Katie Manos:
Graphic
Design Portfolio
NAVIGATION
Curriculum vitae
Index
Work (In Progress)
ABOUT
Katie Manos is a graphic designer born in, living in, and focusing on Los Angeles.
She sees the role of the designer as one of both authorship and intention, and strives to create a practice that incorporates social responsibility into the work she does. She earned her MFA in Graphic Design at Otis College of Art and Design in 2019. Before pausing her career in 2021, she embodied the millennial dream of having four part time jobs, cobbling together a busy yet flexible career: in-house Graphic Designer at Clockshop; Studio Manager at verynice; and Lecturer at Otis College of Art and Design. Currently, at her freelance practice, Katie is trying on a Design Strategist hat at verynice.
More recently, Katie's practice has turned inward toward artistry for the pleasure of creating for creating's sake. Her risograph printing press, Good Enough, explored her more whimsical side, using neon colors with flora from her backyard, to printing wedding invitations and greeting cards and calendars. Katie's most consistent practice is that of sewing her own wardrobe, as an act of patience, self love and exploration; and most recently, daily journaling.
CONTACT
📍Los Angeles, CA
📧 katiemanos@pm.me
🖥️ katiemanos.com
💼 linkedin.com/in/katiemanos
👩🏻🎓 rapidnostalgia.com
Graphic Design
Otis College of Art and Design
2018
Bachelor of Arts in
Design Media Arts
University of California,
Los Angeles
2010
verynice, Los Angeles, CA
August 2025 - Present
Printmaker and Creative Director
Good Enough Press
Glendale, CA
2021 - 2024
Studio Manager
verynice
Los Angeles, CA
2019 - 2021
Lecturer
Otis College of Art and Design,
Los Angeles, CA
2019
Graphic Designer
Clockshop
Los Angeles, CA
2018 - 2021
Brand Director
Design Director
Senior Designer
verynice
Los Angeles, CA
2013 - 2016
Graphic Designer
GOOD Worldwide Inc
Los Angeles, CA
2011 - 2013
Facilities Graphic Artist and Assistant to Curator
UCLA Athletic Hall of Fame
Los Angeles, CA
2008 - 2010
Technical: Adobe Creative Suite, Figma, Webflow, WordPress, Risograph Printing, NationBuilder
Leadership: Team Management, Project Management, Design Operations, Process Optimization
Huntington Library, Art Museum and Bontanical Gardens
Pasadena, CA
Exhibiting artist
2019
FLUX: MFA Graphic Design Pop-up Show
Otis College of Art and Design
Los Angeles, CA
Co-curator and exhibiting artist
2018
Pushing the Press/Typecraft Library
A+D Museum
Los Angeles, CA
Exhibiting artist
2015
Impractically, Practical
Take My Picture Gallery
Los Angeles, CA
Exhibition designer
2011
Matter: UCLA DMA Undergrad Show
UCLA New Wight Gallery
Los Angeles, CA
Co-curator, exhibition designer and exhibiting artist
2010
VoyageLA
2019
‘Social Entrepreneurs Need To Be Futurists, Too,’ by Adele Peters
Fast Company
2016
‘Matthew Manos on Giving Half Your Work Away for Free’ by Mason Currey
Core77
2015
How to Give Half Your Work For Free Feature
FPO (For Print Only)
2014
‘How To Give Half of Your Work Away for Free by Matthew Manos,’ by Diane Lindquist
The Dieline
2014
Clockshop
Los Angeles, CA
2019
Written by Robin Coste Lewis
Printed by Tiny Splendor, Los Angeles
Featured in Beside the Edge of the World
The Huntington Library, Art Museum and Botanical Gardens, Pasadena, CA
Los Angeles, CA
2019
Written by Robin Coste Lewis
Printed by Tiny Splendor, Los Angeles
Featured in Beside the Edge of the World
The Huntington Library, Art Museum and Botanical Gardens, Pasadena, CA
“In 1854, Thoreau published his now canonical Walden: Or, Life in the Woods. Well-regarded for its exploration of nineteenth-century subsistence living, Thoreau also included a chapter that explored the community of free Blacks living around Walden Pond long before he arrived. He titled this chapter “Former Inhabitants and Winter Visitors.” My poem below is an erasure of Thoreau’s chapter. Like Walden at the time of Thoreau’s experiment, for me this chapter contained a hidden call to the historical rediscovery of African American histories embroidering Concord, and hence, America. Therefore, in order to extend Thoreau’s experiment, I removed and rearranged several lines from Thoreau’s chapter in order to magnify, lyrically, the free black community that once lived there.”
From The Huntington’s website:
For writer Robin Coste Lewis, dialogue with the archives not only breathes new life into our experience of the world, but also revives the archives themselves. “The archives want us, need us, they are sick for our attention,” said Coste Lewis at the opening of the exhibition on Nov. 9, when she read from her poetry chapbook “Inhabitants and Visitors.” For her project, Coste Lewis did more than dialogue with Henry Thoreau’s Walden (The Huntington’s collection includes multiple draft manuscripts of Thoreau’s work)—she chose to directly inhabit his words. Using poetic erasure, a form of found poetry, she selectively deleted words and phrases from the source text to reveal new meanings and overlooked narratives. For one, Thoreau was not a lone resident at Walden Pond. “Thoreau writes about escaped slaves, free slaves that lived in the forest. I loved how their presence in and around Concord interrupted his fantasy of isolation,” shared Coste Lewis.