The International Fellowship of Reconciliation (IFOR) is an important non-profit organization working at the head of an international grassroots peace movement for over a century.
Despite its storied past, IFOR lacked marketing materials to raise funds and reach out to new potential members. Foremost was the need for an updated website that could provide a meeting point for the international movement and support IFOR's branches.
After extensive research I proposed a new brand strategy that would highlight IFOR's important work with the United Nations and peace coordinating efforts through an energized color palette of blue and gold. Strong bands of color and interlocking circles impart a motif of nations and peoples working together in fellowship.
Type is set in Robert Slimbach's Cronos Pro and Mark Jamra's Phoreus Cherokee to impart a humanistic and friendly tone with refinement and poise. Phoreus Cherokee's distinguished slabs were also designed to be legible to young readers which aligns with IFOR's goals of youth outreach. Both feature an international character set that can convey IFOR's message to its worldwide audience in their native tongues.
The logotype uses Phoreus Cherokee and Cronos Pro, serving as a “masthead” for the new site.
IFOR's About Page
The about page of the new website reinforces the brand's theme of fellowship with interlocking circles and images of IFOR branch members.
IFOR's Areas of Work
This section of IFOR's home page uses expandable and collapsible color coded blocks to highlight important areas of focus in IFOR's mission and peace work. The blocks increase user interaction and the color coding gives visual clues about related information. The colors are bright with a simple design to appeal to younger users.
Detail from IFOR's How We Work page
IFOR's structure is complicated. I introduced branded graphics and quick navigation to help users quickly understand how IFOR works. The graphics continue to drive home the theme that IFOR coordinates and unifies a worldwide movement and fellowship.
IFOR's Nobel Prize Laureates
Part of what makes IFOR unique is its long history—this section of the home page highlights their previous work with esteemed peace workers who received the Nobel Prize. Circular crops and blue highlights reinforce the brand's association with peace.
IFOR's staff page continues brand motifs and shows IFOR staff and board members in a warm light.
IFOR UI/UX Features Video
The new IFOR site features a simplified and customized navigation that allows users to quickly navigate the large amounts of information on the site. On the previous site important information was often buried several pages deep in the navigation, causing confusion for users.
We also added international support since IFOR is an international organization with branches and affiliates worldwide. Pages can be quickly translated using a widget to the most common languages.
IFOR Stationary and Letterhead
I re-designed IFOR's stationary and letterhead to reflect the new brand strategy and lend credibility to their printed communications.
Denver Freedom Riders
Sometimes in design the importance of the message requires a minimal style to lend urgency to the message. This was exactly the case during the U.S.'s Civil Rights Movement where messages were set in black or red gothic type, often in all caps.
Founded by Anthony Grimes, the Denver Freedom Riders are a group of activists working in the Black Lives Matter movement to build community in Denver and beyond.
In working on several event flyers for Anthony I'd made avisual connection with the importance and urgency of the design of the original Civil Rights era. In historical examples type and black and white photos are at the forefront so I based the identity around black, white an urgent red and the gothics of Morris Fuller-Benton.
The DFR site was built with a modular scale based on Franklin Gothic URW's x-height and headlines in it's companion face Alternate Gothic No. 3 for variety in width and typographic color.
To further illustrate DFR's transformative visit to Ferguson and the influence of the original Freedom Rides I re-created a bus ticket from one of the original Freedom Rides, changing the stamp to read “Ferguson, Miss.” rather than “Jackson, Miss.”
DFR Home Page
The DFR home page features digitally collaged images from the Black Lives Matter movement in black and white. Many of the images were taken by activists themselves or DFR members during their Freedom Rides.
Denver Freedom Riders' Logotype
Denver Freedom Riders is set in Alternate Gothic No. 3 and left justified to draw attention to the acronym “DFR.” The red references historical Civil Rights samples and conveys the urgency of DFR's work in the Black Lives Matter movement.
Denver Freedom Riders' Story Page
The typography of the Denver Freedom Riders' site focuses on legibility and typographic color.
