Tinto de Verano/Calimocho (2019-2020)
When the Shiraz Republic approached me with the idea to make a RTD wine and lemon spritzer I jumped at the chance.
Looking to introduce this delicious drink into the Australian market, they wanted a design that spoke to the fun, playfulness and the summery nature of this bubbly beverage that also contained subtle references to its Spanish origins.
The end result drew from one of my 100 days of spontaneous patterns and mixed it with a bold typographic treatment and each of the vibrant colours tying to certain aspects of the underlying brand message.
The drink was so successful, that a short time after a delicious new Calimocho (shiraz and cola) variety was introduced.
Cornella Brewery Branding and Core Labels (2020)
In late 2019/early 2020, Cornella Brewery approached me to create a new visual identity, branding and core can labels for their growing beer enterprise.
Exploring an adaptive visual style that could work with and incorporate each of the bold colour schemes, names and tailored messages drawn from their vast variety of beers in their growing core collection.
Utilising my variable typeface ‘Clu’ and bold blocks of colour, affectionately known as ‘paddocks’, I set about creating new variants of the font that would effectively respond to the height and width of the cans and titles, along with other products and merchandise.
The result is a bold, typographically focused design that is strikingly simple yet vibrant with a uniquely playful tone and includes cans that stand proudly on the shelf.
Photographer Julie Wajs approached me late in 2019 looking for a logo and guidance in creating an identity for her 3D property scanning business.
The clean and minimal final design alludes the process of moving from room to room within a building to document each space.
Check out Panocular here and see the amazing 3D experiences.
Democracy! Wine Series (2019)
When the Shiraz Republic approached me to design a typographic treatment and label for their limited ‘Democracy! Series’ set of wines, I saw it as a great opportunity to implement some of my sign painting skills after being inspired by hand written protest signs.
With typography and colour designed to be flexible depending on the variety of the wine, the outcome will allow them to continue their experiments with lesser known or international tastes.
Type. Grid. Play. Exhibition. (2019)
Held in June, 2019 at LCI Melbourne, my first solo exhibition Type. Grid. Play. detailed my creative approach through the presentation of selected typefaces.
Showcasing key steps in the creation of letterforms that were instigated by my design of custom made grids and patterns, each unique typeface took visitors through my creative process and detailed my determination to apply and adapt to forms that deviate from traditional letter shape expectations.
The exhibition provided glimpses of early sketch work through to interactive stations where visitors could create as well as use and explore each font for themselves.
Upstairs in the student lounge I also created a chalkboard wall mural that invited students to handwrite their name in Sandy while attempting to decipher a secret message.
It was a great undertaking and I thank everyone who came to visit the show.
More images of the show can be found on my Instagram page and via the hashtag #typegridplay
Nowhaus Exhibition (2019)
In early 2019 I was invited to create the identity for and take part in a group exhibition celebrating the 100th anniversary of the Bauhaus held at LCI Melbourne.
Along with a diverse range of other staff members and alumni, we took part in a 72 hour creative sprint in order to make our artworks.
Looking to expand on certain ideas I was having about colour fonts, contextual alternatives and interactive delivery modes. For the show, I created a new font, Meela, based off my typeface Build (designed in 2006), which itself was originally inspired by Josef Albers and the Bauhaus.
In addition to this I created an animation titled ‘Thought Process’ which played on the big screen.
To allow visitors to engage and explore the font, I set up a work station the projected user input on to a large wall. Visitors were free to write whatever they liked, take a photograph and share it with others.
Productive Poppets (2015)
As a small craft startup, Productive Poppets needed an identity that highlighted the vibrancy that shines through their range of sewn products and the variety of fabrics used. Mainly focused on children’s products aimed to keep children busy when socially out and about. Wanting to use a unique icon and highly colourful elements in order to extend their visual presence and inherent production techniques and playfulness.
Fairy Creations by Lynda (2015)
Fairy Creations by Lynda wanted an identity that playfully interacted with the ‘fairy’ aspects of the name, but also wanted to keep the visuals subtle. Unexpectedly utilising uppercase letters, I kept things playful by hinting at the hide and seek nature of fairies and children.
C-KOL is a film production and communications studio based in Melbourne, Australia. When designing this identity in 2012, C-KOL wanted something that could not only grow and adapt with their business and have the ability to stand up in both the art and corporate sectors when needed, but also visually represent both their professionalism and personality.
Ecovore came to me trying to create a voice for promoting the awareness of an environmentally friendly diet in aid of climate change, specifically the consumption of game meats and vegetable-based foods. The result was a fun little identity that gives a nod to the kinds of meat that one can embrace and enjoy.
Quixote Productions (2011)
Quixote Productions required an identity that highlighted and embraced their love of both the Spanish novel ‘Don Quixote’, as well as connected to their abilities as creative storytellers.
Optin Solutions (2011)
Optin Solutions wanted an identity that spoke to the collaborative nature of their business, therefore the design plays with the idea that clarity comes from a partnership of knowledge and skills.
Dean Phillips (2009)
After successfully designing the identity for sister company Darkon, I was asked to create a new identity for parent company Dean Phillips Architectural Lighting and Design. For this identity, we wanted to create something that showed the contemporary, unique and personal nature of the lighting made by this side of the company, therefore the identity looked to express these qualities.
The Shiraz Republic (2009)
In 2009, Cornella Ridge Estate came to me looking to create a sister label for their company. They wanted a design that would help to establish a new part of their brand that embraced and encouraged community and collaboration within their hands-on wine making process.
CS&HITB Conference (2007)
Coming off the success of the previous year, I was again asked by the Community Services and Health Industry Training Board to create a typographic response for the theme ‘Skilled for Life’ for their Annual Awards and Conference.
Quality Outcomes (2007)
Quality Outcomes came to me requiring an identity that strengthened and enhanced their proposal to improve the strategic development of disability services.
Working Training (2007)
The identity for Working Training was developed as part of a proposal that looked to improve workforce strategies and training through working together.
Darkon is an architectural lighting design company based in Melbourne, Australia. Created as a sister company for Dean Phillips Architectural Lighting and Design, when designing the identity I wanted to create something that reflected the refined and often angular nature of the high-quality lighting that Darkon provides. I was later commissioned to create an entire typeface based on the letterforms of the identity.
SpenIT Services (2006)
When asked to create this identity, SpenIT Services were looking for a design that elevated their presence as a small business to their customers and gave them a visual point of difference from their competitors.
CS&HITB Conference (2006)
To follow the theme of ‘Connected, Confident and Competent’ I was asked by the Community Services and Health Industry Training Board to create a typographic treatment for their Annual Awards and Conference.
Bonnie Oudendyk (2006)
Fresh out of design school, Bonnie came to me looking for an identity that would not only set her apart from her competition, but also act as a powerful, yet personal touch to lead any potential full-time job applications should they arise.
Cornella Ridge Estate (2005)
As a young vineyard in the prominent Shiraz region of Heathcote, Australia, Cornella Ridge Estate came to me looking to create an identity that they could help them stand up and present themselves and their wine with pride.
Drawing inspiration from hand painted details found on the many pieces of old machinery situated on the property, this identity speaks to both the professionalism and quality of the wine, but also the wonderful personalities of the wine makers.