As i sat down to re-design my site for probably the sixth or seventh time since 1995 or so, it became apparent that building yet another static site from scratch just wasn’t going to cut it. The same applied to re-populating my printed portfolio with my latest work. Cracking open the old InDesign file and pulling all those photos and complied artwork out of the archives was becoming a major chore with over 15 years of work stacking up.
Since i started dabbling a bit with using WordPress for a dynamic, content-driven site, i thought it might be interesting to see if i could make it work for more of an “archival” site such as this.
It took some tinkering, but i think i figured out a way to make it work. Below is a random selection of case studies spanning the full breadth and depth of my portfolio. This will keep the landing page dynamic and constantly changing. You can click through to read them, but you can also use the menus to the left to explore all of my posted work by business sector or by work category. This gives the audience (that would be you) the ability to navigate vertically or laterally through my work, with a random option as well.
The beauty of this format is that all of the content is here in a database, and it’s now completely separated from the look and feel of the site. When it’s time to freshen up the look, it’s a matter of just updating the templates or applying a new theme, and it’s done.
There is something nice about presenting a printed portfolio of work… seeing a career’s worth of work collected into one book is quite gratifying. But the time investment vs. the return on that investment didn’t seem to make sense any more. Yes, i’ve invested a HUGE amount of time getting this latest site redesign up and running, but it’s an investment that should pay off down the road as future updates will be almost trivially easy.
Besides, this also gives me an excuse to buy an iPad to present my portfolio. 😉
Check back soon for more changes and updates, and feel free to drop me a line!
Reactor/GWP Brand Engineering
Delta Hotels is one of the largest hotel management companies in Canada, and as they grew, they saw a need to update and refresh their brand and visual identity to better reflect their aspiration to be the best of the mid-tier segment of the hospitality industry. In addition to designing the identity, we applied it and the new visual language to everything from signage to advertising and printed collateral, loyalty programs and all the miscellaneous amenities you encounter in a hotel… matchbooks, bathrobes, soap and shampoo… if it could be branded, we did it.
Film Festival sponsorship
Sonar was instrumental in getting Visa into the sponsorship of film festivals. But the art of sponsorship is more than just getting the logo onto the media wall. Sonar created custom content – originally syndicated radio programming, which later evolved into online video features – starting in 2005 as a way of leveraging Visa’s sponsorship of the Toronto International Film Festival into increased earned media impressions.
The Red Carpet Radio syndicated reports from the festival were morning-after recaps of the previous night’s activity at the Visa Screening Room. These were picked up by radio stations across North America and abroad. The earned media impressions of every “live from the Visa Screening Room” on-air mention tallied up to hundreds of millions of impressions – impressive numbers for a fairly modest sponsorship investment.
As Red Carpet Radio evolved, it became a video feature, with major exclusive distribution partners. The content is professionally produced (it was shot in HD in 2010), and is shot live at gala screenings, then edited uploaded and distributed within hours, where TIFF fans can see the night’s activity before the night is over.
Online activities are supported by offline contests and promotions to drive further traffic to the redcarpetdiary.tv site and further increase the value of Visa’s sponsorship investment.
"Caramilk Secret" identity/mnemonic
At Reactor, we had the pleasure of doing a lot of collaborative work with various agencies. One assignment that came in was to develop a mnemonic device or visual identity that could be used in campaigns that centred around “The Caramilk Secret”. After a few rounds of creative exploration, this is what we ended up with. The agency Photoshopped in an actual Caramilk square over my illustrated version, but other than that minor change, this iconic symbol is still in use over a decade later, appearing in TV and print advertising, point-of-sale promotional displays, online contests and packaging.
Standard & Poor's
Investment portal hosted application
In 2003, i worked on an interesting project with a small but outstanding team. We were flown in to assist with the front-end development on a financial services application that was being developed for Standard & Poor’s in Capgemini’s development centre in Lower Manhattan.
I worked as lead designer on a tactical team with information architects and coders, to deliver the user experience for a complex and powerful hosted investment management application which S&P was planning to white-label and sell to their customers – financial services operations whose investment activities were not their primary line of business – to use for managing client assets and linking S&P research with a wide range of investment products and services.
Brand naming and identity design
Reactor, Capgemini and independent work
Some of these were branding exercises that launched and then went in a different direction (or that vanished for one reason or another). Others were just creative exercises or playing around with ideas.
