PRINT DESIGN
Examples from various clients
Examples from various clients
i'd rather look schleppy than preppy / 2010T-Shirt Design
From my "Drawing a Day" series, inspired by Sarah Silverman’s dad and my friend Alison “i’d rather look schleppy than preppy” is a soon to be printed silk screen design. I’ve been wanting to take a refresher silk screening class at Blim and I think this will be my first duo tone print.
I went through a number of fonts (and photos of Jewish actresses) finally settling on Lubalin Graph (Demi Oblique)
& the stunning Audrey Hepburn.
From my "Drawing a Day" series, inspired by Sarah Silverman’s dad and my friend Alison “i’d rather look schleppy than preppy” is a soon to be printed silk screen design. I’ve been wanting to take a refresher silk screening class at Blim and I think this will be my first duo tone print.
I went through a number of fonts (and photos of Jewish actresses) finally settling on Lubalin Graph (Demi Oblique)
& the stunning Audrey Hepburn.
LAUDER / 2009Personal Identity System: Business Card
A number of idea’s were worked through for the logo, I wanted it to encompass a number of words: logical, professional, typographic, modern, minimal, balanced, clean and beautiful. My main focus was on spacing, keeping the same width between the logo elements, around the entire logo and the contact info. Then the contact information is aligned to the serifs and letter forms within the logo. As a final touch an embosing was used to get that corrugated cardboard feel.
A number of idea’s were worked through for the logo, I wanted it to encompass a number of words: logical, professional, typographic, modern, minimal, balanced, clean and beautiful. My main focus was on spacing, keeping the same width between the logo elements, around the entire logo and the contact info. Then the contact information is aligned to the serifs and letter forms within the logo. As a final touch an embosing was used to get that corrugated cardboard feel.
I heart Betty White / 2010T-Shirt Design
This was another illustration from my "Drawing a Day" series. How can you not love Betty White? Actress, comedian and philanthropist she not only deserves our love but our respect too. I made this design in honour of her and upcoming appearance on SNL with all profits going to the Morris Animal Foundation. We love you Betty!
This was another illustration from my "Drawing a Day" series. How can you not love Betty White? Actress, comedian and philanthropist she not only deserves our love but our respect too. I made this design in honour of her and upcoming appearance on SNL with all profits going to the Morris Animal Foundation. We love you Betty!
CYAN Horticulture- money does grow on trees / 2010Invitation / 4" x 6"
With this piece we had a very specific audience that we wanted to target. It all started off with the copy; ‘money doesn’t grow on trees’, a very well know expression. I thought it would be interesting to play against this idea given that cost is a big reason why people don’t invest in gardening and horticultural services. The truth being though that a well maintained and beautiful garden not only adds to the look of a space but adds property value. All the visuals sprung from this idea.
With this piece we had a very specific audience that we wanted to target. It all started off with the copy; ‘money doesn’t grow on trees’, a very well know expression. I thought it would be interesting to play against this idea given that cost is a big reason why people don’t invest in gardening and horticultural services. The truth being though that a well maintained and beautiful garden not only adds to the look of a space but adds property value. All the visuals sprung from this idea.
Le Cube / 2010Exhibit Layout / Logo Design / Font Design
The exhibit layout for ‘Le Cube’. The exhibit centers around a plant container system that is com- prised of smaller squares, rectangles and other tetris like shapes that when all assembled form a single large cube. To keep things clean and organized I stuck to a 4 column grid and used teal from the logo as the only accent color. There was a great deal of technical information, renderings and photographs that had to not only be organized in a logical way but also had to be kept in scale with each other. The simplicity of the layout was key to keeping that consistency.
For the font I wanted a modular font but something that went past just basic square type to encompass the idea behind the project. I think the logo really captures that idea. After the project was complete I designed the full isometric font with 3 alternate angles.
The exhibit layout for ‘Le Cube’. The exhibit centers around a plant container system that is com- prised of smaller squares, rectangles and other tetris like shapes that when all assembled form a single large cube. To keep things clean and organized I stuck to a 4 column grid and used teal from the logo as the only accent color. There was a great deal of technical information, renderings and photographs that had to not only be organized in a logical way but also had to be kept in scale with each other. The simplicity of the layout was key to keeping that consistency.
For the font I wanted a modular font but something that went past just basic square type to encompass the idea behind the project. I think the logo really captures that idea. After the project was complete I designed the full isometric font with 3 alternate angles.
Adrienne L. Burk - Speaking for a long time / 2010Book Cover / 6" x 9"
Designed for Adrienne L. Burk and the UBC press, with this cover they really wanted to focus on the image and keep things extremely clean and simple. Abstract: "Three monuments in Vancouver, British Columbia, located closely in time and geography and all concerning violence, were created not by one, but rather by three separate groups of advocates. Given that in each case the advocates were drawn from the socially marginalized, it would seem logical that the groups would have had to work together to accomplish something as complex as gaining access to public space with the permanence of monuments. But instead, a close examination of the development and uses of these three monuments reveals the profundity of several mechanisms of social distance. Those noted here include (a) the intransigence of structures of social exclusion, (b) the dispossession caused by the legacy of colonialism, and (c) the nature of trauma."
Designed for Adrienne L. Burk and the UBC press, with this cover they really wanted to focus on the image and keep things extremely clean and simple. Abstract: "Three monuments in Vancouver, British Columbia, located closely in time and geography and all concerning violence, were created not by one, but rather by three separate groups of advocates. Given that in each case the advocates were drawn from the socially marginalized, it would seem logical that the groups would have had to work together to accomplish something as complex as gaining access to public space with the permanence of monuments. But instead, a close examination of the development and uses of these three monuments reveals the profundity of several mechanisms of social distance. Those noted here include (a) the intransigence of structures of social exclusion, (b) the dispossession caused by the legacy of colonialism, and (c) the nature of trauma."
