KOMA offers comprehensive architectural, structural engineering and interior design services. After a 2017 rebrand, they asked me to create a folder, some industry specific pieces and case studies to complement their new branding.

The Royal Institute of British Architects (RIBA) Manser Medal (now RIBA House of the Year) is awarded every year to the best new house designed by an architect in the UK. 

In 2011 the award was sponsored by HSBC Private Bank. The sponsorship both highlighted the bank's brand presence within the art and design community and raised the awareness of the RIBA Manser Medal award internally for the bank's clients and employees. 

This internal lift campaign used thought-provoking questions placed on the outside doors which opened to reveal an answer at the back of the lift. The gorgeous, ornate architecture of the HSBC Private Bank building on St. James Place was visible through the glass. An accompanying brochure offered a closer look at the inspiring architecture that had been shortlisted for the award. Working with a team, I was involved with the concept, design and execution of these elements of the campaign.

Situated close to the green space of Peckham Rye Park, Dickens Corner is a leafy enclave amid the grit and hustle of SE London. Under the art direction of Brenton Blue Studio, we designed this brochure as part of a larger brand identity and marketing scheme.

Norgay Parters are a cohesive team with a focus on long-term relationships. Their name is inspired by Tensing Norgay, one of the first two individuals known to reach the summit of Mount Everest, which he accomplished with Edmund Hillary on 29 May 1953.

Like sherpas, Norgay care about their clients and work across different skillsets and vertically to help them reach the top. Their consultative approach and accessibility help them to achieve successful outcomes.

Clean and modern typography brings their brand into the present. The ‘Norgay’ font is based on the font GT Walsheim, which was inspired by the hand-painted lettering found on the 1930s tourism posters encouraging people to visit the mountains. Friendly but precise, the tightly set letters and crossing connections between them represent the closely-knit Norgay team and their connection with each other and their clients.

The ‘Partners’ font is GT Sectra, a calligraphic serif typeface. The design combines the flow of a broad nib pen with the sharpness of a scalpel knife. Blackletter has seen a rebirth in recent years, coming to stand for diversity and a human touch. The calligraphic curves in this font are converted to corners, reminiscent of rocks with both weather-worn and sharp edges.

The closely set, condensed tagline with its taller and narrower letters, also from the GT Walsheim font family, returns to the partnership and collaboration theme, and also underscores the goal of reaching new heights, together.

With a nod to their old brand, the predominately blue colour palette echoes changing blues of the atmospheric sky around Mount Everest. The prayer flags not only introduce bright, primary accent colours to the brand’s palette and help to differentiate between the three locations of the company, they also reference the origin of the name Norgay and emphasise the fact that long-term partnerships are what matter most to Norgay Partners. Tibetans believe the prayers and mantras will be blown by the wind to spread the good will and compassion into all pervading space. Therefore, prayer flags are thought to bring benefit to all. Norgay believe that every candidate hired will impact their client’s bottom-line and culture and they bring this sense of importance to every search, which benefits both the client and the candidate.

As leaders in the field of insurance-based business technology and procurement, the client required environmental graphics which reflected their technological solutions expertise as well as their branding and global positioning.  

Under the art direction of Robert Lamb & Company, this project included a large café, breakout area, demo/presentation rooms, meeting rooms and an auditorium. Brand Union supplied us with some initial conceptual design sketches (for another office) and we fine-tuned, expanded and adapted the design, researched and produced all of the photographic imagery (which included over 50 different cityscapes) and implemented all of the graphics, including setting up the Illustrator files based on vendor-supplied room specifications.

The design uses bold colours and graphics reflecting the angles in their logo, juxtaposed against muted photographs of cityscapes to theme each room.

La Mancha Resource Capital advises on strategic investments made by La Mancha Fund SCSp. The Fund is a deep value, open ended alternative investment fund, with a long-only investment strategy dedicated to gold and battery metals mining.

La Mancha’s mandate is to support mining companies to sustain organic growth, and realise expansion plans, by providing long-term capital, as well as board level experience and expertise.

I was the only designer contracted by Brackendale Consulting to work on this logo which was approved over multiple phases by a large committee. I was also responsible for the content and design of their brand guidelines. Since then, they have come to us with many other projects including their investor pitch deck, their ESG report and logos for other ventures.

La Mancha’s new logo is set in Raleway, an elegant yet sharp and functional typeface, which is juxtaposed with a simple icon referencing layers of rock (strata) beneath the soil. These layers also imply partnership, longevity and reliability. The colour choice of navy blue with an accent colour of chartreuse green complement the clean and modern design. The upward stroke of the green layer implies profitability, while the green also references social responsibility.