Denver Freedom Riders What We Do page
Pull quotes set in Alternate Gothic No. 3 are used throughout the blog and site to highlight important details and create visual variation in the Freedom Riders' long and eloquently written op eds.
DFR What We Do
Additional detail from DFR's What We Do page.
DFR Events Page
Detail from the events page.
Flyer for DFR's Black Lives Matter Conference
This flyer for a conference by DFR continues the no-nonsense focus on the message of DFR. I placed emphasis on the exclamation point to create visual impact, using gothic type for strong texture and color.
Anthony Grimes is a communicator, pastor and community animator in Denver, CO who needed a new website and an updated visual identity to match his progressive work in building community through Park Hill Parish.
Anthony's previous site looked dated and had become difficult for him to maintain. Drupal's content management system was too technically demanding for a non-developer. I moved the site to Squarespace to allow him to more easily update content and integrate his social media campaigns.
Keeping the same basic style, I re-designed the site to highlight Anthony's editorial blog posts with legible typography and large banner photos with text overlays.
I kept the old site's Titillium Web for headlines and paired it with Robert Slimbach's Minion Web. The widths matched and Minion's slim characters made Anthony's longer articles easy to scan on the web. The late-Rennaissance Garalde of Minion and new media feel of Titillium created a nice contrast and reinforced Anthony's mission of using new media to spread community and values—Titillium suggests the method and Minion lends integrity to the message.
I designed a monogram featuring Anthony's initials 'A' in Titillium and 'G' in Minion Pro Caption with a lengthened upper terminal on the 'G' to match Titillium's cross-bar height.
The new site has consistently engaged users for longer times with a significantly lower bounce rate.
The home page of Anthony Grimes' site features expanded features in its re-design making it easier to connect with Anthony's social media campaigns, read his articles and find his events.
Detail from home page
Detail from Anthony Grimes' editorial and social media focused home page including a recent Twitter feed and newspaper columnar layout. Typefaces with small widths allow for large amounts of information to be presented without feeling crowded.
Blog article detail
Layout detail from one of Anthony Grimes' blog posts featuring a photographic banner to create a magazine-like layout.
Biography page detail
Typographic and layout details from Anthony Grimes' biography page featuring pull quotes for a more dynamic layout.
Detail from Anthony Grimes' speaking page. The page uses buttons to allow repeat users to quickly fill out a form to book Anthony for a speaking event.
Blog banner detail
The website features a banner with arrows to allow users to quickly scroll through Anthony's recent and featured posts with large high quality photos to engage viewers.
Anthony's customized logogram
One of the main brand marks for Anthony's identity involves a customized monogram. The initials are paired in Anthony's branded typefaces but use a customized caption weight of Minion Pro to better match the weight of the Titillium typeface. The serif of the "G" was lengthened to close up the counter and provide optical balance.
Lane Meyer Projects
Lane Meyer Projects is a brand new contemporary art gallery in Denver that aims to create a thriving space for conceptual painters and artists to show in Colorado.
I developed an identity around the concept of artistic isolation visualized in the West's vast open spaces and the strange landscapes depicted in Spaghetti Westerns. Xeroxed textures and a minimal color palette evoke painterly traditions like Pop Art, Minimalism and conceptual art placed in the abstracted landscape of Colorado's plains and mountains.
The identity is designed on a modular scale that incorporates the ratios of screen-based new media and the golden proportion to suggest the history of painting and unify it with its contemporary practice.
A simple logotype is rendered in Richard Beatty's Overdressed Caps, also used as a display face. Designed in Colorado, the ornamental woodtype reinforces a western sense of place.
Futura's capitals have a similar x-height to Overdressed and it's many weights allow for flexible headings and legible text copy. Futura's history with the Bauhaus and modernism provide a foil to Beatty's kitschy western woodtype.
Overall the identity affirms a unique sense of place in dialogue with the global practice of contemporary art, re-affirming LMP's mission to create a cutting edge artistic community in Denver on par with larger art capitols.
