ABOUT

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GRAPHIC DESIGN

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PAINTING

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PRINT MEDIA & PHOTOGRAPHY

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SCULPTURE

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VISUAL NARRATIVE

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@bu_visualarts

@bu_graphicdesign

@bostonpainting

@pmp.bu
@bostonsculpture
@buvisualnarrative

@manjingchen_

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Manjing Chen

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In the digital age, the boundary between fantasy and reality becomes increasingly blurred, with questions about the mind’s ability to transcend the body. Brands and fandoms now co-create narratives, with fans extracting and reshaping their own stories. Digital media, unlike physical media, is highly replicable, editable, and scalable, which changes how we remember and interact with content. While physical media helps crystallize memories, digital media is mutable, altering our engagement with experiences.

The shift from the culture you pay for to the culture you engage with reflects a change in how we access and own information. This transformation in cultural participation is influenced by the rise of digital tools, including AI, which further blurs the lines between the physical and digital realms, posing new challenges and opportunities. Design plays a crucial role in this shift, not only as a tool for information transmission but as a medium for creating meaningful experiences. Through the combination of design and technology, particularly motion capture and participatory processes, immersive and customizable digital experiences can be crafted. These experiences engage users through serendipity, curiosity, and joy, encouraging reflection on our connections to both the virtual and physical worlds.

In this evolving landscape, the potential for fostering deeper human connections through innovative digital interactions becomes clearer. As technology advances, it offers new ways to enhance collaboration, learning, and productivity, while also inviting us to reconsider how we relate to the world and each other.

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@hanngi
behance.net/hangicho

he/him

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Hangi Cho
Ctrl + I

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To me, graphic design exists in people’s daily lives and conveys information and even provides enjoyment. And graphic design always plays the role of a communicator. For example, decades ago, people received information and gained interests through books and posters, but in the modern era, if graphic designers want to convey information, messages, and interests to people, we must focus on the platforms and methods that people currently use in common. Therefore, graphic design must be aware of trends because it must find the best way to communicate as a communicator. For this reason, my thesis is a way to experience current trends and conversation/delivery methods and apply them to my work. In design tools, Control + I is a keyboard shortcut to use the eyedropper tool. Like the eyedropper tool, my approach and thesis as a graphic designer is to capture what people focus on with an eyedropper and apply it in my own style. Unlike painting or fine art, graphic design has great significance in conveying what the other person wants to say, not what I want to say. Because it is important to know what they want and how I can effectively convey it to others as a graphic designer, I want to be a graphic designer who continues to communicate by challenging new formats and designs.

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@jasondongexclamationmark

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Jason Dong

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My thesis aims to explore negative space not as a lack of something, but rather in the context of humor, function, and the mundane. Negative space is inherently humorous to me because while it is necessary in design for effective communication, it can simultaneously appear odd given how it can be argued as wasted space. Along similar lines, negative space serves as both a functional technique but also as an aesthetic choice. As an aesthetic employment, negative space can also subvert function. Lastly, my exploration of negative space as the mundane is mostly where my methodology will manifest itself. To do so, I’m interested in giving dimensionality to negative space through the exploration of objects and phenomena that have become banalized through everyday interaction. Essentially, I am defining negative space as the mundane or what has been overlooked. The result of this thesis is not just an exploration of the linkage between negative space and the mundane, but also a reconsideration and recontextualization of the two. The broader significance of this thesis is hopefully an investigation of what design is and how it can manifest visually. Perhaps subconsciously my goal is to show that design is not about extravagance but more about subtleties. 

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@gazalled
gazalled.com

she/her

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Ghazaleh Farrokhi

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Intuition is an essential force in the design process, emerging through spaces, abstraction, perception, temporality, and randomness. It is neither fully deliberate nor entirely accidental; rather, it operates in the in-between—the gaps where structured logic fades and instinct takes over. My thesis explores how intuition manifests in graphic design—how it materializes in design and translates into visual language in the way designers navigate composition, spatial relationships, and the balance between form and meaning. It examines how abstract thought informs concrete decisions, how perception shapes graphic interpretation, and how randomness can become a tool for discovery. Unlike purely methodical approaches, intuitive design thrives on ambiguity and latent connections, allowing for fluid ideas to emerge and the process is dynamic.

