_NBCUniversal Rock Typeface, 2011. Wolff Olins, New York. Bespoke typeface developed for NBCUniversal to be used as their corporate typeface. The typeface comes in a Display Serif and a sans serif. Designed together with Paul van der Laan and Pieter van Rosmalen of bold monday .
__FF Milo Serif™, 2003–2008. Developed as a companion to the FF Milo Sans, it is also perfectly suitable as a stand alone typeface or with other sans serifs. Although rooted with historical attributes it is truly a contemporary face. FF Milo Serif comes with small caps, tabular figures, oldstyle figures, lining figures, as well as a wealth of ligatures. Interpolations, Kerning and letterspacing by Paul van der Laan.
__Telecom Italia Identity update, 2009. Saffron Brand Consultants, Madrid. The brief for this proposal was to revisit the logo while maintaining a strong connection to it’s current wave design. The last image shows the wave logo which was rationalized into a square and then rotated. The color palette also needed to include red.
__Apollo Color Test, 2008. Saffron, New York. In finalizing the color palette we designed a color test poster to determine the right color combinations and typographic color details.
__Apollo Tyres Identity, 2008. Saffron Brand Consultants, New York. Apollo needed a serious update on their brand since they were moving into Germany and the UK. We wanted to be simple and colorful to reflect the Indian culture and the spirit of the company. Inspired by the sun and tires you can see the evolution of the visual expression. Design team included Jodie Gatlin and Josh Distler.
__Deuno Sans™, 2008. Saffron Consultants, New York. Bespoke typeface for El Banco Deuno (One’s Bank) in Mexico. The lettering was based both on mayan hieroglyphics for their shape and grid-like structure and the hand painted lettering found on signs all over Mexico. Designed with Paul van der Laan.
__El Banco Deuno Color Test, 2008. Color test poster designed to finalize the brand elements such as the color palette, minimum logo size and typographic color details.
__El Banco Deuno Identity, 2008. Saffron Consultants, New York. A bank with the business model to be affordable with quality service for the new emerging middle class in Mexico. To go with the name and strategy (developed in Saffron Madrid) ‘one’s bank’, the new identity needed to express the local culture but be contemporary. The colors, patterns, imagery and bespoke typeface were inspired by the richness and idiosyncratic visual culture of the country. Designed with Josh Distler when we were DisterAbbink. Typeface designed by myself and Paul van der Laan.
__American Craft Magazine Identity, 2007. Using the magazines logo from the 70’s I modified the letter forms to work with DTL Fleischmann, the magazines new typeface (the only one used).
__City of London, 2007. Saffron, London. The City of London asked Saffron to Design a new Identity for the City. This was one of the recommended designs that was ultimately not choosen. The logo was inspired by clouds and the typographic spirit of London.
__BY:AMT Identity and Packaging, 2006. Packaging and original typeface concept for designer Alissia Melka-Teichroew whose work decontextualizes items of value. The packaging aims to emphasize this by framing each product with a digitally rendered image of classical art. Designed with Joshua Distler when we were DistlerAbbink.
__BY:AMT Typeface, 2006. DistlerAbbink, New York. Bespoke typeface for Alissia Melka-Teichroew, founder and creative director for BY:AMT. The letter forms are constructed by a grid of small pixel based X’s. Designed with Joshua Distler.
__FF Milo™, 2001–2006. Designed as a workhorse typeface suitable for magazine and newspaper typography. With modern bones and a touch of detail for distinction (particularly in the italics). Milo’s other distinguishing characteristics are its very short ascenders and descenders. FF Milo comes in 9 weights (Thin, Extra Light, Light, Regular, Text, Medium, Bold, Extrabold and Black). The recently released Milo Serif is an excellent companion or stand alone.
__NYC Logo Proposal, 2006. This symbol focused on the spirit of NYC (aka the Big Apple) which we decided was all about the people that make up the city. The people of NYC have Heart! Designed with Jordan Crane.
__NYC Pitch Book, 2006. Wolff Olins, New York. Brand identity pitch book. These books were designed as leave behinds after the presentation with Dan Doctoroff. The book introduced the brand idea, the logo proposal, the bespoke typeface, color palette, imagery and tone of voice. Written by Karrie Jacobs.
__Redeye Represents Mailer, 2006. This mailer needed to be cost effective and contain cards on all the photographers. It also needed to be systematic so that any cards needed in the future could easily be implemented. I ended up using the standard X symbol for the placement of the photos and revealed it on the backside with the contact information.
__GE Inspira, 2005. Wolff Olins, New York. Bespoke corporate typeface for GE. The initial designs in regular and italic were created by myself and Patrick Giasson. I then worked closely with the Monotype design team who created additional weights, condensed versions, and greek and cyrillic. The Monotype team consisted of Jim Wasco and Carl Crossgrove.
