In the 2019 edition of the CFC Half, I took a larger role in the organization and marketing.
I started last year on race day when I made a quick list of how the race branding could be improved or expanded.
My process always starts in my sketchbook sketching out a logo. Looking back now, I notice that the detail in my sketches is anything but linear. I’m really just trying to get enough information to myself later that I can use to move forward.
I knew the logo had to work in a single color and as a frame for a color coding system. What I came to was something reminiscent of a stained glass window. The overall visual was just as important as what was coming through the frame.
Blue: Half Marathon
I wanted the mile markers to be reminiscent of the family farm signs out on the course. Because I focused on making a strong visual shape, the branding was pretty easy to adapt to this new format.
Because the map was part of the way finding process, the color coding needed to extend to the course routes.
When I started at Fpweb, I was a little overwhelmed with just how many services they offered, and because I was now in charge of the website, I was able to display those services in a way that made the most sense to me. First, I started by turning their 5 different dropdown menus into one mega menu.
But it didn’t take much time for us to add more services that would ultimately make this version feel overwhelming. My next course of action was to silo the services we offered, and give users a sense of what each service was if they didn’t recognize the name. That meant creating icons for each one of our services.
Because tedious detail heavy work is kind of my jam, I set up 100 100px x 100px illustrator artboards and put my guides 3px away from the each edge of every artboard.
Then I created some standards for the icons so someone else could create new icons that matched.
Then created a few digital mockups of how the new mega menus would look.
Between the digital comps and the final code, we made some changes to the way we siloed our services.
In addition to the mega menu, these icons had to work as large icons as well to help break up our enormous amounts of text.
This year’s iteration of the Capital FC Half Marathon logo was one of the most challenging experiences I’ve had as a freelance designer, mainly because I also had a full-time job that demanded my attention throughout the process. I learned a few things about the design process in this experience: first, I learned that no matter how hard I try to keep uniformity in my approach, no two projects will ever be the same, and second, that quality is the ultimate goal and sometimes you’ve got to suck up your pride, admit your mistakes, and make it right.
So here goes. I started, like I always do in my handy sketchbook to get some ideas down.
I came back to a small piece of the sketch in the bottom right corner of the scan below later in my process.
In the scan below, I went back to some of my unused sketches of geese from the 2016 logo. That ultimately turned out to be a huge mistake.
This is that sketch, and the ensuing digital illustration.
So with the thought that these geese were the dopest geese of all time stuck in my head, I kept going down that wormhole.
Sidebar the meaning behind the geese: because I grew up playing soccer at Capital FC, I am well steeped in the environmental factors that affect the club and its fields. One of those environmental factors is that durning the fall, Canadian geese come from around the world (probably) to the CFC fields in Salem, OR to have the mother of all geese gaggles. For like 4 months those fields are a total shit show, literally. These geese hang out all day on the fields distracting kids from their coaches and leaving an unfathomable amount of feces behind them. So, yeah, anyone that’s ever been to the CFC fields knows whats up with the geese, but I digress.
And ultimately ended here:
But it wasn’t until I got this logo mocked-up onto a shirt that I realized that the type was too small, the logo had too much empty space, there was no movement, and it didn’t visually say “running” at all. However, the client wanted it that day to be able to get a head start on the event, so I shipped it knowing it wasn’t good enough. This was a dark time in my career as a designer, and the fact that I shipped something I wasn’t proud of ate at my soul. So I went back to my sketchbook.
One of the challenges of this logo is that, the race doesn’t have a huge budget, so I’ve got to design a logo that works both on a t-shirt but also on a medal. The medal is the tricky part, because all that type has to all be contained within one shape.
This was what I came up with at the end of my first round after my epiphany. Remember that little nugget on my first page of sketches–the date forming a tree? Well I found that and liked it, so I brought that back from the dead.
Obviously, I wasn’t ready to give up on those geese illustrations quite yet.
I asked one of my old Maryville professors for some notes (shouts out to Caren) and she told me that the geese were nice on their own, but distracting in the logo. So I simplified them.
I thought this was better, but I still wasn’t happy with the overall shape the logo made, so I went back to my sketchbook again and started trying to make a more pleasing shape, and one that made sense visually–especially in the bottom right hand corner. My thinking was that I could use a road vanishing into the distance to create that shape.
Then I had to take one more pass at the damn geese.
I ran out of space in my sketchbook and moved to paper, which was where the magic really started happening.
I felt I had worked out what I needed to work out on paper at this point, so I went back to the computer.
I tried a couple different color combos, “N’s” and geese styles and went back to my old professor for some more guidance. She mentioned that the geese were too detailed for shapes that should be receding into the horizon, and that the mountains could be reworked so they didn’t feel so abrupt.
