From coming up with new identity systems to refreshing existing established marks, developing brands is always an exciting challenge for my studio.
I love that I get to bring my typographic expertise to the table while developing a visual language that comes to life through its applications and products. Below, you’ll find a range of Case Studies for a selection of the brands I’ve had the pleasure of working on.
One of my favorite challenges was redrawing the logo of Anchor Books for Vintage & Anchor an imprint of Penguin Random House.
As reference and starting point, I had a few scans from covers the Doubleday Anchor logo.
Also, an array of book covers by Edward Gorey that featured the logo hand drawn, were great to look at.
Covers by Edward Gorey. Doubleday Anchor, 1960s
At some point in the transition to the digital era, the mark had been digitized and the logo that was being used throughout all the spines of the imprint’s books had evolved into this one: a somewhat traditional anchor.
The goal of the project was to bring back the “classic” Doubleday Anchor with all its subtleties and calligraphic nuances.
During the exploration, I tried different versions of the mark using the capitals “A” for Anchor and “A” “B” for Anchor Books
In the end, we ended up going for a heavier anchor that would look good when reduced below 1in, given that it usually would live at that size on book spines.
Additionally, and inspired by this project, I developed an alphabet to go along with the two imprints’ logos (Vintage refreshed by Cardon Webb & Anchor by me). This alphabet was never implemented, but it was surely a fun challenge to design a working alphabet based on Gorey’s handlettered alphabets.
Client: Vintage & Anchor Books. Penguin Random House
AD: Megan Wilson
This project started as a “quick assignment” at BuzzFeed. The idea was to refresh the old Goodful logo quickly and develop a baseline for what would the brand would be.
I was given this image to work off, as the original files were nowhere to be found. This was an exciting lettering challenge for me. I got to analyze what was not working and make enhancements and suggestions on what the brand could be.
My first instinct was to sketch alternatives to quickly get a feel for what could work. So, I focused on exploring the letterforms and playing with elements like the amount of contrast, different types of baseline and length extenders.
I took the most interesting of those, and explored digitizing them, since sketches tend to be more forgiving, I wanted to see how this looked in vector and what was working. We quickly settled for the bottom right.
Role: Logotype, Design, AD
Team: Devon McGowan, Ivy Tai, Michael Kilian, Kiyana Salkeld
CD: Viresh Chopra & Jeremy Perez-Cruz
Festival Internacional de Danza Veinte Once
Client: Conservatorio de Danza México
Design & CD: Isabel Urbina Peña
The team at Conservatorio de Danza México was looking for something that would stand out in the midst of the sleek, clean looking dance universe.
I jumped at the opportunity of creating an “expressive” mark that would feel organic and contemporary and would appeal to their broad audience. Below, a few of the initial sketches and exploration for their new identity.
We settled on the bottom right. For the