sarah rushford web and print design portfolio

SARAH RUSHFORD WEB AND PRINT DESIGN PORTFOLIO

www.sarahrushford.com/[email protected]

I earned a Bachelor of Fine Arts (BFA) at Hartford Art School in 1998, as well as an Master of Arts (MA) at the New School in 2001. In addition to my career as an interdisciplinary artist, I have worked in Graphic Design with educational institutions, artists, small businesses, and non-profit organizations since 2009. I’m inspired by the clean and contemporary as well as the edgy and handmade directions of Graphic Design. I value the honest, creative work done in partnership with my clients as we clarify what is vital to their organization and make their ideas visual, with energy, intention, and meaning.

My clients include: Axiom Center for New and Experimental MediaBoston Arts AcademyMIT List Visual Arts CenterNehar Shalom Community Synagogue

SARAH RUSHFORD WEB AND PRINT DESIGN PORTFOLIO

FOLDED EXHIBITION BOOKLET/POSTER

MIT List Visual Arts Center

wanted to provide its

community with a unique

exhibition material that was

an all-in-one essay, exhibition

event listing, and large

commemorative poster. I

created this folded booklet

to accommodate all three. In

2012 this became a standard

publication for every MIT

List exhibition. I designed

the piece and also worked

on image editing, copy

editing, and proofing for six

exhibitions.

MIT List Visual Arts Center, Cambridge Ma

February 7 – April 6 , 2014

Hourly Directional: Helen Mirra and Ernst Karel

[ ] LIST PROJECTS KEN OKIISHIJuly 16 – September 1, 2013


February 7–April 6, 2014

20 AMES STREET BUILDING E 15 CAMBRIDGE MA 02139 LISTART.MIT.EDU

Reference Gallery: February 7– April 6 , 2014


Front image photo by Ernst Karel, Interior image photo by Ernst Karel.

Hourly Directional: Helen Mirra and Ernst Karel consists of a single work: Helen Mirra and Ernst Karel’s quadraphonic sound installation Hourly directional sound recording, Mata Atlântica, Brazil (2012), composed of location recordings made during eleven days of walking in remnants of coastal rainforests in southeastern Brazil.

Stopping once each hour, Mirra and Karel used a compass to locate magnetic north. Two consecutive one-minute stereo recordings were made by holding microphones at the ends of outstretched arms, the first with arms out to north and south, and the second towards east and west. At a distance from the microphones that increases each hour, the sound of a triangle, rung with a wooden mallet, indicates the direction of the path at that moment. The triangle sounds for one second in the first hour, two seconds in the second hour, three in the third, and so on, and at the start of the minute in the first hour, after seven seconds in the second hour, after fourteen in the third, and so on. These two-channel recordings were then paired for quadraphonic playback.

For a number of years, Mirra has been walking in different parts of the world as a means of generating works. Often the materialized aspect has been a kind of paced printmaking or terse field notes made at intervals over the course of the day, and in some cases, in collaboration with Karel, hourly location recordings. These works are nestled into a cycle of exhibitions that perpetuates the ongoing project. Hourly Directional at the List is paired with two solo exhibitions sharing the same title, to take place in two parts at Radcliffe Institute for Advanced Study at Harvard University, the first in April 2014 and the second in April 2015.

The List and Radcliffe are together producing Edge Habitat Materials, 1995-2009 (Chicago: WhiteWalls Press), a book surveying Mirra’s work up to when her walking began. Two ancillary books authored by Mirra are to be published concurrently: Durchschriften (Berlin: Merve), a collection of writings, and Views from Rocks (Lisbon: Culturgest), a book of photographs from the vantage point of rocks that were borrowed from the Swiss mountains in 1998 and returned in 2013. Edge Habitat, a comprehensive survey of Mirra’s text-line works, will also open at Culturgest in Lisbon, Portugal in June 2014.

