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Typographic Landmarks
Illustration & Design for “Endcap-Boutique” Journals

Tasked with developing illustrative designs for these journals sold within the “mini-boutiques” housed on endcaps at Target, the idea of typographic landmarks began by thinking about who the customer was — teenage and young women — and what their aspirations might be.

Each notebook in the series, composed of streetnames plus typographic odds and ends, illustrates a European landmark in London (Big Ben), New York (The Empire State Building), and Paris (The Eiffel Tower). On the inside covers, front and back, are maps of each city layered with more typographic ephemera from each locale.

Teavana Holiday Signage
In-Store Menus & Vignettes 
A distinct brand within its larger parent brand, Starbucks’ Teavana fits into two categories: as an everyday tea you can order for yourself and as a gift you might give during the holidays.

These menus and vignettes, inserted into signholders above head-level at most of Starbucks’ 24,000+ locations, didn’t receive the attention of Sbux’s red cup during this seasonal campaign, but I’d still like to think it was an integral part of the infamous “2015 SBUX CHRISTMAS ATTACK ZONE.”

“Creative Block”
Creative Circle
Paper Craft Promotional Mailer
Creative Circle, a creative industry staffing agency looking to pick up new clients, needed a way to avoid another promo piece ending up in the trash. The solution was this mailer that folded up into a paper craft cube, ideally sitting on the desk of the recipient.

The goal: reminding clients, existing and potential, that the solution to a creative block is, beyond a few tips printed on the box, just picking up the phone and bringing in the professionals.

Awesome Tapes From Africa, Tune-Yard, S, Eykah Badu
Sasquatch Music Festival

18×24 Screenprinted Posters
Like many designers, Josh Oakley was drawn to design by way of music and the visual signposts that deepened those formative listening experiences. As a teenager, he could spend hours lost in CD liner notes or a band’s poster.

A decade or so later, starting in 2006, Josh had the opportunity to create screenprinted posters for bands performing at The Gorge in Washington State during the annual Sasquatch Music Festival. These four samples were explorations in generative and algorithmic processes combined with traditional design techniques, the impossible to manually draw mixed with clear evidence of a human hand.

Bridge 2013
School’s Out Washington
Conference Identity & Booklet
Like many conferences, The Bridge From School to Afterschool and Back, a conference for Northwest afterschool program directors put on by School’s Out Washington, needed a way to talk about coming together in one unified place without alienating any of the diverse voices that contribute to or are served by the wide variety of afterschool programs they serve. The identity’s typographic voice most clearly expressed that, a layered expression of how “random” mixing and matching can lead to new developments that you might never consider otherwise. The geometric icon, borne from discussions that started with spokes in a wheel, was animated so that it broke into segments as it rotated but all locked together as one whole. 

Bridge 2011
School’s Out Washington
Conference Identity, Illustration, & Booklet Design
Bringing together diverse threads from the afterschool world, The Bridge Conference needed a way to highlight the intersections at play in the communities and afterschool spaces of Seattle, where the annual Bridge Conference was held in 2011.

Like all SOWA projects, images are touchier, more loaded, than they might be for an average corporation:  STEM/tech fields are clearly where the jobs of the future are at, but it’s also seen as a rapid and aggressive gentrifier in Seattle.

The solution was a quilt of of afterschool imagery and Pacific Northwest landmarks, the connected nodes giving a nod to the reality of tech as the most profitable future at play in Seattle while celebrating the fact that vocational tech is as much a part of Seattle’s future.

The interior’s typographic system used a colorful but pragmatic icon system to give attendees a very specific idea of what topics would be covered in each session.

School’s Out On the Move
School’s Out Washington
Annual Report Art Direction & Design
Needing to emphasize their focus on growth and new initiatives in 2009, School’s Out Washington landed on the concept of “On the Move” for their annual report. While early explorations veered towards speedy, italic sans serifs, it was quickly realized that the human element should always be at the forefront with SOWA’s brand.

