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!
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.
- i❘money Corporation
Branding and User Experience
The year was 1998. The Web had been around for all of about 5 years, and the Internet Gold Rush was on. A plucky team of innovators, funded by now-billionaire financier Gerry Schwartz through Bayshore Capital, started up a venture called FSDirect in an effort to launch one of the first independent financial services sites in Canada.
Reactor was called in to contribute to the user experience of the first generation of the site, and along the way, we managed to land the branding assignment as well. (… or was that the other way around?)
Keep in mind that 1998 was pre-iMac, pre-iPod… pre-iAnything, really. Truly groundbreaking! (You can thank us later, Mr. Jobs… just send the royalties to the following… but i digress…) The i❘money brand lasted through several iterations of the site design before it was folded into another financial services site in 2000.
It was very innovative at the time, and even bested the efforts of many of the major banks, who were taking very tentative steps into the online consumer investment and trading world. Alas, the screenshots of the i❘money interface design have been lost to the ravages of pixel erosion. Besides, they were so ’90s!
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.
"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.
The CUMIS Group
When we got the call from CUMIS, we were intrigued. From the appearance and colour scheme of their logo to the placement of their corporate headquarters in the middle of an apple orchard overlooking Highway 403 in Burlington, Ontario, it was easy to think that they manufactured farm machinery. As we were soon to learn, we were not the first (nor the last) to make that mistake.
CUMIS has operated in the insurance space for over 75 years, serving the credit union space exclusively, with a commanding market position. But decades of the status quo had left the brand somewhat directionless and unfocused.
The first goal was to revamp the logo itself. The name itself (believed to have originated as an acronym for Credit Union Members’ Insurance Society) had pronunciation issues, and the look was pure 1970s brutalist-industrial, depicted in dull mustard yellow on white.
With the new identity, we sought to bring emphasis to the “U” in order to force its pronunciation as a long vowel sound. We also wanted to bring some symbolism to the identity without actually creating a symbol. The change was to be evolutionary, so we needed to keep the mark of identity as a typographic solution only.
The solution was to treat the “U” as if it were a loop of ribbon, one side red and one side gold. These two halves were then split and allowed to “cradle” one another, in a gesture similar to hands cradling, protecting, nurturing, representing the goals of an organization offering insurance and wealth management products and services.
Printed collaterial pieces were another trouble area. When viewed together, all of their brochures and other communications pieces had absolutely no family resemblance at all. They almost looked like they came from completely separate companies.
It wasn’t hard to see that they had a serious brand image problem. This was in part due to: a) the core values that helped to define the brand becoming lost; b) product managers who viewed their departments as “sub-brands” and believing that their needs were different from everyone else’s; and c) an internal creative department lacking inspiration and having grown accustomed to product managers art-directing the creative. Working with the CUMIS Marketing & Communications team, we set out to address each of these issues in an integrated way.
As we set about creating a new visual language for the CUMIS brand, we recognized that key internal thought leaders and stakeholders needed to be brought in early in the process. By presenting and receiving approval on all creative direction from the executive level first, that “top-down” endorsement helped smooth the adoption of the refreshed brand throughout the organization, rather than having to push and fight to sell new concepts into the organization from the bottom up. Rather than creating “brand police” to monitor and control things, we wanted to create an entire organization of brand advocates who wanted to do everything possible to promote a strong and consistent brand.
We extended the “ribbon” idea from the identity into a visual motif that separated the masthead area of cover pages from the image and supporting content. These ribbons also extended to the interior of pieces. Generous use of white space also helped the elements stand on their own and not get lost in cluttered layouts.
Photography was to be used exclusively, with images portraying everyday Canadians engaged in activities together. The rationale was that insurance should allow people to go about living their lives in happiness, with the knowledge that should anything unexpected happen, the would be looked after, as would their businesses, property and loved ones. The sense of community reflected in many of the images was also intended to suggest a connection to the core values of the co-operative movement.
We often say that a brand is more than just the logo on the building. But in this case, refreshing the brand also included the logo on the building! The revitalization of the brand was extremely successful, and in 2009, The CUMIS Group was purchased by The Co-operators, who continue to operate the brand and serve the credit union sector.
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?