ABOUT THE ARTISTS

Helen Mirra’s many solo exhibitions include shows at The Renaissance Society at the University of Chicago, Berkeley Art Museum, KW Institute for Contemporary Art, and Haus Konstruktiv, and she participated in both the 50th Venice Biennial and the 30th São Paulo Biennial. Mirra has received awards from the Louis Comfort Tiffany Foundation, the Richard H. Driehaus Foundation, and Artadia. She was artist-in-residence at the Consortium for the Arts at the University of California, Berkeley and at the Isabella Stewart Gardner Museum, Boston, and has been a guest of the DAAD Künstlerprogramm (Berlin), Office for Contemporary Art Norway (Oslo), Stiftung Laurenz-Haus (Basel), and Iaspis (Stockholm).

Ernst Karel’s audio work includes electroacoustic improvisation and composition, location recording, and sound for non-fiction films. Together with Pawel Wojtasik and Toby Kim Lee, he made Single Stream, a large-scale video and four-channel audio installation commissioned by the Museum of the Moving Image in Queens, New York in 2013. Since 1999 Karel has performed and recorded together with Kyle Bruckmann in the electroacoustic duo EKG. Films for which Karel has edited and mixed sound include Sweetgrass, Foreign Parts, Leviathan, and Yumen.

His most recent albums composed with location recordings are Materials Recovery Facility, Swiss Mountain Transport Systems, and Heard Laboratories.

Hourly Directional: Helen Mirra and Ernst Karel is curated by List Assistant Curator Alise Upitis.

PUBLIC PROGRAMS

February 6, 5-8pmExhibition Opening ReceptionArtist Talk by Hans Op de Beeck 6pm, Bartos Theater, E 15 lower level

February 15, 1pmGuided Tour and Film Screening1pm gallery tour by List Curatorial Fellow Jeffrey De Blois followed by film screening 2pm in Bartos Theatre

Film screening program: Kick That Habit, Dir. Peter Liecht, 1989, 43 min.Attention, Focus, and Motion, Dir., Mary Lucier, 1975, 26 min.

March 5, 6 pmLive Performance: Ernst KarelACT Cube (E15-001)Artist Ernst Karel presents a quadraphonic live performance version of Hourly directional sound recording, Arizonan Sonoran Desert, the previous iteration of the collaborative project between Karel and Helen Mirra being exhibited at the List.

March 19, 6-7 pmReading and Walking Seminar, Session One

March 29, 1-2pmReading and Walking Seminar, Session TwoList Curatorial Fellow Jeff De Blois will lead two sessions of a Reading and Walking Seminar to examine the practice of walking as a means of generating artwork. Offered in conjunction with the exhibition Hourly Directional: Helen Mirra and Ernst Karel.

Advanced sign up is requested, and readings will be delivered electronically prior to the first meeting. For more information or to sign up, contact [email protected].

April 3, 5:30 pmExhibition Gallery Tour by List Assistant Curator Alise Upitis

SUPPORTED BY Support for this exhibition has been generously provided by the Council for the Arts at MIT, the Office of the Associate Provost at MIT, the Massachusetts Cultural Council, TOKY, the MIT List Visual Arts Center Advisory Committee, and the Friends of the List. Special thanks to Peter Freeman, Inc. New York/Paris.

