& I am a graphic designer.
I aim to provide visual identity, branding, and communication design to arts and culture organizations, higher education, nonprofit and charities. My design is process driven, collaborative and I aim to be experimental.
My interests are custom typography, image making, design systems and print production.
Contact me for a project, a question, idea, or a beverage of any temperature.
phone. (780) 803 2591
The overall idea for this project was based on an idea that graphic design stems primarily from the written language, and ultimately to typography. Thus, a brand, campaign, and culture can be held entirely through a typeface which embodies its values and purposes (i.e. culture represented through calligraphy).The design of this typeface reflects an experimental yet human approach. Its design is based off human proportions, using the size of the head as a base unit. The proportions of the typeface informed the margins, leading, type scale and also offered a visual theme of undulating lines for the images.
Teurastamo is a food incubator/catalyst for food culture in Helsinki. Once a large butcher centre and abattoir, most of the buildings were converted into restaurant spaces and multi-use rooms. To further the use of the spaces into the evening, a night market was produced. The history of the space was central to the design. From a small directory of the original floor plan, a custom typeface was made from the original hand lettered sample. It was then taken into a bold weight and used on the poster. To highlight the type yet to also evoke the night, a simple use of type printed with high gloss varnish on black paper was used. Initially and in somewhat ironic fashion, the varnish was supposed to be glow in the dark ink, but because of the near-midnight sun in Helsinki at the time of the festival, it was discovered that it wouldn’t have worked.
programs, reports, and marketing materials consistently and dynamically.
Edmonton holds North America’s largest Fringe Theatre Festival by attendance; something that I find indicative of the experimental nature of the city. I was asked to do the highly visible campaign poster for a few years which was truly a great honour. From the poster, the elements of the system are broken apart and used on everything to tie the festival together. From the program to the signage, little is untouched by the yearly theme. For Fringeopolis, a custom typeface of futuristic buildings was made. A great use of the elements was when they were hand painted onto the ground to mark the many busker stations.
This public service announcement was commissioned by Responsible Hospitality Edmonton to encourage safe practices when going out and having a night on the town. To inform the public of the important considerations to be taken when engaging in risky behaviour, a light-hearted approach was needed which also acknowledged the seriousness of the issue.
I approached this by referencing dystopian science fiction in pop culture, such as The Hunger Games, Battle Royale, and Ender’s Game and combining it with an aesthetic of 16-bit video games. A map and icons were created which described danger zones but also depicted the prescribed behaviour. The poster printing was a simple 2 –colour job with fluorescent inks.
This website was made for Mile Zero Dance. As the season is planned well in advance, it made sense to turn the homepage into a calendar which displayed each event chronologically. Recurring events were made to be smaller, and other aspects, such as volunteering or studio rentals, were also included on the website in different coloured modules.
This website was made for the Vicca Program, Visual Culture, Curating and Contemporary Art Program at Aalto University. It uses simple columns to display the information.
Installed on the outside of a transit station, this public art piece intends to create curiosity into the biodiversity of Alberta as passengers wait for their bus. The animals, all drawn on a system of a grid, creates consistency and abstracts the animals such that they are visually cohesive. The image is printed onto high-density laminate panel to outlast the temperature variation in Edmonton where -30° to +30° is common. This illustration was featured in the 2011 Communication Arts Illustration Annual.
We are the dream-animals and the dream-people. Our world begins with you right here, right now. Start with a single letter, a shape, a colour . Add another, and then another. Put us together, take us apart, move us around. Find a pattern that tells a story.
This installation was made for the Art Gallery of Alberta’s BMO World of Creativity, in other words, the children’s room. This is probably one of my more challenging projects, as the room had to be safe and durable (as there is no provided supervision) but it also had to be entertaining. I now understand why playground design is its own specialized field.
For the room, I explored the creation of a culture through creating basic visual rules; everything must be built on a rigid grid sytem and the only colours that could be used were red, yellow, blue, black and white. It was an investigation on how a culture’s values are expressed in their visual language.
A sound floor (whose sounds could be changed), a cryptography mural and an origami table were made. Canadian writer Thomas Wharton was commissioned to write a short story for the cryptography wall and sound artist Mark Hannesson created the noises for the floor. The cryptography illustration was a 2012 American Illustration Selected pick. The end result looked very Mexican.
Although this system most likely has a English and French grammar bias, one could possibly use this system to develop their own grammar rules. One example would be to cast tense onto the noun, rather than the verb. One could say/write something like, “the past-person eats the past-apple (delicious), at the past-store”. Inefficient but possible.