__Hardrock logo refinement, 2005. The client was not interested in doing anything drastic but they recognized the old logo was poorly drawn. The weights and forms were inconsistent and the curves were in need of a tune-up (second sample). Mike Lemme who was redesigning the whole Hard Rock design system asked me to investigate the refinement.
__Trust Me. Tony labat, 2005. Monograph for Tony Labat’s 30 year retrospective show. Images of Tony’s work are displayed in the book in exact chronological order so that the pieces themselves serve as a time line. Page number hyperlinks function to connect the work with commentary and vice versa. Collaboration with Joshua Distler.
__Autodesk, 2004. Method, San Francisco. After years of designing several iterations of the Autodesk website Method was finally awarded the redesign of the Brand. Mike Lemme was the creative director at Method at the time and asked me to make a serif version of Kievit for the logo. This ultimately led to addition of light weights and greek and cyrillic ( FF Kievit 3 and FF kievit Pro).
__Knoll Autostrada Brochure, 2004. Wolff Olins, San Francisco. Renderings designed and produced by 8inc.
__Knoll Chadwick Brochure, 2004. Wolff Olins, San Francisco. We developed the idea of smart, comfortable, easy, accessible and just right because that’s what the chair is. Concepted and designed with Frank Mueller. Chadwick portrait and interior photography by Jeremy Murch. Product photography Doug Rosa. Copy by David Begler.
__Knoll Chadwick poster, 2004. Wolff Olins, San Francisco. I wanted something as straight forward and honest as the brochure we did so having a poster with the chair at 100% made sense. It’s what the chair looks like. The back showed it in all it’s configurations and colors. The cover was designed by the way it folded itself up. All I had to do was place the type and the logo. Photography by Doug Rosa.
__Apple DVD system, 2003. Apple Computer, Cupertino, CA. The system uses a set of typographic rules and a grid to allow for flexibility between the different uses for DVDs (demos, hardware and software) but maintaining a cohesiveness with the design.
__Apple Packaging, 2002–2003. Apple Computer, Cupertino, CA. These are some selected package designs from my time at Apple. The G5 design was done in collaboration with Josh Distler and Emma Webb.
__Frisco ReMix, Holland Fonts, 2003. Max Kisman asked a handful of designers from the Bay Area contribute to a font assignment for Tribe magazine 03: Republic of Type. The theme for this issue was “space.” My letters where upper and lowerecase “A”. The second version is the final design that is in the ReMix Font.
__Legion of Honor Logo, 2003. Wolff Olins, San Francisco. Design system by Patrick Cox and Frank Mueller.
__AEIOU Identity, 2002. Method, San Francisco. AEIOU was a economical, but modern baby apparel company. Their products were basic and simple but very well crafted with ease of use and durability as their modo.
__Gucci.com Website, 2002. Method, San Francisco. A flash site designed to have a cinematic and fluid movement between all the elements that made up the collection. The design was inspired by the drama of the catwalk and the stage. design team consisted of Olivier chételat, Bethany Koby and Henrikk Karlsson.
__FF Kievit™, 1995–2001. This project started in my digital font design class with Leah Hoffmitz. It’s sole purpose is to be an extremely legible and functional text face. The openness of the characters and their proportions makes it an ideal typeface for use in editorial and book design. The FF Kievit family includes nine weights, true italics, old style figures and small caps. The addition of Kievit 3 and Pro were created by Paul van der Laan.
__Camdens, 1999. Method, San Francisco. This is an illustration of a King Fisher which we thought was the perfect metaphor for Camdens which was an online gift giving site. Designed together with John Underwood.
__Jim Pomeroy Catalogue, 1999. A 30 year retrospective on the late Jim Pomeroy, a San Francisco based artist who used “scientific” installations and puns as a key element in his work. The entire book reads backwards (page by page) as a visual pun on retrospective. It also comes with 3D glasses to look at the many 3D images in the catalogue. Collaboration with Joshua Distler.
__Nike logo, 1999. MetaDesign, San Francisco. While working on NikeTown Honolulu we were asked to investigate a more contemporary take of the old nike italic logo from the late 70’s.
__Verb Identity, 1999. Method, San Francisco. Logotype for Silicon Valley search engine. Designed with Bethany Koby.
__FUSE98 Conference. Beyond Typography was a higher level theme for Neville Brody’s idea of the body electric which drove much of the topics at the conference. We used acupuncture as our inspiration for the logo and typography. We removed the word spacing and used little needles with numbers which functioned as footnotes to give explanation for words preceding it. Design team included Oliver Chetelat, John Close and Shawn Hazen.
