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Identity  → MFA Thesis Show 2024





Role


Visual Identity Team Lead
Social Media Design
Workshop Programming

Tools


Figma
After Effects
Adobe Illustrator
Adobe Photoshop

Time


2024 Sping


The 2024 Graphic Design MFA Thesis Exhibition, on view April 2-20 at the 808 Gallery, embraces the metaphor of “Side B” to examine the process of making without traditional constraints. Showcasing the visionary work of 25 designers from across the globe, the exhibition celebrates experimentation, risk-taking, and the reimagining of graphic design outside traditional norms.

As the Visual Identity Team Lead, I led the design and development of the exhibition identity for SIDE B, the 2025 MFA Thesis Show. Working closely with a talented team of designers, I oversaw the creation of a cohesive visual system that included the title wall composition, social media visuals, and a custom type system. My role extended beyond design execution — I was actively involved in coordinating production logistics, guiding the conceptual direction, and ensuring consistency across platforms and materials.

We held weekly meetings to track progress, assign responsibilities, review in-progress designs, and collaborate with other teams to ensure the identity system was thoughtfully integrated across all physical and digital components. This project allowed me to balance creative direction with cross-functional teamwork, ensuring that the SIDE B identity was not only visually strong but also deeply embedded in the exhibition’s structure and storytelling.

   




Concept & Visual IdentityTo visually express the theme of Side B, I proposed using dot matrix paper as the conceptual foundation for the exhibition’s identity system. Dot matrix printing, once a standard in early digital communication, represents a tactile, layered, and now largely obsolete form of production—echoing the show's celebration of the overlooked, the raw, and the experimental. The identity reclaims a piece of visual history to question what is considered refined or finished—inviting viewers to look at design as something in-progress, textured, and unapologetically honest.



CONCEPT

Like the B-side of a record, dot matrix printing holds a kind of forgotten value: it's mechanical, imperfect, and layered by nature. These characteristics resonated deeply with the exhibition's emphasis on process, imperfection, and non-linear thinking. 



VISUAL IDENITITY

The logo is constructed from illustrated dotted strips, directly referencing the perforated edges of dot matrix paper. The primary typeface, Dinamo Marfa, complements the system with its utilitarian yet expressive character—bridging the mechanical tone of early digital print with the contemporary voice of each designer’s work. Together, the logo and typography establish a cohesive visual language that is bold, adaptable, and grounded in the theme of revisiting the past to shape new possibilities.





Exhibition PamphletTo extend the concept of “Side B,” we chose vellum paper to create a double-sided, see-through effect—visually reinforcing the show’s theme of duality and layered perspectives.






Social MediaWe explored using color in the early stages, aiming to introduce an inviting and playful tone. However, through iteration, we found that a black-and-white approach was both more subtle and more visually striking — grabbing attention without overwhelming the content. The final direction was chosen for its strong potential to translate into motion graphics, with bold forms and clear contrast that could animate effectively across digital platforms.



EARLY ITERATION

I began by experimenting with the logo and introducing an inviting color palette that felt bold yet approachable. Early iterations focused on how the identity could come to life through motion, setting the groundwork for a dynamic and engaging presence across platforms. 


FINAL ASSETS

Ultimately, we refined the direction to a bold black-and-white approach, aligning with the exhibition’s core identity and allowing the motion and typographic rhythm to take center stage in the final social media assets.




Collaboration & InstallationThe exhibition required careful cross-team collaboration. We met weekly to share progress, assign new tasks, and resolve issues between design and production. In the final weeks, we worked alongside the Method of Display and Logistics teams to assemble and install the show. This included preparing cut wood components, applying vinyl, and managing spatial compositions to ensure the identity translated seamlessly into the physical gallery environment.



PROJECT TIMELINE

To bring SIDE B to life, I worked closely with these groups to ensure that the design direction was consistently implemented across all touchpoints, and that key deadlines aligned with production needs.


INSTALLATION

In the final weeks, we prepared materials, built display structures, and worked on-site to install signage, title walls, and wayfinding—bringing the exhibition to life through hands-on collaboration.




ReflectionThis project challenged me to lead cross-functional collaboration while staying grounded in visual consistency. From concept to install, SIDE B pushed the limits of traditional thesis exhibitions by blending identity, space, and programming into one cohesive experience. Most importantly, this project reinforced the importance of making design accessible, engaging, and meaningful. It deepened my commitment to creating thoughtful, audience-centered experiences that balance creativity with clarity, especially in educational and community-facing contexts.