Combining “Core” and “Periphery” is a holistic consulting firm that takes a human approach to helping companies grow and improve.

In collaboration with Robert Jankowski working on copy and website structure, Coriphery was looking to refresh their brand and simplify their logo.

Through rounds of discussion and refinements, the client fell in love with the concept of a fingerprint. Something tied to nature, and unique to every person. In this case, Coriphery’s mark left on their clients and the world around them. This also involved industry research, which led to the adapting of the logo colours and drawing the team towards using a gradient within the mark.

In the end, Coriphery loved their new logo, which involved a horizontal orientation and an icon mark, receiving positive feedback from clients and colleagues alike.

Holy Wiches is a sandwich shop in Mississauga, Ontario focused on one thing: sinfully good food.

For this project, HW was in search of a visual identity to match the tongue-in-cheek perspective of their brand. After rounds of options involving inspiration from tarot cards and blackletter, we landed on Lilith as their mascot. Drawing inspiration from the mythological demon herself, she became our mascot to draw from for the icon and full logo suite. A devilish woman known for her independence? Absolutely yes.

Once we went through rounds of perfecting pixels, we ensured there were multiple logo formats for every application and applied it to stickers, stamps, uniforms, signage and, of course, the menus. Collaborating with some talented interior designers, we ended with a bold idea amplified in a fun space with every corner fit for a social media snap.

In 2019, along with Iris Kim and Ronny Tam, a wonderfully ridiculous day was had working on Adult in Training, a shoot about feeling like a kid faking it until you made it. In prep, I completed my pom pom blazer. Spray painted a tricycle and wine bottles. My work space got infected by glitter. And, I designed a bunch of destination-style luggage stickers representing things I had struggled with over the years. Because, sometimes the most cathartic thing to do when faced with pain or stress is to tackle it face on and turn it into something ridiculous. Trust issues turned into a tourist trap, and imposter syndrome looked more like Groucho Marx.

When the spot shoot in March 2020 got canceled, I still wanted to make something of it. Whenever I had shown people the pictures of the stickers, it made them laugh. It made them feel seen, and it helped open a dialogue about their struggles.

2020 to so many has been incredibly hard. And talking about it for many has not been easy. So I began to sell those baggage stickers in the hope that it might make some of those people feel seen. That it might help start other dialogues and normalize acknowledging the struggles we all go through. That it takes something hard someone might be dealing with and turns it into a smile.

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Originally created during the summer of 2016 as a portion of a VI mockup for a client while at Spacemen Studio in Shanghai, China. The alphabet was to be used as part of signage within a co-living space, as well as on an app to be used by its residents. Each letter can be viewed in various ways, recreated in 3D sculpture, and are meant to look as if they can be folded up and tucked away.

In 2020, the typeface has been refined and refreshed. The letterforms adjusted to be unified when used together, and given more consistency of form. Most excitingly, the typeface is now available for download to be used by others in their own projects.

(This page is currently under construction, please check back later for the download link.)

Originally created during the summer of 2016 as a portion of a VI mockup for a client while at Spacemen Studio in Shanghai, China. The alphabet was to be used as part of signage within a co-living space, as well as on an app to be used by its residents. Each letter can be viewed in various ways, recreated in 3D sculpture, and are meant to look as if they can be folded up and tucked away.

In 2020, the typeface has been refined and refreshed. The letterforms adjusted to be unified when used together, and given more consistency of form. Most excitingly, the typeface is now available for download to be used by others in their own projects.

(This page is currently under construction, please check back later for the download link.)

Branded as being the intersection between cannabis and your super chic, effortlessly cool friend.

“Walking into Edition is like a breath of fresh air. No nonsense, easygoing, and approachable. We don’t try too hard or act elitist, we are the put-together, no-fuss friend that gets along with everyone. Minimal and clean, always ready to assist with no judgement. We fill in the blanks.”

The concept for the logo was to create an accompanying mark for the lettering that could stand on its own and abide by federal cannabis laws and best practices. Nothing overtly referential to the drug could be used, and thus the “blank” was born. Drawn from the first round of brand concepts, the phrase “we fill in the blanks” stood out. Alone, it allows for other information to be filled in. The blank can be whatever you need it to be. And, with more brand recognition, the consumer might see this blank and only fill it with one thing in mind: Edition.

In tandem with designing the overall branding, layouts for packaging, lighters, signage, and other business collateral were created.

The dispensary opened in late 2020 at 270 Dupont Street in Toronto, Ontario, Canada.

Created as part of the National Ballet’s ‘Turnout’ rebrand, their initiative aimed at bringing young adults to the ballet.

