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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.
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.
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 was a public information campaign to encourage safe practices when going out and having a night on the town. To inform the public of important considerations when engaging in risky behaviour required a light-hearted approach 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-but video games. A map and icons were created which described danger zones but also depicted the prescribed behaviour. This printing was 2 colour with fluorescent inks.
programs, reports, and marketing materials consistently and dynamically.
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 last the temperature variation in Edmonton (-30° – +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 for the AGA’s BMO World of Creativity, in other words, the children’s room. Probably one of my more challenging projects, as the room had to be safe & durable (as there is no provided supervision) but had to also be entertaining. I now understand why playground design is its on 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. 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 wall and sound artist Mark Hannesson created the noises for the floor. The cryptography wall was a 2012 American Illustration Selected pick. The end result looked very Mexican.