Council

for the Arts

at MIT

20 AMES STREET BUILDING E 15 CAMBRIDGE MA 02139

July 16 – September 1, 2013

LISTART.MIT.EDU

Chris Marker: Guillaume-en-Égypte

Bakalar Gallery: Sept 24, 2013–Jan 5, 2014

Hayden and Reference Galleries : Oct 18, 2013–Jan 5, 2014

Chris Marker: Guillaume–en–Égypte

With an unparalleled and uncompromising career that spanned over six decades, Chris Marker stands as a unique chronicler of the second half of the 20th century. A writer, editor, photographer, filmmaker, and multimedia artist, Marker was born Christian François Bouche-Villeneuve in Neuilly-sur-Seine, France, in 1921. Throughout his multifaceted life—from fighting with the French resistance to becoming an early adopter of digital technologies—Marker employed a variety of media in his investigation of the relationship between images, memory, and history. While perhaps best known for his radical 1962 sci-fi film La jetée, Marker worked as a writer and editor before turning to photography and film in the 1950s, and then to video and new media in later decades, producing over fifty films and multimedia works before his death in Paris in 2012. Marker’s early photographic work was produced after joining the Parisian intellectual circles of the 1940s, and publishing poems, fictions, editorials, and film criticism. The ensuing vast photographic output is comprised of images taken throughout the world since the 1940s. Marker defined these travels—from postwar China and contemporary Guinea-Bissau, to eventually, the virtual worlds of Second Life—as part of an obsessive curiosity to capture “life in the process of becoming history.” Turning to filmmaking in the 1950s, the resulting films, television programs, and video works produced over the next fifty years made him one of the most innovative and influential filmmakers in modern cinema history. Heralded as the birth of a new film genre, Lettre de Sibérie (Letter From Siberia, 1958), one of Marker’s earliest films, is introduced as a “letter from a distant land,” sent from a place between “the Middle Ages and the 21st century.” The film evinces the nearly unclassifiable combination of travelogue, documentary, essay, historical analysis, and humor that would come to define Marker’s cinematic output. While Marker’s early visual work focused on photography and the cinematic essay, his subsequent work in various media traced the shifting conditions of the image through the technological innovations of the 20th and 21st century. Much of his work with the moving image centers on confronting the nature of images as sites of historical memory. “We remember nothing,” suggests the narrator of Sans Soleil (Sunless, 1982), Marker’s remarkable meditation on human memory and survival, “we rewrite memory the way we rewrite history.” Marker’s interest in moving image production and political engagement led him to establish filmmaking collectives in the 1960s that sought to make films in a collaborative way and to support workers in producing their own films, reflecting

Marker’s ongoing engagement with politics, images, and representation. As an astute critic of the relation between images and history, Marker would consistently turn to new technologies to expand forms of moving image production. By the early 1990s, he was working extensively in video—allowing him unprecedented abilities in the manipulation of images—and was an early adopter of digital technology. The introduction of digital media to create, store, and distribute images and texts in the following decades expanded Marker’s production of new kinds of independent filmmaking, as well as furthered his investigation of the shifting conditions of the image.

While his work from the 1990s often reflected on the historical role of cinema, Marker also gestured towards its future, anticipating ways in which networks are increasingly sites of both personal and collective memory as mediated through interfaces. Marker experimented with various technologies, producing work for digital and online platforms through the 1990s and 2000s. Marker’s use of such media speaks to his commitment to exploring how new media technologies impact the processes of recording and interpreting history, and how digital technology is effecting the production and dissemination of images.

SUPPORTED BY

Support for this exhibition has been generously provided by the Institute Française and the Cultural Services of the French Embassy in the United States, The Dedalus Foundation, Icarus Films, Cultural Service of the French Consulate in Boston, Toky, the Council for the Arts at MIT, the Massachusetts Cultural Council, the Office of the Associate Provost at MIT, the MIT List Visual Arts Center Advisory Committee, and the Friends of the List. Special thanks to Peter Blum Gallery for their generous support and assistance.

listart.mit.edu follow us at: facebook.com/mitlvac twitter.com/MITListCenter

Front image : Chris Marker, The Case of the Grinning Cat, 2004 Courtesy Icarus FilmsInterior image: Chris Marker, La jetée (The jetty), 1962 Courtesy Argos Films

Dedalus Foundation

Councilfor the Artsat MIT

Hayden Gallery: February 7 – April 6 , 2014

Exterior and interior images: Stills from Hans Op de Beeck, Staging Silence (2), 2013, Full HD video, black and white, sound,