With vivid colours and angled bars taken from the client's brand identity juxtaposed against muted imagery, this newsletter (designed with Robert Lamb & Company) is a good example of how a marriage of print and environmental design can strengthen a client's brand identity. 

The client requested a logo that was soft, round, clear, crisp, fun, childlike, tactile, hand-drawn, colourful and bright for their mobile pottery painting company.

Together we looked at loads of fonts to help determine the client's aesthetic preference. I then created eight logo variations using some of those font selections. In the end, the client settled on a personalised, more hand-lettered version of Felt Tip. The client liked that it was not all upper-case and also that the ‘a’ was handwritten (in the Felt Tip typeface collection). I used paint splats as a reference to the pottery painting process, and as a nod to the client's previous identity which also used paint splats, albeit in a very different way. 

The client was extremely pleased with the final outcome and has been getting lots of business since the redesign. Many customers have complimented the professional look
of the company collateral as compared to
other competitors.  

Annual ESG (Environmental Social Governance) report for TDR Capital, a British private equity firm, detailing the progress they've made in various ESG initiatives over the past 12 months, both within their firm and their portfolio companies.

With Robert Lamb & Company, I sourced beautiful, colourful photography and drew bright, clean informational graphics to illustrate this collection of interesting and relevant articles on the energy sector.

Quarterly investor reports for Qualium Investissement. Covers pictured are from 2021 through 2024.

Canadian Clean Energy Conferences is an Ottawa based B2B events company specialising in creating opportunities for renewable energy project development.

In 2013 they launched Energy and Mines and a series of events called the Renewables and Mining Summit and Exhibition. The aim of these events is to create project opportunities for renewables in the mining sector while at the same time help the mining industry save costs, secure energy supplies and reduce dependence on GHG intensive fuels sources.

The colourful pinwheel design on the cover of this report and conference programme references renewable wind energy. The report includes interviews, ads and the agenda. The client liked the design so much that they wanted a similar bold, graphic look the following year, pictured below left. The speech bubbles on this cover underscore the forum format, meant to inspire important conversations about the future of renewable energy in Canada. 

For the last quarter-century the IR Magazine Awards have honored excellence in investor relations around the world. While working for Cross Border, I designed this collateral for IR Magazine Awards Canada, which included a bookmark, brochure, ticket, programme, menu, directional signage and web marketing.

This was a lovely little informational brochure I designed with Neuger Communications Group (art direction and copywriting) for the Norwegian American Historical Association. Gorgeous old photographs from the NAHA archives combine with rich colours and eloquent writing in a bid to encourage people's use of their extensive collection as a resource.  

While working as a senior designer for Cross Border, Ltd, my concept was chosen for the redesign of IR magazine. It was a cleaner, simpler and more modern look that was easier and therefore more efficient to work with. I set up all the templates and style sheets and helped ensure a smooth transition from the old design.

For this CorpComms Awards collateral, the circles represent stage spotlights and the Mondrian-esque illustration depicts buildings in the City, the locale of the awards ceremony.

Neuger Communications Group is a strategic marketing communications and public relations firm. They help their clients tell authentic stories to the people most important to their success. The client needed a logo that would communicate the company's core values of integrity, excellence and success, while also hinting at the shape of the future in which the company would eventually have four separate divisions. The logo needed to be somewhat conservative, but progressive, grounded but responsive.   

I designed this logo over 13 years ago and it is still in use today. 

I designed this invitation for an open-house party while working for Media Plus Design. Under art direction, I was responsible for the concept, copy, design and production of the piece. The design firm was celebrating 15 years in business, from 1985 to 2000. The invitation folds in half, then half back on itself, using the 1 and 5 from 1985 to make the number 15. It lists 15 reasons to attend the event, including a raffle ticket.   

The client wanted a logo that looked established, reliable, clean and modern. The company's name is composed of the client's initials (PR) followed by the IME which stands for installation, maintenance and electrical. In order for the initials to read as one word (PRIME), the letters are butted up against each other except between the R and the I, where we used a subtle divisive shadow behind the I which creates an interesting relationship between the light coming from the top of the letter M. The letters themselves play with positive and negative space, again referencing light and shadow.

The clean sans-serif font of PRIME paired with the confident, modern Electrical Services font, along with the strong grey and primary red and yellow colours (another reference to PRIME) work together to create a logo that communicates the high standards that the client was looking for. 

Christmas card illustration for Emanuelson-Podas, an MEP engineering and design firm.

Tour bus wrap (design and illustration)