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Diane Ferrera

PORTFOLIO

all JLL Data Viz Filmmaker Magazine etc.

JLL (formerly HFF)
Fortune 500 Company - Capital Markets Division, New York City
Art Director • 2017-Present


Leading design for strategic investment materials, I transform complex financial data into polished, client-ready narratives while guiding a high-performing creative team.

KEY CONTRIBUTIONS & RESPONSIBILITIES
• Lead a team of five designers, overseeing project management, creative direction, and workflow optimization
• Direct production of branded offering memorandums and sales enablement materials for deal teams and clients
• Led the 2019 corporate merger integration, unifying 12 designers across five separate groups into one cohesive team
• Managed the transition from fully in-office operations to a flexible remote model, increasing productivity and improving quality
• Recruit, hire, and mentor junior and senior design staff; manage collaborations with external vendors (photographers, illustrators, printers)
• Improved team efficiency and deliverable quality through streamlined workflows, resource libraries, and best-practice standards

2025 STATS
• NYC team advised on $47.2 billion in investment sales, equity and debt transaction volume
• Design team completed 300+ projects (~8,500 pages)
• Personally executed 66 projects (~20% of total output)
• Achieved nearly 40% growth in team output since 2023

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OFFERING MEMORANDUMS
SALES ENABLEMENT PITCHES

Data Analytics and Visualization, MS
Pratt Institute - School of Information


After more than 15 years as a designer and art director, I chose to deepen my practice by pursuing a longstanding interest in data. I began by completing the Data Analytics Boot Camp at Columbia Engineering, then earned my MS in Data Analytics & Visualization from Pratt Institute.

My professional experience has shaped me into a thoughtful leader and collaborator, with strengths in design strategy, organization, and communication. Graduate study expanded that foundation, equipping me to research, analyze, visualize, and clearly communicate data-driven insights.

Above the Poverty Line?

Income Distribution and Disparity in the United States
Excel | QGIS | Illustrator

CURIOSITY
In 2019, a single-person household in the contiguous United States earning more than $12,490 annually was classified by the federal government as living above the poverty line. Having spent most of my adult life living alone, I found it difficult to reconcile how anyone could realistically sustain themselves on such an amount.

This tension became the starting point for the project. Rather than centering the analysis on the federal poverty threshold, I chose to draw my own reference lines across the income spectrum to better examine distribution and disparity. The goal was not simply to ask who falls below a fixed benchmark, but to explore how income is distributed—and concentrated—across the country.

DATA
My initial intention was to map how income distribution has shifted over time. However, most historical datasets provide only median income, which limits deeper distributional analysis. The U.S. Census Bureau's Current Population Survey does offer national income quintile data dating back to 1947—useful for historical context, though not geographically granular enough for mapping.

To support spatial analysis, I turned to the 2015-2019 American Community Survey (ACS) from the U.S. Census Bureau. This dataset provides a pre-pandemic snapshot of income for individuals aged 16 and older with full-time earnings. Income was categorized into eight brackets and reported as a percentage of the population within each census tract—already normalized for comparison.

The final dataset includes more than 72,500 census tracts across the contiguous United States, representing over 99% of the country.

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Standing Room Only

MTA Morning Commuters
Python | Illustrator

For my first substantial Python project, I cleaned and analyzed turnstile data from the Metropolitan Transportation Authority (MTA), collected over one week in November 2018. The dataset included every recorded entry and exit at each subway turnstile across all stations in the system.

I chose to focus specifically on weekday morning commuters, examining where riders entered and exited the subway during peak hours. While the dataset captures station-level movement, it does not account for specific train lines used or transfers made within stations—limitations that informed both the scope and interpretation of the analysis.

Initial visualizations were created in Python using Matplotlib, then refined and designed for presentation in Adobe Illustrator.

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A Tale of 12 Cities

Income Distribution Across the 12 Most Populated U.S. Metropolitan Areas
Excel | QGIS | Illustrator | InDesign

Using data from the U.S. Census Bureau, I mapped income distribution across the 12 most populous U.S. Metropolitan Statistical Areas (MSAs). The project compares how income is distributed within and across major metropolitan regions, highlighting patterns of concentration and disparity at multiple geographic scales.