20 mins., 48 sec. Courtesy of the Artist and Marianne Boesky Gallery, New York

Hans Op de Beeck works in sculpture, installations, video, photography, animated films, drawing, painting, and writing. His various works show the viewer non existent, but identifiable places, moments and characters that appear to have been taken from everyday life. Op de Beeck has described his works as “proposals”; he has expressed that they are irrefutably fictional and staged, leaving it up to the viewer whether or not to consider each work as a possible parallel reality, or to understand it as nothing more than a visual construct. Thematically his work concentrates on our laborious and problematic relationships with time, space, and each other resulting from globalization and the changes to our living environment brought about by developments in media, automation, and technology. Investigating the relationship between reality and representation–between what we see, what we want to believe, and what we create for ourselves–Op de Beeck’s visual output reflects a keen interest in representing social and cultural phenomena through images that envelope the viewer.

Op de Beeck’s black-and-white film Staging Silence (2) is based around abstract, archetypal settings that linger in the memory of the artist as the common denominator of the many similar public places he has experienced. These memory images are disproportionate mixtures of concrete information and fantasies, and in this film they materialize before the spectator’s eyes through anonymous tinkering hands. Arms and hands appear and disappear at random, manipulating everyday objects into miniaturized, artificially lit environments. The on-camera construction and de-construction of these environments lends the film a narrative weight that emphasizes the uncanny quality of spaces committed to memory. The film’s title refers to the staging of interiors absent of people, where the spectator can project themself as the lone protagonist. These places are no more or less than animated decors for possible stories, evocative visual propositions to the spectator. The film is accompanied by a score, which, inspired by the images themselves, has been composed and performed by composer-musician Scanner (UK).

ABOUT THE ARTIST

Hans Op de Beeck (b.1969) lives and works in Brussels, Belgium where he has developed his career through international exhibitions over the past ten years. Recent solo exhibitions include Hans Op de Beeck: Sea of Tranquility, Tampa Museum of Art, Tampa, FL and FRAC Paca, Marseille, France (2013); The Settlement, Emscherkunst, Essen, Germany (2013); and Hans Op de Beeck: Parade, De Warande, Turnhout, Belgium (2013). He recently completed a permanent

installation at Red Star Line Museum in Antwerp, Belgium. Op de Beeck has also exhibited widely in group shows internationally, including recent exhibitions at institutions including Museo d’Arte Moderna de Bologna; Frieze London; Royal Museums of Fine Arts Belgium; Klaipeda Art Center, Lithuania; SH Contemporary, Shanghai; Galerie Cédric Bacqueville, Lille, France; and Staedtische Galerie Nordhorn, Germany.

Hans Op de Beeck: Staging Silence (2) is curated by List Director Paul C. Ha.

PUBLIC PROGRAMS

February 6, 5-8pmExhibition Opening Reception

Artist Talk by Hans Op de Beeck

6pm, Bartos Theater

April 3, 5:30pmExhibition Gallery Tour by List Assistant Curator Alise Upitis

SUPPORTED BY

Support for this exhibition has been generously provided by the Council for the Arts at MIT, the Office of the Associate Provost at MIT, the Massachusetts Cultural Council, TOKY, the MIT List Visual Arts Center Advisory Committee, and theFriends of the List. Special thanks to Marianne Boesky Gallery.

Hans Op de Beeck: Staging Silence (2)


February 7– April 6, 2014

20 AMES STREET BUILDING E 15 CAMBRIDGE MA 02139 LISTART.MIT.EDU

Council

for the Arts

at MIT

Print Design2013

5.5in X 8in folded11in x 17 in unfolded

FOLDED EXHIBITION ESSAYS AND POSTERSMIT List Visual Arts Center, Cambridge Ma

Chris Marker, La Jetée (The Jetty), 1962 Courtesy Argos Films

MIT List Visual Arts Center presents

Presented as a concurrent exhibition at MIT List Visual Arts Center, Harvard University Carpenter Center for Visual Arts and the Harvard Film Archive. This exhibition was organized by List Center curator João Ribas.

