
2026
Print design
Production
A commercial Valentine’s Day has always had a built-in structure of sorts: (usually) small, exchangeable objects that tend to say something you perhaps would not say out loud. They are also usually adorned with sweet colors, swirly bits, and, most of the time, a heavily copyrighted children’s character. I was inspired to explore what happens when you keep that format, but change the source material to something more personal. Using the words and visages of the great bards of love, I developed a series of Valentine cards that reinterpret an annual childhood ritual through a more personal and referential lens.
Each piece was created through an analog-first process: arranging photos and hand-set text directly on a scanner bed, then refining the compositions digitally. The process introduces a level of distortion and texture that felt important to preserve.
The system extends beyond individual cards into a considered production format. The Valentines were designed and produced as perforated sheets for easy tear-apart distribution, with a half-circle notch (made with a small coin-size cookie cutter and a rubber mallet) allowing each card to fold closed, mirroring the tactility and social exchange of childhood Valentines while recontextualizing it for an adult audience. Designed to be handled, written on, and exchanged.
2025
Instagram carousel
Instagram post
Assemblic is a D2C skincare brand with a visual identity centered around clarity, simplicity, and ingredient-led formulation. I created a series of Instagram graphics that expanded the way the burgeoning brand showed up across social while keeping its roots in the clean, editorial brand vision.
The work leans into minimal typography, restrained color combinations, and elevated composition to reflect the brand’s positioning. I introduced a secondary serif typeface, Junicode, to the brand suite to add contrast and refinement within the system, and to balance the precision of the primary sans serif with a softer editorial tone. The resulting system helped bridge product education and brand storytelling in a way that feels cohesive, calm, and visually disciplined.
2024
Web identity
This identity system for The Flying Bus rethinks the newspaper twofold: as a space for kids, and one that exists solely in the digital world. I built the visual language of the brand from the collision of classic broadsheet typography and construction-paper colorways. The design leans into contrast: order and play, information and imagination. The result is a flexible brand and web system where editorial hierarchy is meant to be a place for play, rather than a strict rulebook.
2026
Moonbowls is a rapidly growing fast-casual brand offering clean Korean-inspired bowls. I created a series of Instagram story graphics that stayed rooted in their existing brand system while introducing subtle and iterative shifts toward a fresher and more contemporary social presence, drawing inspiration from fast-casual leaders like Sweetgreen and Mixt.
2026
Motion ad
The Feels is a dating company creating spaces for people to meet in real life through thoughtfully designed social experiences. This work focuses on translating their brand into paid and organic social formats through a tactile, texture-forward visual approach.
For the paid ad, I created a short motion-led concept using lo-fi printed frames from stock footage, layering typography and a CTA over a scene of two people kissing. The direction leans into The Feels’ tactile and sensual visual language, and I was careful to balance feeling of grit and romance while drawing on a marketing-informed understanding of motion and ad performance. The asset is designed to flex into either video or static formats depending on placement.
The Instagram carousel builds on the idea of “found material,” inspired by lovers’ notes. It uses scanned handwritten fragments and tracing paper overlays to evoke intimate, discarded moments that one could imagine at the bottom of a purse or left on a bar floor. The system plays with texture, and emotional style while staying rooted in the brand’s sexy and playful tone.
2025
Colin Hernandez is a candidate for State Assembly, running his campaign rooted in Los Angeles and its communities. I developed the brand system for the campaign, including logo design, typography, and a color palette that establishes a cohesive and recognizable visual identity across print and digital applications.
The system draws from vintage print campaign ephemera as well as Los Angeles street signage and hand-painted lettering, blending a civic sensibility with a distinctly local visual language. The result is a flexible identity that feels grounded and tied to the visual culture of the city it represents.