Full screen shot of Lane Meyer Project's landing page.
Detail from Lane Meyer Projects' about page, containing their mission statement.
Detail from one of Lane Meyer Projects' artist pages with gallery and bio.
Detail from artists page of Lane Meyer Projects website with image gallery and description.
Map and form detail from LMP's contact page.
Ralph Gean Magazine
This magazine was a self-initiated project to create packaging for DVDs of a short art film about a Denver-based rockabilly musician Ralph Gean, who's been giving inspired and sincere performances of his music since the late 1950's and continues to do so into his 70's with no plans of stopping.
I based the packaging on the familiar form of fan zines, using photographic material from a previous interview session with Ralph as well as biographic text and archival photos from Ralph's website.
I created a grid that could accommodate the physical size of the DVD and the ratio of the photographic frame while providing a dynamic layout for text. Photos are left as large as possible and are juxtaposed to show Ralph's larger than life character and past.
The typography has a vintage feel but is set in a modern style with large display faces echoing Ralph's colorful and exciting past without sacrificing legibility.
Rendered in vivid colors on French Paper’s Dur-O-Tone cover stock the magazine has the same texture as newsprint fanzines.
The zine was presented to Ralph as a gift with a copy of the film about him and he graciously accepted it, stating that he appreciated its “quality and attention to detail.”
Ralph Gean Magazine layouts
Front cover and two spreads from Ralph Gean Magazine, featuring archival photos from Ralph's collection and photos taken during interviews with him using DSLRs and 35mm cameras.
Ralph Gean Magazine layout and detail
Back cover, layout and enlarged detail from Ralph Gean Magazine.
The 99th State
Website, graphic and identity design samples done for the 99th State and Denver Freedom Riders.
99th State Home Page
Top fold of the home page I designed for the 99th State. The 99th State is conceived of as a non-violent activist network “where the 99 are 1.”
The layout uses a percentage sign as a basis to create a connection with the 99% and suggest overcoming division.
The graphics and identity of the website take strong visual cues from the graphics of the US Civil Rights Movement with its minimal black, white and red color palettes and strong sans-serif headlines.
99th State Home Page 2
Image from below the fold of the 99th State's home page.
Photography from the Ferguson protests adds graphic impact to a simple one page layout.
99th State Home Page 3
More details from the home page.
Buttons add call to action and visual interest.
99th State Home Page 4
The 99th State website features information on the Denver Freedom Riders, a group of non-violent community activists who organized delegations to Ferguson after the decision not to indict Darren Wilson to offer support to the community there.
Denver Freedom Riders Page
More information about the Denver Freedom Riders.
This project was a web-based branding effort for a micro massage studio based in the Cherry Creek neighborhood of Denver that competes with upscale, ubiquitous brands.
My graphic identity used a personal memory of catching fireflies from my childhood to create a mark, logotype and visual direction for the site. I decided on a simple color scheme using the cool green of glass jars and a bright yellow to represent fireflies. I drew a geometric logo of a jar containing bright yellow circles.
For a logotype I used Georgia Pro's ligatures and kerned the type so closely that the glyphs ran into each other and modified the negative spaces to maintain legibility. I decided to substitute the ‘section’ glyph (which looks like two s’s on top of each other) for the two 's' characters in ‘massage’ as a way to suggest tactility.
I then wrapped the site in the same cool green and warm yellow to subtly suggest the idea of a jar full of glowing fireflies.
Firefly Massage's logo features customized Georgia Pro letter forms and tightly tracked letters with a minimal logo.
National Credit Care
National Credit Care was a company in need of a new brochure to showcase their services. The brochure had confusing logos and layout and needed a more professional feel.
I designed a logotype for the brochure and a mark from the layout of the brochure itself to act as a graphic map of debt relief. With NCC’s already branded colors I created a visual metaphor of getting “out of the red” into NCC’s branded blue as one reads the brochure. The mark reinforces this process while the logotype gives much needed clarity to their brand.
