Illustration for the New York Times Book Review section 

Upon reading the NY Times essay for which I designed this illustration, I threw it on the ground out of anger. And stomped it. The piece discusses the ATOS reading system, which numerous schools in the US have used for years. (ATOS "scientifically" allots points to books; the "tougher" the book, the more points. Students are expected to fulfill a certain amount of points each semester. How a book receives its point allocation I still don't understand: Romeo and Juliet is four points while Gossip Girl is triple that amount. This is especially troubling to me, as I grew up with reading difficulties due to dyslexia. If I were to have compared my point distribution to my fellow students, I would have felt even more dumb than I already did.) Under the direction of Peter Ahlberg, we came up with the equation "Sense + Sensibility = 22." Twenty-two is simply the number of points Jane Austen's "Sense and Sensibility" was allotted by the ATOS reading system.

Illustration for the New York Times Magazine

I designed this illustration under the direction of Paul Sahre and Peter Ahlberg when I was an intern at The Office of Paul Sahre.

Article about the 2008 financial crisis and it focused on the negative impact of securitized loans. I was especially excited to work on this article because the subject matter is outside of what I usually encounter.

Art Direction by Gary Fogelson

A book review discussing The Weird Sisters by Eleanor Brown. Although the book focuses on the three sisters, there are no clues given to what time period this book takes in. 

Read the review here.

Art Direction by Nicholas Blechman.

An editorial Illustration I did for a blog in the New York Times called Draft. Draft is a section on the website devoted to the mechanics of writing, sentence structure, and the peculiarities of English. The article I illustrated discussed texting.

Art Direction by Matt Dorfman

Illustration for Men's Health Magazine

To show how chefs work with tools from the hardware store, it was pretty easy to find & photograph the appropriate saw. What wasn't easy was getting "un-sliced, sliced bread." In case you are wondering what that is, imagine an unsliced loaf of white bread (like Wonder Bread). None of the bakeries in Manhattan had what we were looking for, nor did they understand why we would ever need the loaf to not be sliced. We ended up hot-gluing a loaf of bread we got from Trader Joe's, then Photoshopping it to look like the saw was cutting it. This journey was taken with Paul Sahre and Grant Gold (whose hand we used in the picture).