By investigating how intuition operates within spatial thinking, typographic expression, and graphic systems, this study seeks to understand its role as both an unconscious guide and an active design principle. Through this lens, intuition is not a passive or mystical force—it is an integral part of design practice, shaping creativity through subtle perceptions, ephemeral insights, and the interplay between spontaneity and structure.

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@this_is_brady
thisisbrady.ju.mp

they/them/their

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Brady George

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Graphic Design is a field that largely focuses itself on the dissection and recombination of ideas and visual forms to create “new” things. As the field of graphic design continues to mature though, its combinations include previous examples of graphic design more and more. Self-referential design rarely creates work that is truly valuable though. When designers look to the field of graphic design for inspiration, then use what they find to influence their current work, the overall landscape of graphic design becomes more recursive and oversaturated day by day. The introduction of artificial intelligence (AI) has only proliferated this issue, since the source files that machine learning actually “learns” from are all design solutions from the past. Due to the commercial value of these AI systems and their ability to do tasks originally relegated to human problem solving, more than ever, we are creating uninspired kaleidoscopes of past design and passing it off as new and original design work.

Instead, consider the idea of creating design work without any predetermined lenses. Through the 100 PERCENT method, I analyze and codify every aspect of a prompt, creating a system based on the needs of the data, then shaping the project to fit that system. If your work is always beholden to a system that was born from the work itself, it can only be embedded with meaning and value at every instance. Through 100 PERCENT completion, we can create work that feels unique and unexpected to viewers but is calculated and connected to the methods of its creation, without regurgitating old solutions.

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@greenblatt_designs

she/her

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Lauren GreenblattTHE 33° ANGLE OF APPROACH

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Thirty-three degrees is the average angle at which left-handed individuals tilt their paper to write. As a left-handed designer, I have found that approaching design challenges from a different angle, both literally and conceptually, is often necessary. This perspective has developed into a mindset that allows me to view limitations, accidents, and glitches not as obstacles but as opportunities. I have thus defined my thesis as the 33° Angle of Approach. This is a left-handed design philosophy that embraces curiosity as a process and promotes authenticity within design outcomes.

At its core, the 33° Angle of Approach is about expecting the unexpected. This involves utilizing hand-crafted techniques in both physical and digital spaces, exploring material as form and form as content, embracing tedious processes while performing fast-paced experiments, the misappropriation of tools, and most importantly, being open. Designing at thirty-three degrees is being open to moments of discovery and serendipity, allowing that to drive the creative direction.

With a background in the visual arts, music, and film, I have always been drawn to media that celebrates chance and “happy accidents” as exciting opportunities for expression. I find that leaning into imperfection results in work that feels authentic. My thesis therefore explores how adopting a left-handed methodology generates design that is explorative, playful, and real.

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@wenbin.me
wenbin.me

he/him

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Wenbin Huang

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As we grow, we learn from our environment, shaped by the sensations of mostly visuals and sounds. According to psychologist Lisa Feldman Barrett’s theory of constructed emotion, our brain constructs emotions by drawing on memories of past experiences and sensations. This intricate mechanism inspires me to self-express through my work and drives my fascination with uncovering visual clues and fragments of memory that evoke human emotion.

As a photographer and graphic designer, I am captivated by the interplay of functionality and artistic expression in visual communication. Each time I capture a photograph, I aim to document ephemeral moments filled with the transformative power of bridging the past and present with narrative potential. Whether it’s a smiling face or a still-life object, a story has been documented when the frame instantly freezes, arousing me to investigate the questions of “who, what, when, why, and how” behind the captured moment. By organizing visual clues through design, I seek ways to construct functional communication, evoking emotional resonance. 