Related Program: Max Wasserman Forum on Contemporary ArtKeynote Speaker: Jean-Pierre GorinNovember 16 –17, Bartos Theatre, 20 Ames St., Cambridge, Ma

For information on screenings and other related events throughout the exhibition see listart.mit.edu and ves.fas.harvard.edu/ccva.html

October 18, 2013 – January 5, 2014


Special thanks to Blumarts, Inc. for their support and assistance.

Council for the Artsat MIT

Dedalus Foundation


Sonia Almeida: Forward/Play/Pause

Hourly Directional: Helen Mirra & Ernst Karel


Special thanks to Peter Freeman, Inc. New York / Paris,and to Marianne Boesky Gallery. Additional thanks to Simone Subal Gallery.

listart.mit.edu

Council

for the Arts

at MIT

ARTFORUM EXHIBITION ANNOUNCEMENTSMIT List Visual Arts Center, Cambridge Ma

Winter 2013 and Spring

2014 saw major concurrent

exhibitions and events at the

List. I designed these two

annoucements that appeared

in Artforum. In addition to

typography I worked on image

aquisition, placement, and

color correction. The project

also required the aquisition

and management of multiple

supporting organizations’

logos as well as prominent use

of the List’s new logo.

Chris Marker, La Jetée (The Jetty), 1962 Courtesy Argos Films

MIT List Visual Arts Center presents

Presented as a concurrent exhibition at MIT List Visual Arts Center, Harvard University Carpenter Center for Visual Arts and the Harvard Film Archive. This exhibition was organized by List Center curator João Ribas.

Related Program: Max Wasserman Forum on Contemporary ArtKeynote Speaker: Jean-Pierre GorinNovember 16 –17, Bartos Theatre, 20 Ames St., Cambridge, Ma

For information on screenings and other related events throughout the exhibition see listart.mit.edu and ves.fas.harvard.edu/ccva.html

October 18, 2013 – January 5, 2014


Special thanks to Blumarts, Inc. for their support and assistance.

Council for the Artsat MIT

Dedalus Foundation


Sonia Almeida: Forward/Play/Pause

Hourly Directional: Helen Mirra & Ernst Karel


Special thanks to Peter Freeman, Inc. New York / Paris,and to Marianne Boesky Gallery. Additional thanks to Simone Subal Gallery.

listart.mit.edu

Council

for the Arts

at MIT

ARTFORUM EXHIBITION ANNOUNCEMENTSMIT List Visual Arts Center, Cambridge Ma

Print Design2013

10.75 in x 10.75 in

IN THEHOLOCENE

OCT. 19, 2012 - JAN. 6, 2013

MIT LIST VISUAL ARTS CENTER

listart.mit.edu GET ART

AMALIA PICAFebruary 8 – April 7, 2013

EXHIBITION POSTCARDSMIT List Visual Arts Center, Cambridge Ma

Over two years I designed

the fronts and backs of

multiple exhibition and event

postcards. Much of the image

decision-making was in my

hands. I presented the client

with multiple proofs using

various images for each card.

The card with the red logo was

the List’s holiday card in 2014.

The other cards were used in

press packets, around Boston

and Cambridge, and on the

MIT campus, and placed in the

Lists’s galleries.

EXHIBITION POSTCARDSMIT List Visual Arts Center, Cambridge Ma

Print Design5 in x 7 in

2012, 2013

IN THEHOLOCENE

OCT. 19, 2012 - JAN. 6, 2013

MIT LIST VISUAL ARTS CENTER

listart.mit.edu

GET ARTJoseph Beuys, Capri-Batterie, 1985Collection Walker Art Center, MinneapolisAlfred and Marie Greisinger Collection, Walker Art Center, T.B. Walker Acquisition Fund, 1992© 2012 Artists Rights Society (ARS), New York / VG Bild-Kunst, Bonn

