Issue 7. For the cover story on "a new Jewish agriculture" in Israel, I wanted to evoke the idealized spirit of Zionist posters advertising the original Jewish agricultural movement from the early decades of the twentieth century. Using bright colors and photographic textures, I brought that iconography into the modern age.

Issue 6. For the cover story on independent lay-led congregations and prayer groups, I adapted Eugène Delacroix's powerful "Liberty Leading the People," giving it a brighter color palette and fluid texture. I also subtly inserted various Jewish objects, like a shofar and a yad (a pointer used when reading from a Torah scroll) to connect the content in an unexpected way.

Issue 8. My last cover for the magazine before I stepped down as assistant art director was also the simplest, and some have remarked, the most successful.

Issue 4. With a rather unremarkable photo to use as my starting point, I styled the photo in the manner of socialist propaganda posters, connecting the subject of the article — a new take on social Zionism — with this evocative iconography in a lighthearted way.

Issue 4. With a globe-spanning list of contributors, the editorial staff wanted to show their geographic diversity with a map. I integrated the issue's cover illustration into the design to make a direct connection between the contributors and the magazine they helped create. The map was such a success that I was given a two-page spread and total freedom for maps in future issues.

Issue 6. I took the opportunity of creative freedom to create elaborate geometric structures for my maps, sticking to strict self-imposed rules while pushing the limits of my editor's tolerance.

Issue 7. In addition to becoming a regular segment of the magazine, the maps were frequently used as a selling point for both the magazine and the organization that published it. The maps would be displayed at conventions and projected behind speakers as a way to emphasize the magazine and organization's global nature and global reach.

Issue 8. In what is probably my favorite map that I designed, this one has an almost absurd level of geometric and textural complexity. The entire design is a mesh of tiny alternating and overlapping stripes, creating a dizzying effect that was stunning in print.