Effective communication can not exist without stimulating emotional perceptions, which are influenced by countless factors, including cultural context and individual sensory abilities. To create immersive and inclusive environments that resonate with diverse audiences, I am developing a user-centered methodology that emphasizes thoughtful design strategies for reinterpreting original stories while inviting audience feedback. By integrating these insights into my design practice, I aim to bridge the gap between narrative, emotion, and interaction.

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she/her

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Yuhong (Rainbow) Hui

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For me, design has never been about simply putting forms together; it contains the silent understanding and dialogue between the designer and the artist. Just as architects design spaces that serve functional needs while also sparking reflection and interaction, my design attempts to provide a perfect vessel for the artist’s work through every detail—from the texture of the paper to the binding method, from the color scheme to the layout. This vessel is not only for displaying art but for evoking an emotional resonance, allowing every reader to connect with the work on a deeper level. The value of design lies in this delicate and balanced presentation, enabling the artist’s emotions and thoughts to be conveyed without words, moving away from mere visual enjoyment and reaching the resonance of the soul.

My project emphasizes the concepts of connection and collaboration, where designers and artists jointly explore unknown expressive spaces, blending design and art to create a unique form of communication. In this process, design is not merely used as a tool for display, but a profound collaboration and interaction. It becomes a bridge that establishes a deep connection between the artist and the audience. This is not just the presentation of design, but a profound exchange of ideas and emotions—a dialogue of the soul.

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@rsl_eyee

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Ruoshui Liu
⌥⌘Z

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Design operates within established structures, frameworks, and methodologies that guide how we think and create. These systems bring order and efficiency, yet they shape our instincts and decisions in ways we don’t always notice. I began to recognize how naturally I followed these patterns, relying on them as both a foundation and a constraint. We are encouraged to break rules, yet how do we rethink the very tools that shaped our approach?

My thesis explores the concept of unlearning as a transformative process in design. It is not about forgetting but reinterpreting things from new perspectives. Don’t we unlearn before we can truly create? Through reflecting, questioning, and deconstructing established norms, my thesis functions as both a conceptual inquiry and a practical framework for invention. I develop my tools and explore the interplay between clarity and ambiguity. My works examine the concept of what is and what could be. I aim to find a flexible, adaptive design approach that allows for uncertainty, iteration, and experimentation. 

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@caitlinludesign
caitlinludesign.cargo.site

she/her

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Caitlin Lu
UNLIMITED LINKS

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Unlimited Links explores how design brings people together by revealing the layered interactions between people, places, objects, and histories. This thesis examines how intentional design can surface hidden connections, facilitate meaningful exchanges, and build shared experiences. I see design as a tool for uncovering relationships that already exist around us, sometimes unnoticed but always present.

Guided by actor network theory, I approach design as an active mediator between people, materials, and spaces. I think of myself as a connector, someone who identifies, strengthens, and translates these links into tangible experiences. While in the design process, I find ways to bring ideas or people together and create something that can act as a space of reflection. 

I am particularly drawn to the energy between people and objects, the role of community spaces, and how design can activate connections between them. My work invites engagement, reflection, and new ways of seeing, encouraging people to notice what might otherwise go unnoticed. Whether through a hands-on experience, an immersive environment, or printed matter, I aim to reveal something, spark curiosity, and create moments of interaction. At its core, Unlimited Links is about design as a way of seeing, recognizing patterns, making connections, and creating a sense of belonging.

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@neve_luo

she/her

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Neve Luo

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This thesis explores the perception of Latin character design by non-native speakers, specifically examining how designers from Chinese-speaking backgrounds approach Latin typography differently from Chinese character design. As globalization increases the demand for cross-cultural communication and visual literacy, understanding the cognitive and cultural influences that shape typographic choices is vital. This research challenges the conventional view that Latin character design and Chinese character design are distinct, separate practices. It argues that non-native designers, particularly from China, bring unique insights into the design of Latin scripts influenced by their experience with Chinese characters, leading to the creation of typographic forms that blur cultural and linguistic boundaries.