MIT List Visual Arts Center

IN THE HOLOCENE

Berenice Abbott, Leonor Antunes, John Baldessari, Rosa Barba, Robert Barry, Uta Barth, Joseph Beuys, Alighiero Boetti, Carol Bove, Marcel Broodthaers, Matthew Buckingham, Roger Caillois, Hanne Darboven, Thea Djordjadze, Jimmie Durham, Terry Fox, Friedrich Fröbel, Aurélien Froment, Jack Goldstein, Laurent Grasso, João Maria Gusmão & Pedro Paiva, Florian Hecker, Alfred Jarry, Rashid Johnson, Joan Jonas, On Kawara, Kitty Kraus, Germaine Kruip, John Latham, Sol LeWitt, F.T. Marinetti, Daria Martin, John McCracken, Mario Merz, Helen Mirra, Trevor Paglen, Man Ray, Ben Rivers, Pamela Rosenkranz, Robert Smithson, Hiroshi Sugimoto, Superstudio, Georges Vantongerloo, Lawrence Weiner, and Iannis Xenakis

In the Holocene is curated by João Ribas, Curator, MIT List Visual Arts Center.

In the Holocene is made possible by an Emily Hall Tremaine Exhibition Award. Additional support for this exhibition has been generously provided by the Council for the Arts at MIT, the Massachusetts Cultural Council, the Office of the Associate Provost at MIT, with special thanks to Centre Iannis Xenakis, the MIT List Visual Arts Center Advisory Committee, and the Friends of the List.

On View: Oct. 19, 2012 – Jan. 6, 2013 Opening Reception: Oct. 18, 6–8pm

7pm artist Florian Hecker performs Speculative Solution, an 8-channel electroacoustic sound composition.

2013 Student Loan Art Program Exhibition and Lottery

Exhibition: September 3–15

Lottery Results: September 17

Art Pickup: September 18 and 19

Final Distribution: September 20

listart.mit.eduMIT List Visual Arts Center

20 Ames St., Wiesner Building E15, Cambridge MA 02139

Gallery Hours: 12PM–6PM Daily

MIT undergraduate and graduate students may enter a lottery to borrow a framed artwork at no cost from the List Visual Arts Center's Student Loan Art Collection for the 2013-2014 academic year. For more information see:www.listart.mit.edu/student_loan_art_collection.

Major support for this program is provided by MIT's Campus Activities Complex, MIT Friends of Boston Art, and endowments generously established by John Taylor and Alan May.

For more info 617 253 4680

September 8, 11AM–1PM Public Brunch

LOGO UPDATE AND WEBSITE DESIGN Nehar Shalom Community Synagogue, Jamaica Plain Ma

This Nehar Shalom Community

Synangogue community was

motivated to re-design their

site into a versatile, fresh and

inviting resource for their

current and new community.

I worked with six community

leaders on design and

photography. The dynamic

site also holds an archive of

the sacred objects of Nehar

Shalom, and an archive of

Rabbi Victor Reinstein’s well

known writings that I assisted

in managing and uploading.

LOGO UPDATE AND WEBSITE DESIGN Nehar Shalom Community Synagogue, Jamaica Plain Ma

Website Design800 px wide

2011

WEBSITE DESIGNBoston Arts Academy, Boston Ma

A panel of Boston Arts

Academy leaders chose me

and web developer Heidi

Kayser to make their new

website site reflect this

vibrant, diverse and talented

community, and to get the

attention of new students, as

well as alumni and donors. The

site is bright, quirky, and active

with dynamic elements

updated by the students

themselves. I worked with

several school departments

on making these fun, portrait

collages. They pop as lively

elements in the unique

navigation module.

site design by CircadiaBoston Arts Academy 174 Ipswich Street Boston, MA 02215 Tel 617-635-6470· Fax 617-635-8854

APPLY CONTACT DONATE VISIT

CALENDAR

STUDENT WORK - DANCE

SUPPORT AN ARTIST

BE AN ARTIST

EVENT TITLEOctober 22, 2011Calendar Event 1 Calendar Event 1 Calendar Event 1 Calendar Event 1 Calendar dar Calendar Event 1 Calen-dar Event 1 Calendar dar Calendar dar Event 1 Calendar dar Calendar read more...

