A series of three posters I designed for a group poster exhibition. The shapes with a slightly different color are meant to be paper that is “color matched” by the hex code outlined in each poster’s accompanying text.
Designer for Hire is a series of 6 guerilla-style marketing posters that shamelessly and sarcastically act as self promotion. They explore the designer as a machine obsessed with their own image, a power-hungry graduate looking for a job, and a lazy hipster mainly interested in office furnishings. I am still available to be your new designer, but only if you can buy me one of those fancy chairs.
Abdellatif Kechiche’s 2013 film Blue is the Warmest Color doesn’t have a title sequence, so I decided to make one. I set out with the goal of mixing a warm-toned blue and rediscovered Josef Albers’ color experiements in the process. By backgrounding the names of the cast and crew with different colors, I could make two names of the same color appear different. This shift in perception became a metaphor for much of what goes into a relationship—sexuality, orientation, chemistry—and started to represent the inevitable end of fleeting infatuation.
The Designer as a Creator of Content is a designed work of writing that aims to compare and contrast contemporary visual art with graphic design through appropriation. Written in 33 quotes (with footnotes) and eight figures, it argues that art and design may be more similar than different. It also includes an audiobook with three different readings of the contents: page by page, without footnotes, and quote by quote. Front and back cover feature a letterpressed cover. Get a copy for yourself here and listen to the audiobook here
A proposed identity for a Chicago non-profit, Grassroots Collaborative, a grouping of 11 seperate organizations aiming to make policy change on a local and statewide level. The logotype features alternating rounded and square glyphs for the letters G, O and C. The icon personifies these three alternating shapes with mouths so that there can be a dialogue between them.
Some fun, punny greeting cards that play off four classic sans serif typefaces to tell the receiver how much they mean to the sender. Even though they were originally designed for Valentines Day, there's really never a bad time to tell someone how much they mean to you with typographic humor.
The Aesthetic Inquirer is a concept for a contemporary art world tabloid that exists as a large scale (33" x 44") single-page newspaper. Equal parts The Onion and Artforum, it includes expected newspaper entertainment—sudoku, crosswords, etc—with sensationally headlined, blasphemous articles.
A risograph-printed poster for a radio show that spins atypical world tunes.
A proposed identity for the School of the Art Institute of Chicago's public cinematheque, the Gene Siskel Film Center. It makes use of a rectangle that references the aspect ratio of movies and whose rounded corners look like film sprockets. More documentation forthcoming.
World Music Wednesdays is an annual concert series hosted in Chicago by the Old Town School of Folk Music. They celebrate music and cultural expression rooted in the traditions of diverse American and global communities. This poster is a pitch for the identity of the 2017 series. It can be pasted side-by-side to create a step-like pattern, but can also be used singularly.
Moholy Manmade Multiples is a redesigned exhibition catalogue of the 2016 Moholy-Nagy: Future Present show at the Art Institute of Chicago. It features two curated groups of plates dealing with both futurism and multiplicity in Moholy-Nagy's work. It utilizes the vernacular of desktop icons coupled with an odd typographic pairing—a neo-grotesque with a humanist.
@lilydoestattoos is a tattoo artist and illustrator based in Portland, Oregon. She tasked me with developing a business card that can also act as an appointment reminder. The identity of the business card is also applicable to future media like social media content or a website.
Designs for an Eileen Gray retrospective, “Creations au Chrome” at the Centre Pompidou. It consists of a poster and a double-sided, perforated ticket.
Warlboro is a display typeface that I’m currently developing. It’s inspired the Marlboro logotype rendered as a neon sign. What I’ve dubbed a “neon serif” is chock-full of quirks. Its serifs automatically ligature and will feature a sizable number of custom ligatures and alternate characters.
The Brooklyn Book Festival is the largest free literary event in New York City. It’s a “hip, smart and diverse” gathering that presents more than 300 authors and 200 booksellers. The typography is inspired by a precariously-balanced stack of books.
A conceptual redesign of the 2014 movie, Frank. In it, the indie fantasy/drama ﬁlm is re-contextualized in the western genre.
The STA 100 show is back! I designed the backs of the mailable poster used to advertise the 2017 competition. It had to follow the template set up in the STA’s recent rebrand which utilizes printer’s marks as the main graphic element.
Austin White is a multidisciplinary designer and artist based in Chicago. Currently, he’s a designer at UpShift Creative Group, a little branding agency in River North. He’s also one half of Shelf Shelf, a small—but quickly growing—publishing project. At this very moment, he’s likely trolling Craigslist for cute chairs. He’s a bit obsessed.
Austin White is a multidisciplinary designer and artist based in Chicago. Currently, he’s a designer at UpShift Creative Group and is half of Shelf Shelf, a small publishing project. At this very moment, he's likely trolling Craigslist for cute chairs. He’s a bit obsessed.
BFA Visual Communication Design
School of the Art Institute of Chicago