The study combines design analysis, cognitive theory, and cultural studies to investigate how Chinese-speaking designers interpret the Latin alphabet through the lens of their native language’s writing system. By comparing examples of Latin typefaces created by both native and non-native designers, the research identifies key differences in form, structure, and visual meaning. It also examines how Chinese character design principles, such as balance, proportion, and visual hierarchy, inform the interpretation and adaptation of Latin characters.

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@amandamundydesign
amandamundydesign.cargo.site

she/her

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Amanda Mundy
OPEN

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This thesis explores the concept of openness in design, investigating how predetermined systems, structures, and rules can foster flexibility and unexpected outcomes. While traditional design often relies on fixed solutions that limit engagement, this thesis challenges that approach by embracing openness as both a methodology and a dynamic tool for design. This research examines how the very concept of openness—through variability, adaptability, and context-driven responses—can guide design towards subversive and unanticipated directions. Motivated by the need for design to evolve with complex and shifting contexts, this research investigates how systems can maintain consistency while introducing room for variability. This tension between structure and freedom allows for a nuanced approach to design that highlights human creativity, decision-making, and interpretation.

Ultimately, this thesis explores the tension between openness and closedness and how this dynamic can inform and reshape design practices. By reframing design as an open, iterative process, it challenges static methodologies and embraces the potential for unforeseen and ambiguous outcomes. This approach not only encourages a deeper understanding of how systems can evolve, but also highlights how embracing uncertainty can expand creative boundaries and lead to new, unexplored avenues in design, particularly in the context of my own work as a designer.

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lucypurvis.me

she/her

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Lucy Purvis

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I started by considering what I like about design. Why am I here? What motivates me? And what can I do to keep design a passion? I established a topic of interest and some themes within it that I am curious about: the development process of typefaces for non-Latin script language writing systems, the unique ways in which these typefaces are designed and utilized for communication, and how these systems lend themselves to type as image. I’ve gathered and continue to contribute to a collection of questions I have regarding differences between the typography I am most familiar with and that which I wish to learn more about. Through visual exploration, I want to highlight the differences in approach to the practices, standards, and processes between Western type and those of character-based languages, for those like myself who might be unfamiliar but curious.

My approach to this process is still being developed. Right now, it consists of gathering information on the specific topics that I am interested, leaning heavily into form-making for exploration and creation within the non-Latin typographic space to familiarize myself with it and gain a better understanding through practical application. I have come up with a comprehensive examination of the work that I found myself paying attention and going back to in my practice. I continue to take note of these designers and collect artifacts of reference.

 There are existing sources that delve into this topic but I have consolidated the information found through my own explorations, for myself to a degree, but hopefully also for the benefit of those who interact with my thesis work. Ultimately, I seek to spark interest, using what I have gathered and created, in people who are also looking to enter into the world of non-Latin script-based typography, or simply challenge what they are familiar with by using the standards and practices not widely utilized in the Western design world.

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@vea_rrx
she/her

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Xiuqi Ran
WHEN THE CAT OPENS THE DOOR

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In life, we see people open doors all the time, but when a cat opens a door, it becomes a viral Tik Tok video. People are surprised by a cat that can open a door, yet they seldom consider why opening doors is so difficult for cats. The height of the handle and the mechanism by which the door operates are designed by and for humans. As a result, opening a door becomes a challenging task for animals or any being that doesn’t fit the human norm. 

Rather than just complain about this limitation, I want to explore how we can design doors that accommodate cats—an approach that can extend to broader issues of inclusivity in design. Just as humans take door opening for granted because doors are designed with our bodies in mind, countless other systems are created with a narrow perspective that overlooks the diverse ways people—and non-human beings—interact with the world. 

This cat-and-door metaphor can be applied to many situations. It reflects the relationship between marginalized groups and design methodologies that prioritize a dominant or normative experience. For example, women in a society where men are seen as the default, Asian Americans living in the US, or minorities in a world built for the majority. The struggle to engage with a world designed for others becomes an everyday experience for these groups, just as the cat struggles with a door built for human bodies.

