An exhibition located at Palm Springs Art Museum that celebrates the storied history of Graphic Design from Mexico.
Spatial Experience and Motion Graphics Designer
Carlos Avila (Graphic Designer), Robert Kett (Curator) and Tom Johnson (Exhibition Designer)
After Effects, Photoshop, Illustrator, Laser Cutter, and Handbrake
Blake showed a strong design sensibility but also deep curiosity that allowed her to develop work that resonated with the exhibition's broader themes and rationale. Our project benefited from the strength of Blake's work but also from having such a steady, kind, and accomplished collaborator.
In preparation for the August 9th, 2023 opening of the Eso Es La Vida exhibition, two big parts needed to be completed:
I researched fabrication methods for three sets of 12” El Chopo letterforms and a 72” La Ruta de la Amistad letterform, consulting with experts at the ArtCenter Model Shop and 3D Lab to evaluate different production approaches.
For La Ruta de la Amistad, I produced multiple samples exploring variations in finishes (flat, matte, and satin) and surface textures (sand and orange peel).
I initially considered CNC machining for the letterforms out of foam but ultimately chose laser cutting for its ability to produce cleaner edges on wood.
Due to the laser cutter’s material limitations, I used ¼” MDF and stacked layers to achieve the desired thickness, resulting in visible lines along the sides. To address this, I created a small-scale test using Bondo to fill and smooth the seams.
Building on the results of the "U" letterform test, I refined my lamination technique for three sets of letterforms with varying widths (1", 2", and 3") corresponding to three different font weights. The same approach was applied to the fabrication of La Ruta de la Amistad, though the scale of the piece required it to be split into three segments.
At Estudio Herrera’s request, an Orange Peel texture was incorporated to echo the surface of the original route in Mexico City.
For the video featuring Posada’s lithographic images, I experimented with replicating traditional printmaking techniques by creating a custom texture using black paint and newspaper. This texture was applied as a mask on the labels to soften their hard, straight edges.
Estudio Herrera had a dedicated space in the exhibition.
I collaborated closely with the Guest Curator to select the artwork featured in the videos and ensure alignment with the physical displays throughout the exhibition. The Graphic Designer also supported me in the layout and typographic hierarchy of the labels.
Inspired by the narrative function of the work, I used deliberate camera movements to gradually reveal each artwork, evoking a sense of unfolding story.
To echo the tactile qualities of traditional lithography, I integrated visual elements like uneven ink textures into both the typography and the transitions between artworks.
View full video
I designed the animations to mirror the mechanical rhythm of a printing press, emphasizing the physicality and historical significance of the medium.
To enhance the pacing and maintain visual interest throughout the longer format, I also animated select artworks—bringing their forms and narratives to life.
View full video
