Katie Manos:
Graphic
Design Portfolio






NAVIGATION 

Work
Expanded CV
Index


ABOUT

A senior designer with 15 years of experience in graphic design and design operations, focusing on print and layout design.



In her natural habitat, 1993




CONTACT

📍Los Angeles, CA

📧 katiemanos@proton.me
🖥️ katiemanos.com
💼 linkedin.com/in/katiemanos
CV






EDUCATIONMaster of Fine Arts in
Graphic Design

Otis College of Art and Design
2018

Bachelor of Arts in
Design Media Arts

University of California,
Los Angeles
2010


WORK EXPERIENCEFreelance Design Strategist
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



SKILLSDesign: Brand Development, Visual Identity, Design Strategy, UX/UI Design, Print Design, Typography

Technical: Adobe Creative Suite, Figma, Webflow, WordPress, Risograph Printing, NationBuilder  

Leadership: Team Management, Project Management, Design Operations, Process Optimization



EXHIBITIONSBeside the Edge of the World
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




PRESSMeet Katie Manos of verynice and Clockshop in Downtown
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








© Katie Manos 2025



2018




Rapid Nostalgia



As a third generation Angeleno, I have always loved local history. I’m learning more and more about this huge city, and about the different histories that I've had no previous exposure to. I think it’s important for anyone living here to know how diverse and varied this city is. I’m concerned that with rapid development and displacement, the communities and histories that give Los Angeles life will be lost forever.

My personal agenda as a designer is to educate about the rapid change that Los Angeles is known for. Many people who live here have only experienced a small sliver of its timeline, and while most can say they’ve seen businesses change or new apartment complexes pop up, it’s shocking to see the complete transformation of neighborhoods through photography and documentation. It’s important to document these changes to keep the soul of Los Angeles, to know where it came from, and to recognize the communities that make up the whole. This desire to document different histories was a common thread in the work I produced here at Otis, and came together in my final project, “Rapid Nostalgia.” 

Rapid nostalgia occurs as he gap between our current state and our past shrinks as a result of development and technological acceleration.


We live in a time of incredible innovation and progress. What we mustn’t forget are the implications of this progress and change. We can be nostalgic rapidly now, with Los Angeles’ long history of tunnel-visioned erasure. Memories made a year ago can become sharply nostalgic when a new coffee shop, live-work complex or shiny new piece of infrastructure replaces whatever was there before— for better, or, depending on who you talk to, for worse.




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Rapid Nostalgia is about collecting and capturing this accelerated change that Los Angeles is experiencing through existing systems such as Google Street View, aggregated content, and even archival photography. I chose Google Street View for two reasons: it allows me to explore areas I might not be able to physically visit, and its “Time Travel” mode, which allows me to look at past data from certain locations. You can track changes to a block that one might not notice in real time. Digitally capturing and comparing scenes via these platforms allows me to “freeze” time, which is especially essential in a place where a block can change one year from the next.

Trying to find the right form for translating these digital screen-captures into something tangible and shareable has proven to be an engaging problem to work through: I experimented with art prints, augmented reality, audio, apps, mobile libraries, video art and even fabric before settling on risograph printing. Using a risograph printer, which combines the slow process of printing one color at a time with the ability to produce mass amounts of prints rapidly, Rapid Nostalgia manifested in small books or zines of the captures. Using sequencing to my advantage, this process ties in a feeling of nostalgia and ephemera in an easily replicable form. I wanted them to feel accessible and widespread instead of precious.

In creating the books, methodologies were adapted through making. I have more and more copies of each “issue” because I learned along the way how to use the risograph machine, to design the books to work with it, and designing them knowing how I would be producing them in mind.

I learned very quickly that I needed to be more intentional about my production and design methods if I was going to be producing the books this way. After making the first couple of books with a similar layout, highlighting different neighborhoods, I found I wanted to grow within the framework I’d set for myself, and experiment with other lenses to show this change.






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