Effective graphic design begins with understanding and articulating the client’s message. I focus on creating a graphic approach that is anchored in the content, as part of an overall communication strategy — to inform, inspire, and persuade. This requires collaboration with many contributors and stakeholders to understand the project’s context and to coordinate with a wide range of input and expectations.
Inspired by content: For the Baltimore Zoo’s new polar bear exhibit, the architects had proposed a palette of “icy blue” colors that were rejected by the client as being too cliché. My careful image research of the Arctic environment revealed a richer and more subtle range of colors — vivid lichen and wildflowers, slate and earth-tone rock formations, and the unexpectedly warm colors of slanting winter light.
Many graphic projects require establishing a visual identity that can be applied to a wide range of elements. Whether it’s a suite of letterhead & identity pieces, or the interpretive graphics in an exhibit, each element must both stand alone and fit in to a larger whole. I excel at creating a hierarchy of graphic elements that meet a variety of specifications within a unified look.
At the Perot Museum of Nature & Science, the Paleontology hall and adjoining Birds hall contain a total of 325 graphic elements. I created a system of templates that could be adapted to any sized fixture, while shifts in color and type established distinct topic areas. This maintained a consistent look for the exhibit — and also ensured that ADA guidelines for accessibility and the typographic standards established by the client were always met.
I have a thorough knowledge of graphic production processes, for digital, offset, and large-format printing; plus less common techniques such as silk-screening, etching, and dimensional letters. I’ve been on-press and on-site to oversee the production of everything from business cards to banners and architectural signage.
For this promotional brochure, we wanted full-color photography plus the richness and solid coverage of spot colors. By carefully coordinating color usage across multiple signatures, we were able to achieve a twelve-color palette on an eight-color offset press.
As a senior graphic designer I also often serve as the graphic production manager, developing and managing workflow plans for projects involving hundreds of graphic elements. My role includes art directing illustrators, image researchers, fabricators, and additional designers. I’ve helped develop databases and schedules that document the progress of each element and keep projects on track.