EVENT TITLEOctober 22, 2011Calendar Event 1 Calendar Event 1 Calendar Event 1 Calendar Event 1 Calendar Event 1 Calendar Event 1 Calendar dar Calendar Event 1 Calen-dar Event 1 read more...

TODAY AT BAA

DANCE

THEATREMUSIC

VISUAL ARTS

SUCCESSACADEMICS

STUDENT LIFE CENTER FOR ARTS IN EDUCATION SUPPORT BAAADMISSIONSABOUT

SEARCHLOG IN FOR STUDENTS AND PARENTS

MUSIC

WEBSITE DESIGNBoston Arts Academy, Boston Ma

Website Design1000 px wide

2011

[ ] LIST PROJECTS

LIST PROJECTS LOGOMIT List Visual Arts Center, Cambridge Ma

In 2012 MIT List Visual

Arts Center began a new

exhibition series, List Projects.

As an ongoing program of

exhibitions and presentations,

List Projects supports the work

of younger artists at pivotal

points in their career, as well as

those artists otherwise lacking

an institutional voice. I made

this simple logo that evokes

the space of the gallery, and

also the peripheral, special

project goal of List Projects.

Graphic Designused digitally and in print2014

INTRA

YOGA THERAPY

INTRA YOGA THERAPY LOGOIntra Yoga Therapy, Boston Ma

Intra Yoga Therapy is a small

company that works one-

on-one with yoga therapy

clients. At present the logo

is a work-in-progress and this

version was made to reflect

the transcendence therapy can

offer. The texture evokes the

physicality of therapy, as well

as the emotional and phycial

work it requires. I used an

image of a wing in a painting

by Durer from 1516.

Graphic Designfor use digitally and in print2014

pippi himitsu

pippi himitsu

pippi himitsu

PIPPI HIMITSU LOGOPippi Himitsu, Boston Ma

Pippi Himitsu is a small start-

up bicycle gadget company.

The logo reflects the shape of

a section of a bicycle frame,

a toy, as well an intersection

of streets, and the suggestion

of positive momentum

and motion. The multifold

associations of the simple logo

helped the company to define

its emerging brand.


C’EST MON PLAISIR EVENTS LOGOC’est Mon Plaisir Events, New York, NY

C’est Mon Plaisir Events is a

small start-up event planning

company that plans traditional

weddings and religious and

family celebrations. The client

had a clear visual identity

already established, made up

of ornate, organic, circulinear

elements. I worked closely

with the client on choosing

understated script typography

and created this lightly

handled scroll pattern to

acheive a balance of simplicity

and ornateness.


NEW MEDIA CURIOUS FESTIVAL MATERIALSAxiom Center for New and Experimental Media, Boston Ma

I worked with Axiom Center

for New and Experimental

Media, a gallery and art

center in Jamaica Plain to

make this banner with slightly

tilted text for the New Media

Curious festival. It evoked

the experimental, curious,

nature of the festival through

a simple, understated design

decision. The tilt of the text

states the concept of the

festival, and also delivers the

factual information very clearly.

Print Design20106ft x 2ft banner

DER/DIE/DAS IPHONE APPSoftware Engineer, Boston Ma

This custom designed iphone

app is a game that allows the

player to practice the often

misused German articles; der,

die, and das, as well as other

German grammar exercises.

The design was based on a set

of paper flash cards created

in the 50’s. The conceptual

contrast of the historical

and the contemporary, was

brought to life with this design.

Graphic Design2011used digitally

www.sarahrushford.com/[email protected]

sarah rushford web and print design portfolio

Documents