Yuki
Collins

Spark Interactive is a semi-trailer that expands to 560 square feet and parks at schools across San Diego County. Middle and high school students spend about ninety minutes inside.

I designed how individual choices become light and accumulate into a shared experience. At the end of the exhibit, visitors choose actions they can carry forward; each pledge becomes a ray of light across the walls, gradually transforming the space.

Working from the client's script, I developed the film's visual language through illustration, collage, information design, and animation, using shifts in style and motion to make the story clear and emotionally immediate. The original 12,160 × 2,160-pixel canvas spans three LED walls, surrounding the audience.

A 10,000-square-foot exhibit about how video games work. I designed four of its activities, each with its own visual world, interface, and motion: a steampunk lever puzzle, a screen that physically tilts to slide blocks, a portrait machine that redraws visitors in different eras of game graphics, and Conway’s Game of Life seeded by hand.

Each one has to teach its own controls before anyone can play. That is what the graphics are doing.

Working with the team's concept and historical content, I developed the visual treatment across fifteen screens, layering portraits, archival imagery, documents, typography, and data into a continuous motion environment.

The exhibition presents the fifteen participants not as abstract villains, but as people with professions, families, and ordinary lives. Their personal histories sit alongside evidence of their roles in the Holocaust, exploring how people within familiar institutions and social structures can participate in extraordinary harm.

The interactive follows the Long Island Sound marshes from prehistory to today. I designed the touchscreen experience and illustrated the wildlife throughout the interface. Working within the exhibition’s established visual language, I developed the kiosks to feel consistent with the surrounding graphics and environment.

The content was organized into four parallel storylines rather than one line: ecology and geology, Indigenous peoples, uses and perceptions, crossroads. My work was the visual system that carries them, and the small activities that break up the reading.

Scientific accuracy shaped the illustration style. I worked closely with the curator to get each species and its identifying features right, while keeping the illustrations warm, clear, and visually consistent across the experience.

I joined the project during production, working within the established design direction. My work was the graphics and infographics for the interactive kiosks, and the imagery for the large-scale mesh displays.

The infographics had to carry dense, difficult content to several people reading the same surface at once, from different sides. Nothing could have a single right way up.

Created with a teen class at the New-York Historical Society as a companion to the exhibition. Because visitors would use it on their own phones in the gallery, the experience was designed mobile-first.

Teen participants researched the nine journalists and provided the content and source materials. Based on their research into museum interactives, the site was organized around three entry points instead of a single linear path: stories, people, and themes. I designed the interface, typography, navigation, and archival collage system, then adapted the experience across larger screens.