I changed the “N” again, and ended here.
So this was the point in my process where I had to go crawling back to the client (who had completely forgotten about the logo because the run was still 8 months away at this point) and apologize for turning in sub-par work. They obviously weren’t expecting this and didn’t have a problem with the old logo, but they went through the roof when I showed them the new one.
I quickly followed up with shirt mockups for runners and staff and a single color application for etching on glass.
So in closing, I learned a couple of things: 1) Don’t do shitty work. 2) If you do happen to do shitty work, fix it. Even if it’s past the deadline, do it for you. If you’re lucky, which I absolutely was, you may be able to stretch the deadline with bitchin’ work.
Alright, so if it wasn’t made abundantly clear in my post about my last TAHR scarf, I’m a huge Portland Timbers fan. Every year the Timbers Army Heartland Regiment releases a scarf, and this is the 2017 iteration.
Like I do with everything I design, I started in my sketchbook.
Then I moved to the computer machine with the ideas I had.
I chose “Straight From The Heart” as the tagline to pay homage to the incredible crowds that traveled from around the world to the Heartland to watch the Timbers win the 2015 MLS Cup in Columbus. I used the TAHR logo and wheat on one end to celebrate the heartland and the crossed axes motif and trees on the other end to celebrate the motherland (Portland).
I submitted this design for approval to the Timbers Army merch department in Portland and they gave me permission to use their logo, and informed me that the manufacturer needed the design to be simplified down to five yarn colors from their catalog. Also in this phase, I decided to use a more athletic looking typeface.
The design was approved, ordered, manufactured, and distributed to Timbers fans across the country just in time for the 2017 season opener.
It didn’t take long after that for a fellow heartlander to get the scarf to Timber Joey to be displayed on the famous victory log. At the time of me writing this, it’s week seven in the MLS season, and the scarf is still being laid on the log before every match.
When I started at Fpweb, their services were offered on a hourly bank model where customers could buy hours to complete a project. One of the first things I did as a part of the company was help them transition for a bank model to a subscription model.
I started in my sketchbook with a rough wireframe of how I’d lay out the page.
Then I started working out the typography for each subscription plan.
Then I combined all the type to see how it’d look all together.
Then I went to the computer and made a digital comp.
I used our brand colors for the whole pricing chart, but it soon became clear that with the broad scope our new subscription model would be used in, I’d need to brand each plan individually. I created avatars that would represent each plan because when you order one of these plans, it’s like your ordering one full time employee with that title.
Then I color coded each plan and it’s corresponding avatar to enhance the brand.
Then I went back to my sketchbook to quickly draw up how the page would look with avatars heading up each of the plans.
Finally, I turned my sketches into code and deployed it on our .NET platform.
What is Retraspec?
Retraspec is a social app focused on the past. This app you share your life’s defining moments–how, when, and where you experienced them.
Retraspec opens to a map of your current location with moments to be explored where you are. This helps you to connect based on the shared experience of being in the same place in the world.
This is the feature in Retraspec that allows you to share the experiences that have defined your life. You can add up to five photos, a story explaining what your moment means to you, and the location and date it took place.
The favorites page lets you store your favorite users and locations so you can easily access the people and places that matter most to you. You can sort your favorites by date from both the list and the map view.
Your profile is your personal travel album. With every moment you share, you write another chapter in the story of your life. You can recount the defining moments of your life in your profile through the map and list view. If you’re after a certain moment, you can sort by date or search for it.
See the live demo at the link
Taste Test was an interactive touchscreen exhibit that myself and a team of awesome designers made for The Magic House Children’s Museum in Kirkwood, MO. On my all-star team was Allie Nothum, Robert Koh, Nick Banjai, and myself.
Minimize Reading. Too Much text turns an interactive experience into an intimidating amount of work.
Color and Illustrations. Distinctive colors and simple illustrations will help convey instruction and information.
The basic principles of taste. We learn faster when the operation is task-focused, simple, and consistent.
Drag and Drop
Intuitive interactions. Drag and drop is a common user interface feature that has become intuitive for both adults and children.
Easily accessible. All interactive features are place in the lower region in order to be reachable for small children.
Simple interactions. Simple, task-focused interactions are highly conductive to learning and digesting information.
As the self-titled Maryville AIGA Mega Publicity Director of Excellence, I was tasked with creating marketing for our flagship event; Design After Dark.
Design After Dark takes place once a month, and each month we bring in a local guest speaker working in an art/design field.
I designed marketing for print, and for web to help establish our social media presence.
I chose a stacked type theme to represent the wide array of design building blocks presented at the evening events. Futura Bold, provided a dynamic and readable aesthetic that works over a broad range of related backgrounds.