Bar charts illustrate the overall income breakdown for each MSA, while accompanying maps provide greater granularity at the census tract level. Together, these visualizations reveal how regional averages can obscure significant variation within metropolitan boundaries.

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Brooklyn Height

A Neighborhood Grows Up
Excel | QGIS | Illustrator

An exploration of vertical growth in Gowanus, Brooklyn. This project examines the rise of new residential development in my neighborhood, mapping where and when buildings have increased in height and density.

Using spatial analysis and visualization, I traced patterns of construction and redevelopment to better understand how the built environment is evolving—and what that growth reveals about change at the neighborhood scale.

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Not Exactly Home Free

Exploring Home Prices & Incomes
Excel | QGIS | Illustrator| InDesign

RESEARCH QUESTION
How have U.S. home prices changed relative to household incomes? The question appears straightforward, but the relationship between earnings and homeownership is layered with structural, geographic, and social complexity.

DATA DEFINITIONS AND LIMITATIONS
Single-Family Home Prices
Sale prices reflect single-family homes only, excluding multi-family properties, condominiums, and co-ops. This limitation significantly reduces available data in dense urban areas, where alternative housing types are more common.

Household Income
Income data does not account for household size. A single individual earning $50,000 faces fundamentally different financial realities than a household of four supported by the same income.

Gender & Race
Income figures are aggregated across all genders and races. As a result, the analysis does not capture well-documented disparities shaped by both gender and race.

Metropolitan Statistical Areas (MSAs)
Metropolitan Statistical Areas (MSAs), as defined by the U.S. Office of Management and Budget, include a central city and surrounding communities that are socially and economically integrated. MSAs are ranked by population size and provide a consistent regional framework for comparison.

IT'S PERSONAL
The story of homeownership in America cannot be fully conveyed through a line graph alone. To introduce a more human dimension, I incorporated personal data from the home I grew up in—situating national trends within lived experience.

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Data vs. Magic

How Our Interactions with the Future Inform Today
UX Research | Photoshop | InDesign

CURIOSITY
Over the last century, the average human lifespan has nearly doubled. But are we psychologically prepared for longer futures? If we could meaningfully connect with our future selves, might we make better decisions in the present?

This project explores one culturally enduring method of engaging with the future: visiting a psychic. What began as a playful inquiry evolved into a deeper investigation of uncertainty, agency, and what people actually want to know about what lies ahead. I discovered that the questions people avoid may be as revealing as the ones they choose to ask.

APPROACH & METHODS
I conducted a range of UX research methods to examine participants' beliefs, expectations, and emotional responses to future-oriented experiences.
• Online surveys to surface initial attitudes and curiosities
• In-depth interviews to explore personal narratives
• Live sessions with an intuitive card reader, followed by a group Zoom discussion
• Participatory artifact research: I mailed “crystal balls” (glass spheres) to nine participants and conducted interviews while they physically interacted with them
The tactile experience proved especially revealing. Holding a tangible object—even a simple glass sphere—made the speculative exercise feel real, prompting more thoughtful and decisive responses.

VISUAL PRESENTATION
Although many conversations skewed hopeful and aspirational, the act of looking into the future can easily drift into darker territory. To counterbalance this, I intentionally developed a visual language that conveyed playfulness and possibility. Drawing inspiration from figures I loved in childhood allowed me to access a lighter, more imaginative aesthetic—distinct from the analytical tone of my data-focused work.

CONCLUDING THOUGHTS
Emerging technologies increasingly promise predictive insight—tools that resemble a modern crystal ball powered by data rather than magic. Yet my research suggests that people may not actually want complete foresight.

Perhaps this reveals a tension in how we present data: in striving for precision and authority, we risk overselling its omniscience. Even in the age of data, there remains a desire for ambiguity, imagination, and mystery.

