is a multi-disciplinary Chicago-based designer and recent graduate in Communication Design from Washington University in St. Louis. My practice exemplifies cohesive visual identities and experimental processes. I enjoy visually telling stories (especially those lesser-known) and creating immersive experiences. When I’m not in my studio, I enjoy thrifting, volunteering at animal shelters, making stickers, and playing video games.
HERE is an editorial that looks at the black design scene in America. The first issue focuses on Chicago as a nexus of black design, examining its past and present, and calling for a comprehensive study of the “black design aesthetic”.
Audience:
For black designers, to show them faces like theirs in the field, and for the design world at large, to showcase the contributions of their less recognized counterparts.
Content:
HERE features five self-conducted interviews with Chicago-based practicing black designers (Tahiti Spears, Justin Lindberg, Norman Teague, Jamaal Williams, and Joshua Johnson) as well as text from A THING OF BEAUTY IS A JOY FOREVER: A Short History of African American Design in Chicago by Christopher Dingwall, “In Conversation: Darhil Crooks, Ian Spalter & Dantley Davis on Practicing Design While Black, with Kareem Collie” from The Black Experience in Design, and Searching for a Black Aesthetic in American Graphic Design by Sylvia Harris.
In 2019, AIGA published its design census, revealing that only 3% of graphic designers identify as black, despite making up 13% of the American population.
This statistic rings true as something I’ve noticed in my design education, often being one of the only black students in my class and rarely learning about designers who looked like me. In the fall of my senior year, I took a class on black graphic design history with Christopher Dingwall, where I learned that much of black design history begins in Chicago, where I was born and raised. I wanted to bring attention to this lesser-known but essential history.
COVER
Magazine
SYSTEM
I wanted to create a juxtaposition between a more conventional editorial style and a “black aesthetic”. Most of the book follows a polished system, with the interviews breaking that system and being more expressive and unique to each designer.
Chicago Star
I chose a color scheme that references the Chicago flag, using
black & white for images, and the red of the star as emphasis. The Chicago flag also features four red, six-point stars. I wanted to use
these stars as a symbol throughout the book. It is used to signify the
end of a section of text and as a symbol that takes a different appearance in each section of the book.
Typography
Big, bold type is used throughout the book. It divides each section with
a title page and starts each article. The large type is meant to
push against the sides of the page and symbolize the “boldness” of the
black design aesthetic, as discussed in the book I mainly used trials of typefaces from Vocal Type, which is run by Tré Seals, a black type designer who has many typefaces inspired by important black figures, like the font used for section dividers;SPIKE, for SPIKE LEE a black film director.
Microtypography
I chose VTC’s Du Bois font, which uses a star
detail for punctuation. I chose this to emulate
the Chicago star symbol I use. This is used for image labels (which run vertically) and descriptions (which always align to the side of the image they’re on), as well as marginalia and page numbers.
Interviews
The many Johnson Publishing magazines, like JET, EBONY, and HUE, inspire the interview sections in HERE. I wanted to create
a juxtaposition between the
more conventional editorial style
of the rest of the book and this “black design
aesthetic” in the interview section. Each interview begins with a 3-page foldout spread that introduces the designer and gives an overview of the visual style for that section. Each section is modeled after the style of the designer being interviewed.
The Chicago star symbol also adopts a different look to fit into the style of each section.
Cover
I wanted a black-on-black cover to emphasize
how, despite being hidden, black designers
have always been here. It just takes a closer,
more intentional look. back coverspine
Poster + Exhibit
For the capstone show, I designed a poster to accompany the editorial. I wanted to reference the oversized typography present throughout the book, as well as engage the viewer immediately with a question and invite them to find the answer in the book.