Washington Post – Q Covers 2012
Over the past year I’ve been commissioned by The Washington Post to create a series of typographic illustrations based off the serif typeface Big Figgins. At the end of each financial quarter of the year the paper does a business “wrap up” and the brief has been to encapsulate the overarching financial theme of the previous 3 months in the US.
Wednesday, April 4 2012
The theme for this quarterly investment outlook was based around the uncertainty of American retirees and their pensions and issues with the tax code 401(k).
Wednesday, July 11 2012
The sentiment of the second financial quarter of 2012 saw a deflation in investor optimism. The brief for this illustration was to introduce a summery feel
Wednesday, October 3 2012
This illustration was supposed to represent post presidential election shenangians as the cover feature asks the question, “what cues will Wall Street take from the new party in power?”
Wednesday, January 11 2012
This illustration was created for the Business section of the Washington Post as part of a wrap up of the fourth financial quarter of the year and has a focus on the best way for investors to navigate through the “Euro crisis”.
NY Times Magazine – Ohio Cover
The following artwork was commissioned by the New York Times Magazine to create a glossy, volumetric script type treatment to use on the front cover and opening spread for the feature.
Grapevine – EpiQure by Qantas Frequent Flyer
Caltex – Star Mart – Think Fresh
I was commissioned to create an ID and treatment for the Caltex convenience store chain Star Mart. The line was Think Fresh and the brief was for the type to be legible but interesting and to embody the quality of the phrase. I created a separate water/liquid device to be used in certain executions also.
Agency: Leo Burnett
Print Weave Make – ID
I was commissioned to create an ID for a series of open days that are happening this November at Craft, Australian Print Workshop and the Australian Tapestry Workshop.
I wanted to represent the hand crafted arts of the respective institutions through a hand crafted approach. My response was to develop a simple typographic ID and then created individual executions that represented the respective institutions texturally and aesthetically. Combining modelling clay, hand stitched letter forms and a coarse halftone pattern synonymous with the printing of yesterday I created a physical layout which I photographed and retouched.