In fact, re—inc’s Gamer Collection was one of the first projects Eddie assigned me to. And since then, I have continued to work on a plethora of projects, both freelance and at Pentagram, that place an emphasis on community, challenge traditional structures, and drive cultural conversation.

I suppose I am inspired by a multitude of things: scrolling through my Instagram feed, deleting Instagram, sunny mornings, bookbinding, reading, London book stores, people-watching, and being in the company of those I love.

A: I remember (very vividly) as a child being utterly mesmerized by a series of British books titled Felicity Wishes. I would sit for hours, copying each illustration on loose leaves of paper, which I would later force into my mother's hands—hoping to see them framed. Making things for others became an act of love.

And I guess not much has changed. Graphic Design is an altruistic activity that I still begin on paper. I just draw in a different language now; quick thumbnails or loose writings.

I read (and fell in love with) a book by Ted Owen titled High Art: A History of the Psychedelic Poster, and then ultimately started drawing. My artistic influences came from a few of the featured artists: Bonnie MacLean, Wes Wilson, Victor Moscoso, and Michael English.

Take, for example, my "Bloom" sketch. I was referencing the fluorescent flowers in Artist Rights Today (a collaborative poster by Wes Wilson, Stanley Mouse, Alton Kelley, Rick Griffin and Victor Moscoso). It was designed in 1986-1987 to reclaim legal rights to their work in the 1960s.

And so, my drawings were formed from the words I had read and the graphic forms I had studied—fused with external impulse.

When questioned on digital design, artist Bonnie MacLean once said: "I think handwork needs to be kept alive. It’s something people are inclined to do naturally, it’s something we have a human built in desire to do. It always has been, it still is."

This brings me great comfort.