Outside Design Build
When the owner of a small-but-growing landscape design/build company approached me for a new visual identity, he stated his goals were to differentiate himself from his competition, and to potentially target a slightly more upscale, sophisticated clientele.
He already had the name, business cards, and a simple website, but none of it was working together, and it fell into the all-too-common-for-the-marketplace “green” aesthetic. He wanted something different, that set him apart in his creation of beautiful, livable, and sustainable outdoor spaces.
After doing a competitive audit to see what else was in play, it became clear that for true differentiation in the landscape sector, we had t avoid the conventional thinking and clichés that pretty much defined an entire market.
Rather than focus on the execution – trees, flowers, decks, fences, stone work, etc. – a more conceptual approach was taken that focuses more on the creative process.
The symbol and colour represent unconventional, uninhibited, “outside” creative thinking. Colouring outside the lines, with the company signature “O” formed in the negative space. The warm and vibrant orange colour was chosen as a direct contrast to the blues and greens so often seen in the landscaping business.
The result is a bold and distinctive identity that supports and communicates the Outside brand: Outside spaces and outside creativity.
The tagline, “Spend more time Outside” was also developed to draw more attention to the company name and the play on words. Both horizontal and vertical lock-ups of the identity were created to allow flexible placement on vehicles, equipment, uniforms, and lawn signs.
The results were immediate and powerful, with many sightings, recognition, and recall of the company truck in High Park and Bloor West Village within days of the new image hitting the streets.
The client couldn’t be happier, and that’s the best result of all.
BlackBerry theme design, BlackBerry theme design
I’ve been interested in design for small screens for quite a while. The resolution and user input constraints have always presented unique challenges from a design and user experience perspective.
Of course, as screen resolutions, graphic processing power, touch screens, alternate pointing devices and full QWERTY keyboards have become increasingly common, many of those requirements and limitations have been eased (or eliminated altogether) but new input methodologies have also meant new challenges and new UX paradigms that need to evolve to address the ever-changing state of human-computer interaction.
When RIM moved more into the consumer space with the introduction of the BlackBerry Pearl in 1995, i took interest. But it wasn’t for a couple of years that i started delving into theme design for BlackBerry handhelds for my own personal use.
My first run at it was heavily influenced by the iPhone’s user interface, but i opted to not use any Apple intellectual property, unlike other theme designers, who simply cropped icons out of Apple screen shots, and most other elements fell short of the same level of polish.
The visual language i began with glassTile prompted me to expand it out into a cleaner, original theme family that ended up with three “metal” variants as well as red and pink themes based off the same iconography. These were made commercially available and they were purchased by several thousand happy users.
glassTile home screen
glassTile second-level screen
glassTile menu detail
glassTile dialog and button detail
ultraClean Tungsten home
Dialog and button detail
The themes were all based around the same concept of having a “horizon line” splitting the screen into defined areas. There is a clean “status bar” at the top, showing signal and battery strength, carrier info and small icons for secondary functionality such as Bluetooth. The “dashboard” area above the horizon line features a prominently positioned clock in a modern, flush-left position, as well as date information and the profile icon.
These themes were, of course, based primarily on my own preferences for information hierarchy, but it felt completely natural and intuitive. The position of the horizon line was designed to allow consistency of the menu bar and dashboard on subsequent screens for phone lists and in-call displays.
The revitalization of the tourism industry in Niagara-on-the-Lake is the stuff of Canadian business legend.
But over a decade after the infusion of new investment into the region began, the pace began to falter somewhat, and new management at Vintage Inns realized that the bulk of their marketing and branding dollars were being spent promoting the town and the region, which was good for business – all business, in fact, including their competitors in the hotel and B&B space.
The new brand image for Vintage Inns – which left the identity and character of the three landmark hotels intact – brought new focus to the level of detail and individuality in the experiences people could find there. Fashion-inspired photography, experientially-driven copy and premium printing resulted in a collective warmth and sophistication that was previously lacking in their branded materials.
Targeted radio and print advertising sought to bring people in the GTA back to Niagara-on-the- Lake for unique experiences and quick escapes.
The online experience was re-vamped, giving more direct access to the reservation engine, while targeted banner advertising, e-newsletters and partnership programs helped drive new traffic to the site.