A silkscreen print exploring Japanese language and graphics. The word Bikago indicates the idea of “word beautification”, the process of embellishing vocabulary through the addition of the honorific prefix “o-”. For example, osake and okashi, rice wine and candy.

Petrol is a character designed using a process of spilled inks.

The inspiration for this character derives from recent environmental disasters and the prominence of the deterioration of our environment.

A poster designed in English and Japanese for the movie,
Lost in Translation. The design of the movie poster relates
to my experience in Japan; how glimpses of understanding fade as quickly as the arrive.

This calendar was designed to help students wishing to take the JLPT (Japanese Language Proficiency Test) learn Kanji in a consistent manner. ​Utilizing a daily approach, this calendar seeks to promote a healthy study regiment, in easily digestible installments to avoid overwhelming the student.

Designed in the traditional desktop tear-off format, it allows the student to physically interact by tearing, writing, and carrying the daily kanji, contributing to the learning process.

On the Uninteresting is an issue taken up as a facet of another project, Meaning and Misunderstanding, that investigates the quandary of communication and the eccentricity of half known languages.

When searching [the internet] for uninteresting things, you come across images, notes, moments, that others have deemed uninteresting. It might be necessary to make the unremarkable interesting; to highlight and rematerialize the remarkability that one glances over without fully realizing; seeing but not really seeing. There’s so much to look at, it is necessary one not see it all.

To be call uninteresting is to not be understood, or understood to the fullest degree.

In Japanese, the word Fudesaki indicates the tip of a brush.
A Fude is the type of brush commonly used in Japanese calligraphy and was utilized in the creation of this typeface.
The character of Fudesaki 224 is derived from the fluid and dynamic line of Caslon’s 224 italic, the instruments of japanese calligraphy, Zapf’s determination to educate himself, the unsteadiness of an untrained hand and the imperfection of automated vectorization.