Greta is a designer, writer, and artist working out of New York, New Jersey, and Philadelphia. Most of their work concerns queerness, pop- and sub- cultures, and community.

In 2018, Greta received a BFA in Graphic Design with a minor in Literary Arts and Studies from RISD. While in school, Greta and four friends started Merl, a design collective and small press.

Currently, Greta remains 1/5 of Merl and is a design intern at Linked by Air. They've previously worked at Open, RISD, Rodrigo Corral Studio, and Barnes & Noble Online. They also sing and play guitar in a band called Thrower.

Greta's email is gretaskagerlind@gmail.com. Get in touch to talk about a project, or for a copy of their resume.

Updated 22nd June 2018

Grafting & Breaking is a three-volume set of original texts. Forthcoming from Merl Press, July 2018.


I Love You, Don't Change is my graphic design senior thesis. It's a body of work about publishing, marginalized communities, and music. Below is a transcript of the text I read during my final presentation.


My friend told me, "Your thesis project is about back-engineering becoming yourself. It's a self portrait that opens in both directions: First, you examined the structures integral to who you are— the punk band, the poetry book, the rock album— and you constructed new versions of them through the filter of yourself."



So, yes. I took the photocopied poster, the band t-shirt, the criticism, and tried my hand at them. I at first worked in the safe space of speculation, hiding my efforts under a cloak of fiction. But what was fictional? The posters were hanging from the wall, and blunt, ugly poetry was spilling from my mouth.



I pivoted: I wrote to try and grasp it all. I wrote at my kitchen table, on trains, at airports, in beds. Providence, Philadelphia, New Jersey, Brooklyn. Poetry, essays, lyrics, single words, Things turned up unexpectedly, as a leaf blew into my face canalside. A turn of phrase kissed me in the back of my car, a headstrong hitter I was quick to spit into a note on my phone.



I showed it all to another friend, and he told me: "There is so little light in your writing. It's like you're writing from inside a cave, moving towards some glowing thing. What is that thing?"



I didn't have an answer for him then, but I do now. I'm standing in front of it. It's cultural production and the production of feeling special. It's the music and granting of access. It's being a priority, not an afterthought, for once in your life. It's building alternatives, it's a codified community within reach.



So, what did I do?
—I made a few friends and a few zines.
—I started a fake band (Eastern Exposure Tour) which became a real band (Thrower).
—I set a lot of type.
—I rehabilitated my singing voice, then destroyed it again, screaming into a microphone.
—I wrote some lyrics, turned them into stories, then turned them back into lyrics.
—I told my friends I loved them.
—I interviewed my QTPOC community and watched them talk to each other.
—I learned a thing or two about being mixed, about being trans.
—I wrote a few songs, I played a few shows.
—I solicited, I organized, I archived, all the while feeling a foreign energy.
—I built a doorway, I'm stepping through it.



More images coming soon.


Time Be My Bulldozer is an illustrated book of poetry about the everyday tension between present and future. Paperback, 156 pages.










Flang is a ~*pragmatic yet playful*~ typeface designed for long reading. It's heavily inspired by Times New Roman, but the lack of top serifs in many glyphs adds a calligraphic flair to the face. Email me for a copy!









Flang Regular was designed in four months with help from Richard Lipton (of FontBureau).


The Graphic Order is the identity for the RISD BFA Class of 2018 Graphic Design Senior Show. I worked in a group of five students to come up with the theme, which is a playful reference to the "cultish" relationship students of graphic design have with the discipline.

Poster advertising the show.


Myself, Mostyn Griffith, and Ishaan Bose Verma led the show planning, branding, identity, and fabrication teams. We asked each student in our class to come up with a personal "symbol" to contribute to the identity system. The symbols were then used in place of letterforms and names in the show.




Each room had its own title which was typeset in a custom typeface, cut from vinyl, and applied to the wall.



All students exhibiting in the show submitted their own symbol, which we used in lieu of names and title cards throughout the show.



Posters with all the seniors' names and their corresponding symbols hung in the main hall.



Assembling goody bags, which included a show catalog/map, two stickers, a bookmark, and a temporary Graphic Order tattoo. These were sold at a pop-up shop, from which all proceeds went to a local youth arts organization.







Rather than hanging physical posters, we projected a reel of them onto a moveable wall.



Our "type wall," a video projection showcasing the 15 original typefaces produced by seniors.





Our custom pen plotting station. Guests could make a donation for a local charity and get a phrase of their choice plotted in our custom Graphic Order typeface.






The ACLU Design Handbook is the style guide rolled out alongside the ACLU's new visual identity. I worked on the book and identity system with a team of designers and strategists from Open and co:collective.



My duties included research and writing for portions of the style guide, creating example type lockups, and making mockups of branded collateral (such as merchandise, envelopes, print and web ads). I also prepped logo files for each state affiliate, ran color tests to ensure the ACLU's new palette was as visually accessible as possible, and worked on logo iterations for ACLU sub-brands (People Power, Campaign for Smart Justice). View the full style guide here!













Below are wordmarks for two ACLU Sub-Brands: People Power and the Campaign for Smart Justice. I was involved in creating logo sketches and iterations for both of these efforts, as well as doing brand architecture research to conceive of how sub-brands fit into the structure of the ACLU at large.




RAID (RISD Asian Intersections + Diaspora) is a student collective aiming to unite and mobilize Asian-identifying RISD students around issues of equity, representation, and politics in art and on campus.



Mostyn Griffith and I designed the group's logo, as well as a mini-identity for our launch party. Tote bags were silkscreened live at the event and handed out to guests.






Live silkscreening at the Launch Party



Poster for a collaborative event with Brown University


Coldman is an alternative hip-hop artist. I've made a few of his album covers.


My Dick Works Fine, 2017



Neurotika, 2016




Graceful Decadence, 2015


The Rome Prize Poster is a call for applications to the 2018 Rome Prize. Designed for the American Academy in Rome while at Open.



A pair of one-color risograph prints:


More images coming soon.

Working Queer Design Principles is a pair of Google docs (one editable by myself and one editable to the public), which invite queer-identified creatives to reflect on how their queerness intersects with their practice.

Carrie & Lowell Liner Notes is a 200-page set of "crowdsourced" liner notes for the album "Carrie & Lowell" by Sufjan Stevens: The internet's collective responses to a deeply personal album. The content is made up of Google search results that satisfy the query "sufjan stevens carrie & lowell."