My intention with “100 Days of Apocalyptic Design” was threefold: developing a consistent artistic practice, pushing the boundaries of my design skills, and creating an expressive outlet for my apprehension about the current socio-environmental climate of our world. When I started this project, I’d worked for roughly a year as a digital strategy & design intern at NYC based independent record label Voluminous Arts. I was falling in love with the craft of design in a professional context, as I had always been a devout visual artist—and prior to my time with Voluminous Arts, graphic design had been, for the most part, a personal and academic practice. In turn, I was hungry for a way to not just learn a variety of new graphic design techniques that would elevate my professional skill-set, but also streamline my workflow to ensure I would meet tight deadlines as I built my way up in the design industry. I imposed a two hour maximum completion time for each piece, which was challenging at the initiation of the project, but I ended up finishing most of the designs within the first hour on the latter end of the project.

Throughout my work on “100 Days of Apocalyptic Design,” I also became increasing invested in how persuasive narrative allows for more effective designs, which has informed my work methodology ever since. Learning about how the composition itself is only half the battle, in terms of catching the target audience’s attention, was ultimately a turning point in my design career. I began to carefully consider how an infused narrative might provoke a viewer’s sub-conscious mind, where our integral decision-making processes live, and create enough narrative mystique that those viewers are eager to return for more information.