Building Backwards
2024 Senior Thesis Exhibition Catalogue
As the designer of the 2024 Senior Thesis Exhibition Catalogue, I had the privilege of crafting a visual narrative that embodied the diverse and vibrant spirit of the graduating BFA and Combined Degree seniors at the School of the Museum of Fine Arts (SMFA). Building Backwards was more than an exhibition; it was the culmination of years of creative exploration across disciplines like Painting, Photography, Sculpture, Film, and Graphic Arts. The catalogue needed to honor this rich, multifaceted work and reflect the personal, impactful stories behind each student’s capstone project. My role was to weave these stories into a design as dynamic and unique as the art it showcased.
The Challenge
The 2024 exhibition presented a few hurdles that required creative solutions. Budget limitations and an expanding senior thesis class size meant that, unlike previous years, each student would not receive their own personal, glossy, high-end catalog from the university. Additionally, the incredible diversity in student work—spanning so many mediums and creative voices—posed a unique design challenge.
How could we create an identity that honored the individuality of each student while also fostering a sense of unity across the entire exhibition? This wasn't just about designing a catalogue; it was about weaving together a visual language that could serve as a cohesive backdrop to the wide array of artworks, yet still allow each piece to shine. The stakes were high: the catalogue would not only live as a keepsake for students but would also reflect the prestige of the institution and its art programs.
The Solution
In response to these challenges, I worked closely with the administration to secure funding for two distinct versions of the senior thesis catalogue. The first was a digitally printed hardcover book, available for purchase by students, offering a premium experience that they could keep as a personal memento of their artistic journey. The second was a more economical, offset-printed black-and-white newspaper edition, which would be distributed by the school to all involved parties and external guests.
This dual approach was a triumph of design thinking: balancing practical constraints with artistic expression, ensuring that every student's work felt respected and unified within the larger context of the exhibition.
The solution lay in embracing the aesthetic and materiality of traditional newspaper design. By using black and white with halftone patterns and tight, grid-based columns, we achieved both an economic and cohesive design solution. These design choices not only kept the production costs within budget but also provided a striking, timeless quality to the catalogue. The simplicity of the newspaper format allowed the diverse student works to remain the focal point while still offering a unified visual identity that connected the entire exhibition.
Exhibition Design
Following the success of the catalogue, I was entrusted with extending the exhibition’s visual identity into the physical gallery space. Working closely with faculty and administration, I designed a series of accompanying materials including signage, posters, postcards, and promotional materials. Drawing from the visual language established in the catalogue, I carried key design elements—such as the halftone patterns, black-and-white color scheme, and clean, structured layouts—into the physical exhibition materials, ensuring a seamless experience from print to installation.
This cohesive approach across both print and gallery design created a holistic identity for the Building Backwards exhibition, guiding visitors through the space while reinforcing the exhibition’s concept. Every element—from the catalogue to the signage—told a part of the story, drawing the viewer deeper into the immersive world created by the graduating students.
Skills Developed
Throughout this project, I honed my ability to manage complex design projects while working within real-world constraints. I developed a flexible template for the catalogue, overseeing its implementation and ensuring consistency across all elements. As Art Director, I orchestrated the entire process from concept to completion, delegating tasks to the publication committee and ensuring a smooth workflow. My responsibilities included regular communication with printers about pricing, timelines, and production processes, as well as reviewing proof versions to ensure quality control.