Kilimanjaro is a tall upper case font inspired in the earth's highest mountains.

Vinyl is an experimental typography project inspired by the music and the look and feel of the 1970's. Since back then vinyl records were the media in which music was played and enjoyed, the circle has been used as a core shape from which to construct the entire alphabet. In oder to illustrates how this display typeface behaves when composed, I choose the titles of the three top hits of the 1970's. The intention of this typographic experiment is to create rhythm and dynamism though the text.

Vinyl has three variations: Concentric lines for a more playful look, solid shapes with rounded corners for a more legible option, and sharp corners for a more serious approach.

Octave has been created with the intention of fusing together the graphical elements of written musical composition with the English alphabet. My passion for illustration and typography made me naturally lean towards lettering, while music is a very important element in my creative process.
While reading the newspaper or a book, a designer might unconsciously stop acknowledging the content due to the very natureof the letters. Often in observing the fonts used in books I've read, I've thought that for those of us who work with these fonts, theyare analogous to the notes on a score in the eyes of a musician. They represent the graphic structure that builds the music by which emotions, ideas and feeling are communicated. In the same way, letters are the graphic structure with which texts are composed, making them tools to communicate emotions, ideas and feelings in their own right.

Personal project

When Greg and Sarah decided to get married, I wanted to create something special for their wedding invitation. I thought about marriage and what it signifies: two people with independent lives who commit to create and share something new. Following this ideaI decided to create an ambigram that would contain both names, reading "Sarah" from one orientation and "Greg" when flipped upside down. The final design has its own identity as an ornamental form but with a closer inspection their names can be read. In addition, the invitation became interactive requiring the guests to turn it around to see both names.