Product and visual designer creating digital and physical experiences that give art, objects, and stories identity, accessibility, and space for people to connect.
A senior capstone project building a capsule jewelry and print brand through metalsmithing, resin casting, laser-cut acrylic, cyanotype, editorial photography, and exhibition design. The project merged physical objects, printed media, and digital presence into one cohesive visual system.
Veins in Trees
Brand Identity, Product Design, and Exhibition System
Creative Direction, Brand Identity, Product Design, Fabrication, Photography
Fall 2025
Tools — Illustrator, Photoshop, Metalsmithing, Laser Cutting, Cyanotype, Product Photography
How can a jewelry collection function as both a wearable product line and an immersive installation?
I wanted to create a brand that lived across objects, print, and space, not just a set of products, but an experience that could be worn, handled, and exhibited. The challenge was balancing artistic experimentation with functional design and creating consistency across jewelry, lamps, print, and presentation.
The Opportunity
Final setup exhibited at the IDM showcase on Dec 12, 2025 (Click to see the full gallery of the results and showcase)
Veins in Trees began as a way to bring together the parts of design that felt most meaningful to me: physical making, visual storytelling, and brand building. While much of my earlier work lived in digital spaces such as graphics, social media, and screen-based design, working with fabrication, metalsmithing, printmaking, and photography made me realize I was most fulfilled when making things with my hands. This project became a way to merge analog processes with digital design into a single system.
Motivation
Early experiments with fabrication and printmaking
My interest in jewelry began in a fabrication class where I started working with laser cutting and acrylic, creating small objects like poker card boxes that introduced me to working at an intimate scale. Around the same time, I was developing cyanotypes and etching prints focused on veins, textures, and structural details found in nature.
These early experiments shaped both the visual language and the name Veins in Trees, reflecting my interest in the hidden patterns within natural systems rather than their surface alone. They became the foundation for a project that merged jewelry, print, and installation into one brand.
Starting Point
The visual direction of Veins in Trees balances organic structures with geometric restraint. Inspired by veins, roots, cells, wings, and cyanotype processes, the work combines natural irregularity with the precision of laser cutting and metalsmithing.
Research was primarily visual and material-based, built through collecting references, studying natural patterns, and hands-on experimentation with resin, acrylic, cyanotypes, metal, and light. Surrealist imagery and Bauhaus geometry helped shape forms that feel both intimate and sculptural, while studying jewelry, installation, and object-based designers helped define how the work could exist as a cohesive brand rather than isolated pieces.
Visual Direction and Brand Language
Veins in Trees was built through a mix of analog fabrication and digital production. Jewelry pieces were developed using metalsmithing, UV resin, laser-cut acrylic, image transfer, and found organic materials, while cyanotypes, etching, and photography shaped both the zine and image-based pendants.
The installation extended these materials into space through handmade lamps, acrylic display panels, mirrored surfaces, and illuminated display cubes. Digital tools like Illustrator and Photoshop supported fabrication files, product photography, and visual documentation, allowing the physical work and brand identity to develop together.
Illustrator • Photoshop • Laser Cutting • Metalsmithing • Cyanotype • Product Photography • Printmaking • Resin Casting • Exhibition Design
Materials + Mediums
Sketches
These sketches document early thinking around form, structure, and how the lamps, jewelry, and prints could exist together as a system.
Of course, as prototyping began, changes were made to the initial design of the pieces. I also envisioned a showcase setup before prototyping so I could be conscious of how all the elements would fit together in the space.
Resin with Laser-Cut + 3D Printed Charms
Film Negative Lamp
Gallery of Results and Showcase
The zine was built around two core themes: Organica and Exposure.
Organica explores patterns in nature: veins, roots, cells, wings, textures, and organic structures that informed the forms of the jewelry itself.
Exposure focuses on light, shadow, film, and cyanotype processes, examining how illumination and time transform image and material.
Together, these themes allowed the zine to function as a visual archive of photography, printmaking, and material experimentation, extending the project beyond product design into editorial storytelling.
Organica + Exposure
Rather than defining a rigid brand system too early, I wanted the identity of Veins in Trees to remain flexible and responsive to the objects themselves. The visual language developed through material experimentation first, with branding shaped around the work rather than imposed before it.
Typography was kept minimal to avoid competing with the visual complexity of the jewelry, lamps, and printed work. I used Inter as the primary typeface for clarity and structure, paired with custom handwritten lettering for titles and select headings to preserve a sense of tactility and personal authorship.
The color palette remained intentionally open, balancing primary colors, soft pastels, and deeper saturated tones drawn from natural forms, cyanotypes, and found materials. A deep burgundy became the grounding element across the zine, photography, and presentation, allowing imagery and objects to take visual priority while maintaining consistency.
Identity System
Image Based Pendants (using printmaking techniques)
01 Jewelry System
The collection developed through three material approaches: metalsmithing, resin with laser-cut charms, and image-based pendants using cyanotype and print transfers. Working across these categories allowed the pieces to vary in form while maintaining a consistent visual language of transparency, organic patterning, and intimate scale.
Metalsmithing
Overhead Tile Lamp
Printmaking Processes
Studio and Site Photography
03 Social Media Documentation (More Here)
04 Business Cards
Resin Lamp
Display Objects
03 Editorial + Documentation
The zine served as a visual archive rather than a commercial catalog, combining cyanotypes, printmaking, film photography, and product imagery under the themes of Organica and Exposure. This extended the project beyond objects into editorial storytelling and documentation.
01 Zine Spreads
02 Showcase Exhibition
An extended version of Veins in Trees, including additional documentation and future releases, is being developed online.
02 Lighting and Display Objects
The lamps extended the jewelry into space, transforming the project from a product line into an installation. Using acrylic, resin, wood, and film negatives, I created illuminated objects that explored transparency, color, and exposure while supporting the atmosphere of the final showcase.
Inter Inter Inter
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Design and Development