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2026
What I DidCopy Writing, Research, Photography, Book Design, Fabrication, Print Production, Editorial Pacing, Cover Design, Long-form Layout, Grid Systems, Typography, Structural Thinking, Materials Specification
Research, Designer, Copywriter
The PurposeThis project was a culmination of two semesters of research, experimenting, documenting, and making. What began as an inquiry to discover and understand just what makes certain things magical, what makes gesamtkunstwerk possible, evolved into a creative practice that can be shared and studied.
The ThinkingWays of Noticing admires the subtlties that make life beautiful and provides practical ways for people to develop their own sensitivities, taste, and judgment. Its goal was to examine and share why we so desperately need to preserve the humanmade. And it asks that we all slow down to notice the details. Its purpose is to inspire curiosity and connection.
The Outcome The 256 page book is hand-sewn and Swiss-bound. The work spans across Venice, Italy and New York. It examines the work of Carlo Scarpa, Tintoretto, Josef and Anni Albers, George Nakashima, and Lorraine O’Grady. The book itself serves as a material production of ways of noticing; the paper choice (Mohawk Superfine and GF Smith Colorplan), the pacing, the lithograph book cover, the forms of writing, the curated photography (all taken by me unless otherwise noted), the blue text, the exposed binding... This project is a part of an ever-evolving multimedia practice.
You may view the full, growing, living archive (under construction) of photographs here.
This project was developed under the mentorship of Professors Michael Dyer and Jo Livingstone.
The book is meant to be opened at any page. Start from anywhere. It lays flat open on your coffee table, where it’s mean to be viewed, read, and pondered.
Process Work for the Production of the Book:
The production of the book took several iterations. From the initial concept, I knew that the book would need to lie flat and that it would be a large book. After going through several dummy sizes, I chose a size that is just a little bit off of 8x10 in (205x272 mm). Printing was another challenge. I needed the truest colors in print, but that would be accomplished with laser printing. And for the cover, it needed to have texture, with the littlest bit of imperfection. It needed to show craft and layering of methods. I had access to a lithography studio and used a photo-litho plate. The cover was designed in InDesign, printed on acetate, and then went through UV exposure. I used a silver ink and tested several types of GF Smith ColorPlan coverweight papers.