An illustration for online flyers for Nashville Bike Taxi, done in a Futurist, geometric style
Nashville Bike Taxi Illustration
This is an illustration I did as a self-portrait of myself as a pedicabber, used in online promotions for Nashville Bike Taxi.
I've always loved historical styles of poster design and the uncompromising illustrative style of Fortunato Depero. My composition is a little simpler than the canonized examples but features geometric type on circular paths and a mix of rectangular and triangular compositional elements for a dynamic layout that keeps the eye moving.
The color palette is Nashville Bike Taxi's minimal primaries with tints and shades thrown in to add texture and shading.
The type is done in Braggadocio, a boldly blocked out geometric display face that blends into the checkered taxi design.
SKN Skincare was a web-based branding effort undertaken to provide a more complete approach to skincare for young adults with acne in a blog format that would appeal to its audience.Rather than provide cure-all products marketed towards teens SKN worked towards being a one-stop shop for information, products and community.
This led to a site that had a simple informational branding with a fashion influenced typographic style to appeal to younger users. Helvetica Neue provides a legible typeface with enough weights and styles to add flair and varied typographic color to layouts in an informative tone.
SKN’s three-dimensional logotype hints at change without making it overt with a shifting façade from red to a cool purple. It suggests change without directly bringing up the embarrassing subject of acne. This reinforces SKN’s mission of transformation through access to new media education and affordable products.
SKN Skincare's home page featuring products and blog posts with pull-quotes for featured products.
Text oriented blog posts and articles reinforce SKN's educational approach to its users. Oblique headers reiterate themes of dynamism and change.
Heather’s Hive was a blog-based site made specifically to commemorate the life of Heather D. (last name omitted for privacy) and provide an online presence for the strong community she left behind. It serves as an archive, online social presence and memorial.
For the logo I used a display size of Linotype's Bauer Bodoni for its hairline Didone serifs and thick verticals. From Heather's initials ‘HD’ and Bodoni’s bullets I had an iconic basis for a bee with stripes formed by the verticals of the capital letters. I created swash-like wings from the thin serifs and outlined everything in a hexagon.
The site features hexagons and honeycombs repeated as a subtle textural elements that become a metaphor for the strong community committed to Heather.
The color scheme is understated and feminine with Georgia's understated elegance and pronounced legibility creating a subdued backdrop to Heather's life and loved ones.
The home page of Heather's Hive serves as a memorial reminder of Heather's life to it's close knit community of visitors.
Photo gallery detail
Individual photos contributed from family and friends make Heather's Hive personal for all of its users.
Photo galleries are kept in black and white to reinforce the commemorative style of Heather's Hive.
Breakfast & Lunch Today
Breakfast & Lunch Today is a food truck in Portland, Oregon started by a childhood friend. Having tasted his food before I wanted to create an accessible and comforting identity that complements BLT’s delicious fried sandwiches.
I took the classic style of his converted trailer as my starting point and combined it with the vernacular of mid-century hand painted script for the logo.
Complete with a custom illustration BLT’s menu feels vintage and contemporary, maintaining a friendly feel that reflects the food-truck's personality and fare.
The high ascenders on the logo make it a good match for Futura, used for the menu's other textual content.
To add extra texture the menus were printed on a cheap card stock that gives the menu a similar texture to a brown bag lunch and allows for cheap printing on BLT’s small business budget.
BLT's menu layout, featuring a custom illustration on the front page to communicate a friendly, neighborly face to its customers in Portland, Oregon.
Pizza By Manooch
Digital illustration used online and as a poster for Pizza by Manooch, a pizza place in Boulder, CO.
Pizza By Manooch Illustration
Another illustration I did for a local pizza place, Pizza by Manooch.
I used a simple color palette with fresh, bright colors to appeal to the nearby University of Colorado digital art students.
I focused on the tagline “Come on in” illustrated by an empty pizza box that looks like it's just been devoured. This gives the customer a visual entry point into the text that adds texture and color to the background.