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Filmmaker Magazine
Art Director • 2004—2016

Filmmaker is a printed, quarterly magazine covering the art, craft, and business of independent film.
• Directed and implemented the magazine's visual design
• Collaborated closely with editorial staff to maintain a consistent layout and voice
• Consistently managed tight deadlines
SELECT COVERS
Filmmaker Magazine cover: Winter 2016 - Riley Keough, The Girlfriend Experience
Winter 2016
Filmmaker Magazine cover: Summer 2016 - Joshua Oppenhimer, The Act of Killing, 25 New Faces of Independent Film
Summer 2015
Filmmaker Magazine cover: Winter 2015 - Kumiko The Treasure Hunter
Winter 2015
Filmmaker Magazine cover: Fall 2014 - Laura Poitras - Citizen Four
Fall 2014
Filmmaker Magazine cover: Summer 2014 - Richard Linklater, Boyhood
Summer 2014
Filmmaker Magazine cover: Spring 2008 - Harmony Korine, Mister Lonely
Spring 2008
Filmmaker Magazine cover: Winter 2008 - Be Kind Rewind, Michel Gondry
Winter 2008
Filmmaker Magazine cover: Spring 2005 - Me and You and Everyone We Know, Miranda July
Spring 2005
Filmmaker Magazine cover: Fall 2004 - I Heart Huckabees, Jason Schwartman
Fall 2004
SELECT OPENING SPREADS
Filmmaker Magazine opening spread: Fall 2015 - Carol
Fall 2015
Filmmaker Magazine opening spread: Fall 2015 - Salt of the Earth
Fall 2015
Filmmaker Magazine opening spread: Winter 2015 - Kumiko The Treasure Hunter
Winter 2015
Filmmaker Magazine opening spread: Summer 2013 - Fruitvale Station
Summer 2013
Filmmaker Magazine opening spread: Spring 2013 - Museum Hours
Spring 2013
Filmmaker Magazine opening spread: Winter 2013 - Room 237
Winter 2013
Filmmaker Magazine opening spread: Spring 2012 - Last Call at the Oasis
Spring 2012
Filmmaker Magazine opening spread: Fall 2011 - Melancholia
Fall 2011
Filmmaker Magazine opening spread: Spring 2011 - Terri
Spring 2011
Filmmaker Magazine opening spread: Fall 2009 - Antichrist
Fall 2009
Filmmaker Magazine opening spread: Fall 2007 - Control
Fall 2007
Filmmaker Magazine opening spread: Fall 2007 - I'm Not There
Fall 2007

French Bull
Senior Designer • 2015—2017

French Bull designs housewares and licenses original artwork across a broad range of consumer products.

• Art directed product photo shoots
• Designed seasonal catalogs, retail email campaigns, and brand lookbooks
• Partnered with factories from development through manufacturing
• Coordinated with licensing partners to ensure accurate artwork usage

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BRAND BOOK

PRODUCT CATALOG

LOOK BOOK

EMAILS

Delta Galil
Art Director • 2005—2015

Delta Galil (formerly Burlen Corporation) is a global leader in intimates and activewear, operating as a high-tech apparel company.

• Led a team of designers supporting 20+ retail clients across girls, juniors, contemporary, plus size, intimates, sleepwear, loungewear, and activewear
• Developed seasonal collections, trend presentations, and marketing proposals
• Created original graphics and prints for a diverse customer base
• Partnered closely with merchandising and sales teams to anticipate client needs and secure new business
• Managed team workload, daily assignments, and production timelines
• Mentored, motivated, and guided designers to deliver high-quality work on schedule
• Recruited, hired, and trained new design team members
• Prepared and finalized artwork for factory production

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ALLOVER PRINTS

TYPOGRAPHIC SCREENPRINTS

CHARACTER SCREENPRINTS

TREND PRESENTATIONS

Bam's Beef Jerky

• Branding and visual design for a Brooklyn-based food company
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ASSORTED MARKETING MATERIALS

Playgirl Magazine
Art Director • 2004—2005

Playgirl Magazine is a lifestyle publication exploring sexuality, identity, and contemporary culture.
• Led a comprehensive redesign of the magazine with a focus on growing the subscriber base
• Collaborated closely with publishers and editorial leadership to define and visually express the publication’s evolving voice
• Built and managed relationships with photographers, illustrators, designers, and models to maintain quality and brand consistency
• Styled and directed both model and product photo shoots
• Oversaw all visual aspects of the publication, from design strategy through production
• Managed tight deadlines and budgets across all issues
• Organized and maintained contracts, releases, and invoices for each issue
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SELECT PAGES

The Threads

• Designed promotional fliers for a New York City-based band
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SELECT SHOW FLIERS