Print is a bi-monthly magazine that looks at design through a social, political, and cultural context, and showcases the best design throughout the world for its international audience.

During my tenure as associate art director, I was part of an editorial team which was recognized by its colleagues in both the design and editorial industries (see awards). The advantages of a close-knit team, not to mention the design-centric subject matter, granted involvement at early stages of editorial development—I often found myself collaborating with editors and writers as much as photographers and illustrators.

I worked with art director Kristina DiMatteo to bring a new spirit to Print’s rich legacy, which dates back to 1940. With her guidance, we continually sought out ways to keep the magazine fresh in look and content by bringing in a new talent pool of contributors, and continually experimenting with ways to showcase content.

Art director: Kristina DiMatteo

Awards/Recognition: Society of Publication Designers, American Society of Magazine Editors, AIGA, Type Director’s Club

Album packaging for Nico Muhly, a young avant-garde classical composer whose music has been described as “alternating between glittering corals of arpeggios and plonky, sputtering chunks of melody”. This was his first album, and the first release of the Iceland-based label Bedroom Community Records. 

While recording this album, Muhly split his time between New York and Iceland, which we wanted to reflect in the packaging. In addition, Nico’s elegant, yet sporadic sound warranted the playful interruptions of the text with specks of texture and chunks of space.

Album cover for Brooklyn based band Takka Takka. 

Album packaging for Pennsylvania-based artist label/cooperative La Société Expéditionnaire. Strand of Oaks is led by the words and voice of Timothy Showalter, a brilliant, honest, and awesome songwriter hailing from the Central PA/Delaware Water Gap area.

Paper is a New York-centric magazine that covers fashion, art, music, and film under the broad umbrella known as ‘downtown culture’. Founded in 1982, Paper is an original brand. Its outsider editorial voice and experimental format—for years it had a different masthead for each issue—was a precursor to many of the art, fashion, and hipster magazines which saturate newsstands today. 

I was brought on under a new creative direction by Peter Buchanan-Smtih, where I worked with him on the implementation of the redesign. Our challenge was to pay homage to Paper’s rebellious roots while infusing a more modern, sophisticated sensibility as Paper matured, expanded, and reinvented itself as the voice of a new generation of style-mavens and culture warriors.

Art director: Peter Buchanan-Smith

Puppies, two-dimensional furniture, the tomato war, human traffic, self-induced vomiting—were just a few of the examples of projects generated from Paul Sahre’s concept-driven senior class at the School of Visual Arts. In celebration, the school sponsored a retrospective of the class, and asked Paul to assemble a small team of former students to curate and produce the exhibition.

Portfolio*, with an asterisk that alludes to the unothodox nature of the class, was a exhibit of work by 26 students who generated projects through a topic chosen at the beginning of the semester.

The 2,600 square foot gallery space was organized in chronological order—the exhibit opened with a list of all the topics, and progressed through three rooms, ending with the finished portfolios. The premise of the class was perhaps best summed up by  an adage taken from one student’s project, which was plastered on a display case that ran through the center of the space: “Stormy moments give way to sunshine.”

Curators: Jennifer Lew, Abigail Smith, Joon Mo Kang, Paul Sahre

Promotional poster by Jennifer Lew and Paul Sahre