Ultimately, my thesis calls for a new approach to design—one that doesn’t center the human or the masculine but recognizes the complexity of all identities. By embracing the other, design can move beyond the limitations of exclusion and open up new possibilities for how we interact with the world. Through this lens, I hope to encourage designers to think beyond designing for the dominant group and create with a broader, more inclusive perspective. Then, perhaps, we would no longer be surprised by the fact that cats can open a door, because doors were designed for them to be opened in the first place.

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@my.dah_she/her

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Maidah Salman

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From architecture to photography, my journey with design has consistently been guided by the theme of duality—a recurring exploration of oppositions and intersections in both concept and form. This thesis investigates how duality can be expressed and amplified through projection as a tool for narrative and sensory exploration. By combining methods from photography, bilingual typography, and cross-cultural design, the project examines how elements such as light and shadow, static and dynamic forces, and native and foreign spaces can create new dialogues. This thesis focuses on duality as a foundation for understanding and developing immersive design experiences, using projection as both a literal and metaphorical tool.

Duality, defined by The Oxford English Dictionary as “an instance of opposition or contrast between two concepts,” is central to this research. Historical and contemporary examples, including yin-yang philosophy, the Doppler effect, and dual-exposure photography, highlight how dualities have long been a source of inspiration in art and science. Artists such as Krzysztof Wodiczko, Tseng Kwong Chi, and Claude Cahun further influence this inquiry through their use of projection, identity, and layered storytelling. At its core, projection serves as both a physical phenomenon and a metaphorical act—one that represents growth, perspective, and the act of sharing ideas.
Projection, in this context, is more than light cast onto a surface; it is a means of storytelling, growth, and expressing the tension or harmony between opposing forces. My creative journey has been shaped by experimentation across media and materials and these experiments have revealed recurring themes in my work, especially the exploration of the intersection of two spaces.

Ultimately, this thesis contributes to the discourse on design methodologies by offering new approaches to visualizing and experiencing duality. It invites viewers to engage with complex, multi-sensory environments that deepen their understanding of dualistic relationships in both physical and conceptual spaces.

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micaelasatob.myportfolio.com/work

she/her

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Micaela Sato

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Identity is the sense of self that defines who we are. It is influenced by internal factors, like our personality, and external influences, such as culture, community, and life experiences. It shapes the understanding of our role in this world. For some of us, identity is not singular but a fusion of multiple influences, resulting in something entirely unique—a hybrid identity. The same blending happens in art and design. This dynamic interplay of identities also finds its expression in groundbreaking mixed-media projects showcased in design galleries. Here, diverse techniques—ranging from digital innovations to traditional craftsmanship—merge seamlessly to create captivating and boundary-pushing works of art. From a young age, I had the privilege of traveling the world, which gave me insight into how different cultures perceive life and express themselves artistically, particularly through design. I was fascinated by how design in every place reflected a distinct mix of cultural influences, each telling a different story. This intersection of identity and design became the foundation for my creative exploration, where I aim to celebrate the richness of hybrid forms—both in people and design.

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xinranwang23.cargo.site

she/her

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Xinran Wang
IN/OUT

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The in and out in design are binary opposites that are also connected. It emphasizes transforming elements from order to chaos, from visible to invisible, from inside to outside. An aspect is not a static being but a dynamic flow. In graphic design, everything flows and transforms between in and out. A poster needs a visual formal language, one that goes from focusing on the poster’s key information (in) to the overall poster (out), and a book needs a deep reading logic (in) to the formal state of the entire book (out). The dynamic process of in and out is used as a method and guide to break the design boundaries and explore the visual tension between visible and invisible, inside and outside, order and chaos.

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@yayybean

she/her

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Niharika Yellamraju
ALT

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Memory no longer belongs solely to humans. It now lives in machines, archives, and algorithms, shaping how we perceive, remember, and experience the world. In an age when forgetting is nearly impossible, yet true recollection remains hard-to-grasp, our engagement with reality is shifting. My methodology challenges this transformation, viewing memory not as a singular truth, but as a fluid, evolving construct shaped by perception, familiarity, technology, and time.

