Our Work is Never Done, an 800-page book on Mexican-American immigration, features case studies of non-violent protests, community injustices, and stories of labor from the 1930s–1970s, offering a powerful narrative of Mexican resilience and community.
Designed as an intimate read, the book uses a one-column format, long image sequences, and personal stories. Its small trim size evokes a field journal, while its unusual length creates a bible-like presence in the hand. Created in reaction to the current administration’s views and actions on immigration, the book is a passionate, content-rich record of Mexican-American history.
Under-recognized individuals. Highlighting the stories of people history tends to leave out, like the women who made up much of San Antonio’s pecan-shelling workforce, Emma Tenayuca, a central organizer of their 1938 strike, and others.
Long image sequences. Given the current political focus on immigration, the project became a response to the current administration’s comments surrounding the future of immigrant policies and communities, which meant representing the subject matter and the gravity of historical events in a way that encourages thoughtful introspection while remaining appropriate and respectful. The Bracero Program chapter follows workers in long runs of photographs, from recruitment in México to processing centers, the border, and the fields of California, letting the images carry the weight.
Female activist groups. Giving space to the women who organized, from the International Ladies’ Garment Workers’ Union locals in Laredo and San Antonio, including the 1959–1963 Tex-Son strike, to Dolores Huerta’s work with the United Farm Workers.
Printed on Neenah Cream text paper, cut down by hand from parent sheets, then bound with Japanese bookbinding thread. Every signature in the book is sewn by hand with a French link stitch, with the thread colors chosen from the Mexican flag.
A journey through post-war Japan’s fascination with American workwear and Ivy League style, and how it blossomed into a shared denim culture between the two nations. Highlighting Japanese and American artisan-designers, including Toru Nogami, Eric Steffen, Masayuki Kanatani, Andrew Chen & Johan Lam, Tohru Hamamoto, and Christopher Loiron, who carry this tradition forward with craftsmanship, authenticity, and reinvention today.
As martial arts become increasingly politicized and reduced to ideas of national or cultural ownership, Styles Make Fights responds by showing combat sports as a global exchange of techniques, traditions, and cultures. Rather than focusing on one style or region, the book explores how these disciplines have evolved, influenced one another, and continue to shape modern combat sports.
By tracing these connections, the book aims to destigmatize combat sports and present them as an art form rooted in community. Through graphics, stories, and interviews, it explores the people, traditions, and shared influences that connect fighting styles across regions and continents, revealing combat sports as a global culture.
This proposed rebrand of San Diego FC was developed for the club’s inaugural season, building a bold, cinematic identity rooted in the character and history of San Diego. The crest combines mission-inspired arches, a shield-shaped outline, and a custom anchor, all designed to symbolize the city’s architecture, proximity to the Pacific coastline, naval heritage, and military community.
The visual and promotional language is built around fan engagement and positive mantras and slogans such as “The City’s Anchor,” “Our Strength, Our Anchor,” and “Making Waves That Matter.” The rebrand embraces the energy of the team and its supporters, intentionally moving away from the increasingly corporate design and language of modern sports in favor of something bold, local, and community-driven.
A proposed youth extension of San Diego FC, the San Diego Seahorses is a U-14 soccer team sponsored by SDFC and designed with a complementary visual identity. The program creates a professional, branded environment for young players to develop their skills while providing SDFC with a meaningful opportunity to engage with and invest in the youth of the San Diego community, working alongside a generation that can grow with the club.
This proposed rebrand of Organico Bello centers the packaging around the quality and simplicity of its ingredients. Instead of following other brands that place the tomato front and center, the design leaves it off the label, allowing the product itself to stand out.
Made from recycled Birch paper that matches the natural color of fresh pasta, the packaging becomes a canvas for the ingredients themselves. The colors of the tomato-based ingredients visually coat the pasta-colored packaging, creating a direct connection between the food and its container. Cutouts keep the food visible, while the glass jars preserve the ingredients while, most importantly, keeping them visible from every angle. The custom label wraps frame the product rather than conceal it like a standard label.
Rooted in Naples’ tradition of wholesome, ingredient-first cooking, the packaging follows the same philosophy as the food itself: let the ingredients speak for themselves.
Resume upon request