Top row: (left to right) Brand identity for an initiative by Cadillac Fairview to expand their IT reach into their retail properties by offering data and networking services to their tenants. // A creative accident turned into an exploration of a possible future visual identity direction for a Canadian television network. // Reactor art-directed the first few issues of a new hockey magazine. This was my contribution for consideration for the masthead.
Bottom row: (left to right) Brand naming and visual identity for an IT outsourcing joint venture between Capgemini and Hydro One. // Creative exercise to come up with a name and identity for consumer media free of digital rights management. // An data synchronization service where information becomes “loyal” to its owner, and changes get automatically pushed out through the network to subscribers. What better represents loyalty than a retriever?
Grocery Gateway, Inc.
Reactor/GWP Brand Engineering
The brief for this project was interesting. The branding agency’s research showed that people liked the tangible elements of shopping for groceries. It was the logistical problems they didn’t care for… getting to the store, loading the kids into a cart, carrying bags, loading up the car with the bags (and the kids) and unloading it again once they got home. And those are the people with cars. Those stuck using taxis or public transit – or those unable to get out at all – faced even greater challenges.
Grocery Gateway’s revised positioning was to be more like a traditional grocer that just happens to be Internet-enabled. Every effort was made to have drivers work the same delivery routes, so you see the same face every time, helping establish that personal relationship between consumer and the grocer at the most critical touchpoint. The only difference being the consumer no longer has to physically travel to the store, and can now shop at home (or at work), at their leisure, any time of the day or night. Naked.
The refreshed visual identity features a cheerful delivery van (nicknamed “Little G” by the folks at Grocery Gateway) bouncing over the horizon. The bright colour palette and expressive illustration were designed to express that moment of joy when the groceries are delivered. Ten years later, it still feels fresh and fun.
Ontario Ministry of Health and Long-Term Care
ePhysician portal concept
Capgemini was preparing a joint pitch with HP in response to an eHealth initiative at Ontario’s Ministry of Health and Long-Term Care. As part of our response, visual mockups were created to present a conceptual framework of potential functionality and user experience, as a way of framing discussion and opening dialogue with the client. While integrated records management has still not been implemented in the province, this concept shows some of the power and potential of an integrated approach.
Brand, visual identity, integrated marketing and product design
In 1988, i was a teenager obsessed with guitars. (I had always been more interested in the instrument and gear than in actually learning how to be a proficient player.) A friend told me about a guitar shop in Toronto that occasionally offered courses in guitar construction. I followed up on that tip and enrolled in a 10-week course to build my first guitar. I was hooked.
But being on a career trajectory to be a graphic designer, it was too late in my high school career to switch directions, so building guitars was a dream that would have to wait. In the intervening decades, i continued to refine designs with the hope of eventually building again once i got access to a shop.
In 2009, Decibel Guitars was launched.
Things are off to a slow but steady start, and the designs have been very well received. You can read (and see) more over at the Decibel Guitars website.
Decibel has also been an opportunity for me to exercise the power and potential of social media, with active Facebook and Twitter content driving traffic to the site and acting as open, two-way conduits of communication between myself and potential customers.
Six String Nation
Branding and visual identity
The Six String Nation guitar and related projects were conceived in 1995 by Peabody Award winning writer and broadcaster Jowi Taylor, inspired by the looming Quebec Referendum of that year and by the commitment of luthier George Rizsanyi to the value of Canadian woods over the usually preferred exotics. The guitar was to be made entirely of woods and materials from every province and territory, including many of incredible historical and cultural significance. (Read the whole story over at the Six String Nation site.)
Everybody who heard and was moved by the compelling story volunteered their time to help bring this vision to fruition. I was honoured to be asked to create the visual identity for this truly inspiring project. The chosen identity was envisioned as the view from inside the guitar, looking out through the soundhole at the passing Canadian landscape, with the strings resonating into a subtle suggestion of the shape of a maple leaf.
At the Toronto launch of the guitar in 2006, i was even more humbled to learn that the logo was inlaid into the guitar itself and embroidered on the strap. In 2009, the Royal Canadian Mint also honoured the Six String Nation with a guitar pick-shaped coin featuring the rosette designed by luthier George Rizsanyi and the Six String Nation logo reproduced holographically in the middle of the coin. Also in 2009, Douglas & McIntyre published a book documenting the development of the guitar, the history behind some of the materials, some fascinating stories of the guitar’s travels, and photographs of some of the thousands of Canadians who have held, played and had their pictures taken with this cultural icon.
It was a tremendous honour to be invited to share in the creation of such an important and significant Canadian cultural artifact.