Fascinated by the gaps, distortions, and contradictions in how we remember, my work explores the tension between the individual and the collective. Through printed media, experimental typography, and unconventional formats, I aim to reintroduce tactility and presence—offering a counterbalance to the transient, hyper-digital world we navigate. My work examines how inherited structures, societal frameworks, and digital systems dictate what we remember, what we forget, and ultimately, how reality is shaped.

ALT operates on the premise that time is non-linear, memory is unstable, and reality is in constant flux. Through distortion, fragmentation, and recontextualization, ALT disrupts the static and re-positions design as a dynamic force—one that does not merely document reality but actively constructs it. My work exists in the space between past and future, logic and intuition, permanence and impermanence. It is a reflection on the fleeting nature of now—an invitation to pause, reconsider, and explore how memory, perception, and reality are not just recorded, but designed.

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@jingyizhangv
jingyizhangv.com

she/her

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Jingyi Zhang
REDEFINING DESIGN THROUGH NON-TRADITIONAL DESIGN AND UNCONVENTIONAL TOOLS

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Design has traditionally been guided by structured systems such as grids, which are often seen as necessary to achieve balance and order. However, I have always been drawn to a more visual and free-flowing approach, avoiding rigid systems such as grids and experimenting with alternative methods. In China, logical thinking was very important since primary school, but I always struggled with this, especially in exams that required strict logic. This personal challenge has deeply influenced my view of design, prompting me to explore ways to break out of the traditional logical framework.

My thesis investigated how breaking down traditional design systems, such as grids, can lead to more creative and expressive outcomes. My goal was to challenge the notion that design must always follow strict rules, and instead explore how new tools and materials can contribute to organic, emotional, and innovative design. For example, one of my projects uses TouchDesigner to map audio-responsive visuals onto plates, visualizing music as spiritual food. This project transformed a purely auditory experience into a multi-sensory one, merging technology with metaphorical storytelling. Another project incorporates Risograph printing, combining tactile, hands-on techniques with bold visual experimentation, highlighting the potential of combining traditional craftsmanship with modern tools.

This thesis reflects my belief that design does not have to conform to traditional rules to be meaningful. By embracing experimentation and exploring non-linear tools and materials, I aim to redefine the way design connects with its audience. My work emphasizes how abandoning traditional systems opens up new possibilities for creative expression, inspiring others to go beyond the boundaries of traditional design. Ultimately, my research contributes to the field by encouraging a more fluid and intuitive approach to design, where tools and systems are not constraints but starting points for innovation.

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@chiiiz_artchichizhao.com

she/her

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Xuru (Chichi) Zhao 
TRANSLATION & REINTERPRETATION

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Design is an act of translation—of ideas into form, of concepts into experiences, of one medium into another. This thesis explores how meaning shifts through transformation, whether through scaling an object to extreme proportions, shifting between analog and digital, or reinterpreting typography, space, and materiality. Translation is not just about language but about movement, adaptation, and the evolution of ideas across different states.

Within this broader context, the thesis also examines cultural translation—specifically, how Chinese identity is represented in Western design. Culture is neither fixed nor homogeneous; it evolves through historical, sociological, and individual influences. Through vernacular design—authentic expressions of lived experiences—Translation & Reinterpretation explores how grassroots aesthetics transition into mainstream design trends, often reinforcing stereotypes or distorting meaning. The thesis questions how cultural symbols and narratives are constructed, appropriated, and reimagined, analyzing how immigration has shaped Chinatown’s visual landscape and hybridized identity.

This collection of projects demonstrates how translation in design extends beyond replication—it becomes a tool for inquiry, questioning authorship, perception, and context. Whether transforming letterforms into physical space, translating cultural motifs into interactive experiences, or reinterpreting scale as a narrative device, each project reveals how shifts in medium and perspective create new meanings. Some translations preserve intent, while others abstract or reconstruct, raising critical questions about authenticity and representation.

By integrating my design methodologies, this thesis positions translation as both a conceptual framework and a practical tool. It seeks to uncover how design can dispel stereotypes, honor cultural complexity, and expand creative possibilities, advocating for reinterpretation as a means of discovery and deeper engagement.

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