Josh Oakley’s solution came in the form of Argentinian calligrapher Silvia Cordero Vega’s fast and organic calligraphy, layered together with soft and organic but clean and straightforward typography. 

Alumnae Magazine
St. Mary’s Academy
Magazine Redesign
St. Mary’s is a Portland institution, a prep school that has prepared young women, generation after generation, for higher learning.

Like most publications produced by high schools, the opportunity for a redesign of the magazine was a first. Since their organizational model, particularly its funding, most closely resembled a private college, it only made sense that their alumnae magazine should take its cues from the world of university publications.

Ryman Eco, paired with Gentium, were two opensource fonts that became the backbone of the St. Mary’s rebrand: while Ryman Eco is designed for a very particular purpose of saving ink at small sizes, used at large sizes it uniquely evokes both varsity striping and classical forms that would be carved in stone on an ivied institution.

Awards Book & Collateral
Addys Seattle
Book Design
With a theme of “Heritage” for their 2010 awards, the art direction for the supporting collateral focused on the bygone era of advertising less explored in Mad Men: the tools found on a paste-up board, methods of craft now used in a twee or artisanal rather than practical way.

Impact Report
Sustainable Harvest
Magazine Design & Illustration
A coffee company that involves itself in the full supply chain from the growers overseas to the buyer to the cup, Sustainable Harvest’s 2011 Impact Report brought the focus onto rich, vibrant photography supported by numerous infographics and data visualizations illustrated in a loose, hand-rendered style.

Hoefler’s Ideal Sans provided the quiet workhorse of a typeface here, a humanist sans that tied together clean and simple data visualizations with the organic illustrations.

GMCR Banquet Booklet
Sustainable Harvest
Lettering, Illustration, & Design
Sustainable Harvest was honoring their biggest customer, Green Mountain Coffee Roasters (GMCR), with a dinner and wanted a printed piece to highlight the achievements they had built together over the years.

Building on the visual language established with Sustainable Harvest’s 2011 annual report, this book combined illustrated portraits of the major attendees with headline lettering created out of actual coffee grounds.

Promotional Poster
Ray & Amy Kurzweil
Pure Graphic Design with an Illustrator’s Assets
Ray Kurzweil is famous for several things: a storied inventor, people might recognize his name on electric keyboards, but his big idea of the past few decades has been that exponential technological leaps will lead to a “Singularity” of technology in a few decades, meaning true AI that will outpace human capacity, a singular moment in earth’s history.

This book, a graphic novel about an ambitious girl with big dreams who changes the world, is a collaboration between Ray and his daughter Amy, a cartoonist whose work regularly appears in the New Yorker. This promotional poster shows all of Amy’s artwork from the book in a boardgame-like loop, a keepsake that tells you about every chapter in the novel with 23 illustrations.

Brochure and Menu in Khmer & English
Silk Island Restaurant
Brand Refresh and Design
Less than an hour north of the bustle of Phnom Penh, the capital of Cambodia, you’ll find two islands just a short ferry ride away from the banks of the Mekong River. They’re commonly called The Silk Islands. Koh Dach is the larger of the two and Koh Okhna Tey is the smaller one where the Silk Island Restaurant sits, a world removed from the Hummers and delivery boys on motorbikes of downtown Phnom Penh. On these islands, many farmers still bring their produce to market on horsedrawn carts while children wave and call out enthusiastically to any foreigner passing by, an event still rare enough to be exciting.

Most tourism marketing exists in a crowded marketplace, but the challenge in positioning The Silk Island Restaurant (plus the tour service they were adding on) was to convince people that this place exists: there really are these peaceful, idyllic islands just a bit north of the city and it’s worth making a day of it to go out there. Combining elements of real silk produced on the islands, photography of local people, and a design language assuring the viewer that this restaurant is still well aware of the city and the rest of the world, this collateral positioned the Silk Islands as a go-to destination for travelers spending a few days in Phnom Penh, The Silk Island Restaurant being the center of that trip.

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