Drawing upon features of the mainline brand, such as the core rubine colour and Helvetica Neue, a logo inspired by streetwear brands and an icon and emoji pack was created for online and email communications with Turnout members.

Created as part of the soon-to-be rolled out ‘Turnout’ rebrand for the National Ballet of Canada. Turnout is the National Ballet’s initiative that seeks to draw the younger generations to ballet, and as such has a more youthful feel than the mainline brand.

These icons are made to serve three different purposes:
1. Navigation. A select few of the designs will be used within the online portal for Turnout members.
2. Emojis. In a push to keep the brand consistent and relaxed, most of the icons will be used as emojis throughout communications to Turnout members dominantly through email.
3. Illustration. Many of these icons will be used in emails and other communications as spot illustrations.

Along with the overall Turnout rebrand, these icons also are made to feel much heavier in their use of black, in order to evoke the more streetstyle overhaul of the initiative.

Made in collaboration with Design Exchange for the 2019 RBC Emerging Designer Competition. Created using colours that would stand apart from previous years, but would also allude to RBC’s main brand colours. Keeping consistent with the visual style of past years, this year’s brand used crisp lines and bold colours to allow the information and work to shine through, as well as being easily adaptable to various formats and sizes.

Using quotes from Design Exchange’s EDIT Festival from 2017, these stickers were created to be handed out at the 2018 Interior Design Show to provide inspiration and spread brand awareness. By the end of the show, all of the stickers had been circulated amongst the guests an could be seen on a variety of places and spaces, including sketchbooks, phone cases, and the back of a DJ’s laptop to be seen at each of their gigs.

In addition to the stickers, the faceted stripe booth wrap was designed to pair with tube lights to add dimension, as well as to provide a backdrop to the colourful print assets (including the stickers!) that were featured at the event.

An ongoing portrait series of people and famous figures I admire.

Conceptualized, researched, and designed a series of education-related quotes to be posted on Top Hat's Instagram profile. Made in order to create timely posts in honour of famous educators and thought leaders, but also to break up a very busy, photography-heavy feed.

Originally created for an assignment wherein the guidelines were to illustrate the cover of a book from a given list (in this case, Frankenstein by Mary Shelley) that would not need any title.

The design uses negative space from scientific tubing representing Dr. Frankenstein and his laboratory, to create the shape of Frankenstein’s monster’s hand rising up. So, as it were, the monster is formed by the lab both in the story, but also visually within the book cover itself.

This composition has been more recently redesigned to reflect current style and preferred medium, as well as a more preferred colour scheme and B/W alternative.

Created as part of an ever-growing icon set to be used by Top Hat for various landing pages, presentation slides, and printed assets.

More complex icons with “glitter” are used as feature icons, whereas more simple icon designs are created for when multiple icons are meant to be used on a single page or slide. All icons use a standard set of neutral tones in-line with brand guidelines that work for both print and digital, with a pop of purple that can easily be switched to Top Hat pink, another colour, or the print-ready purple counterpart.

Conceptualized and designed a pattern of icons to accompany the series of 'Innovative Professor' posts each week on the Top Hat blog. Created with rotating colour schemes and shape placements to highlight the individual subject of the featured professor, the images give a cool and quirky look to articles focused on unique educators.

In addition to the banners, a treatment was developed for professor headshots for pull quotes in each article. This was designed to match the creative, but also allow headshots to be used regardless of size and crop.

Inspired by the song of the same name, A Few Of My Favourite Things uses the imagery described in the lyrics in the form of icons.

This project began originally as a linocut experimentation that has since been made digital. Constantly remade and reworked as a side passion project, it has now come to its final visual stage soon to be put into production.

"Raindrops on roses, and whiskers on kittens,
Bright copper kettles, and warm woollen mittens,
Brown paper packages tied up with strings.
These are a few of my favorite things.

Cream colored ponies, and crisp apple strudels,
Doorbells, and sleigh bells, and schnitzel with noodles.
Wild geese that fly with the moon on their wings.
These are a few of my favorite things.

Girls in white dresses with blue satin sashes,
Snowflakes that stay on my nose and eyelashes,
Silver white winters that melt into springs,
These are a few of my favorite things"

A Mid-Century Modern and Canadiana inspired piece designed as part of OCAD University's design charrette for the 2016 Scotties Student Design Competition. The entire box design was created on April 5th, 2016 from start to finish within a 3.5 hour timeline. The image includes a variety of objects that are akin to Canada and Canadian culture, such as a red maple leaf, both a lacrosse and hockey stick, fir tree, beaver, and a mountie cap.

This illustrated pattern won the Best Design Award for OCAD University.