Design principles shouldn't be stuck in their medium, and Swerve's tradeshow booth design is a great demonstration of that. Swerve came to us with the challenge of having the options of a 20x10 and a 10x10 tradeshow booth space design that was not only on-point brandwise, but cost effective.
I applied responsive design principles and a "mobile-first" (or in this case, 10x10-first) approach to work out a floor place and a must-have list of items for the space. Then, I expanded the design to the 20x10 space to maximize their tradeshow investment.
The background consists of two separate panels that can be easily used within the smaller space. A modular floor plan also took into consideration Swerve's brand appeal as approachable: a charging station and cafe-style seating for patrons to sit and enjoy Swerved treats while chatting with the amazing Swerve team. And of course, every item was a chance to reiterate the fun, bright brand identity Swerve embodies.
The Louisiana State Museum is a system of 9 individual museums that range from historical and cultural curations to honoring local sports stars. Each museum is unique, but sadly, many people, even the locals, knew about some of the smaller museums.
Tasked with tying the wide range of topics into a cohesive design, I focused on a clean user-experience that conveyed modernity, was not afraid of being cutting edge, but did not ignore the historical roots.
The resulting design not only helped increase museum attendance overall, it also increased awareness of the museums--donations have increased as well. It currently holds one of the lowest bounce rates in Trumpet's history and won a Silver Addy.
St. Charles Vision is as beautifully crafted a brand as the high-fashion frames they sell. What sets them apart from the majority is their attention to detail, which is what the Optrics program best embodies. Created to educated incoming opticians on best practices, the Optrics program details what shape frames would best suit their clients based on facial features—face shape, nose, brow, etc.
It would’ve been easy to create a trifold brochure and call it a day; however, that would not have communicated the importance or class of the program. Because the information felt very much like a brand style-guide, I researched great guides and used those thoughts in the design. The opticians needed to use these, not throw them away because they felt cheap and unimportant. The final format was a result of physical mockups based on swatch booklets for ease of use and out-of-the-everyday appeal.
Design and strategy cannot solve everything, but it can certainly help in the long road of progress. NOPD had a serious recruitment problem; their system was old-school to say the least. So how do you encourage people who want to be police officers to join?
For starters, make it more convenient. Also, never lose focus on your audience. Police don’t like bureaucracy (does anyone?), so I wanted to make sure the site was easy to use, and frankly, demonstrated some amazing action-inspired design. The result was a Gold Addy-award winning website and over-achieving application numbers thanks to the ease-of-process.
The site's ease of use increased recruitment exponentially and won a Gold Addy.
I comfortably will bet that people who read annual reports cover-to-cover are far, few, and in-between. I blame the typically dry designs (and our increasingly limited attention spans).
In the effort to make this annual report as visually impactful as the information it sought to communicate, I called upon the brand’s bold colors and focus on their members to create an engaging template. Clean type made the information easy to digest while bold infographics helped quickly communicate important facts. And while that’s not a new initiative in annual report design, making sure SACU’s brand was the first communication was successfully achieved without falling prey to standard report design.
For every white wedding invitation with Word-processed script font, I hope to create a beautiful, custom invitation that tells the prior to throw themselves into trash bins. This couple was a design-forward, open twosome who happily shared details of their relationship to make the invitations as personal as the important day itself.
The couple’s mantra is my favorite piece of the map that served as an inner envelope: “Home is wherever I’m with you.” The curve of the Crescent City’s river is visible on the invitation, adding texture in addition to the delicate flowers peaking through the off-white of the background. Elegance doesn’t have to be bleakly-white, and, like the couple, these invitations were fun, respectful, and celebratory of their special day.
I’m a firm believer that small businesses benefit most from brand talks, and Kickstand is a great example of why it should’ve been done sooner. The simple-chic cafe did not have a sign nor logo that represented it properly. Though the name was a client-mandatory keeper (the cafe rented bikes as well as serving food & coffee), I used it to the logo’s benefit in subtle touches with the K's kickstand-like extender and the bike cruiser wheel-inspired framing.
The menu design is also minimal, though not unapproachable, and the printed format was easily folded into a to-go size to encourage customers to call-in orders for pickup while eliminating the need for 2 different menus. Though a more expansive brand consultation may have rendered a different solution, the logo and menu are perfect solutions for what the cafe’s needs were.
Great design isn’t limited to one medium, so it’s always a pleasure to work with clients that are as passionate about great work as I am. Torre Design is a 30+ year architecture firm that was in need of a website reboot. Their work was simply too beautiful to not draw inspiration from, and I felt they deserved a site that presented the breadth of their skills to the fullest.
Fully-responsive and including a custom gallery piece that was worth every penny, the site still excites me when I visit it. Taking what could’ve been another cut-and-dry, white, squarespace-ish design and telling it to eff of in favor of risky visual appeal was worth every sleepless night. I’m proud they now have a website that’s as epic as their work, and it has a Silver Addy to prove it.
I like my design how I like my career—equal parts strategic choices mixed with happy accidents.
I first fell in love with design when I bought an HTML book at ten years old. The fact that I could one day make money doing something so amazing pushed me through high school and into college with the satisfaction that I would pursue a career in website design and development.
Yep, I was one of those weird people that knew what they wanted to do before high school even started. I also find inspiration in sunsets on the beach, dancing for 20+ years (primarily ballet), Porsche automobiles and Jameson, neat.
Beyond development though, I've branched out into a multitude of mediums—print, broadcast, interactive, concepting—anything and everything I can get my hands on.
Both design and development are about problem solving—so what's your problem? Logo got you down? Need a website? Hell, need some overall strategic brand direction? All three and more? Design doesn't belong to just big companies or big budgets; let's solve some problems together.