David Airey, graphic designer » Portfolio works

New portfolio complete

David Airey — Fri, 12 Mar 2010 15:21:43 +0000

A month ago I told you I was experimenting with a new portfolio design.

Since then, and in between client work, I’ve been doing what I can to beef-up the case studies with larger contextual images, sketches, and mind-maps. The aim was to finally point the portfolio buttons here on my blog over to the new portfolio site.

Today it’s ready to go.

You’ll probably be familiar with most of the projects, so I made sure to include detailed scans from my notebook, and new shots of the design work in context (on clothing, cars, surf boards, etc.).

Here’s hoping the notes give a little extra insight into my thought process.

Please do head across, let me know what you think, and thanks very much to everyone who offered feedback last month. You were a great help.

My new design portfolio.

Published on David Airey, graphic designer

Experimenting with a new portfolio design

David Airey — Tue, 09 Feb 2010 16:04:55 +0000

I spent last night and today experimenting with a new portfolio design — one I think is better suited to my personal design tastes.

The starting point for the coding was this two-column CSS template courtesy of Roger Johannson, and the goal of my design is to place emphasis on the portfolio work (at the time of writing, contextual imagery for design projects hasn’t been added).

The eventual plan is to incorporate the new design into my blog here, and I might need to hire someone more proficient with coding. Either that, or simply link my portfolio tab on the blog over to my .co.uk.

The new logotype may very well change, too. I’m undecided.

I’m always interested to know what you think, so if you have any thoughts, negative or positive, please do leave a comment.

You can see what I’ve come up with on the .co.uk extension of my domain name: davidairey.co.uk.

Published on David Airey, graphic designer

Henri Ehrhart brand identity design

David Airey — Wed, 15 Jul 2009 23:02:41 +0000

Henri Ehrhart is a French wine producer in the Alsace region. Cyrille Ehrhart asked if I would redesign their brand identity, and it was a pleasure to do so. Here’s an insight of the design process.

A brief introduction

The company has been operating for more than 50 years, and is focused on standard and medium range wines (mainly distributed in supermarkets). It sold 4,500,000 bottles last year.

“We are a young and dynamic company but with a strong historical past. (today we are the 7th winemaker generation) a brand who is accessible and reflects a product of high quality.”

Cyrille requested a simpler design than the previous logo (shown here).

The previous heraldic logo is too detailed to work across a wide range of applications. The serif type offers a traditional feel, but the crest-like symbol won’t work efficiently at small sizes without the loss of detail.

Brainstorming and sketching

I researched topics including the Alsace history, wine production techniques, the notion of terroir and Henri Ehrhart’s competition.

I presented ideas relating to the Alsace region, such as crowns from the Alsatian flag, and the stork — part of Alsatian scenery for many centuries. The initial designs were deemed unsuitable, and after clarification a number of new concepts were drafted (some shown below).

Unused design #1

Leaves signify growth, the vine, and the rolling hills of the Alsace region. The pattern is arranged to mimic the rising sun along with the high amount of sunshine symbolic with the Alsatian vineyards. The curve subtly represents the form of the grape, while the repeating pattern offers a sense of continuity, suggesting the 50+ years tradition of the company.

A single leaf icon can be used as a separate design element for a variety of purposes e.g. website favicon, embroidered motif, pin badges etc.

Client feedback stipulated the need for a simpler, less aggressive design, favouring the creation of a monogram.

Unused design #2

The “HE” in the above monogram represents a wine glass and bottle.

The smooth, flowing lines relate to the young, dynamic brand of Henri Ehrhart, with the traditional typeface keeping a level of heritage.

When the mark is used in isolation (without the name) it clearly tells a relevant story, although client feedback ultimately ruled it out.

“It is more important to express the origin of the wine (soil, vineyard, grapes, vine stock, leaf, vine shoot) rather than represent the objects we use to taste the wine (glass, corkscrew, bottle).”

Chosen idea

The revised “HE” monogram is formed using a hand-written script (my personal hand-writing) to offer a unique, more flowing and natural outcome than shown previously. The curves symbolise the vine shoots from which Ehrhart grapes are grown, as well as the hills of the Alsace region and the roundness of the grapes hanging from the vines.

It works equally well when reversed, and one of the final steps in the process was to send a PDF with various colour options (link downloads a small PDF file I sent to Cyrille).

The new identity is more adaptable than the previous heraldic crest. Picture it appearing online as an animated signature, or as a stamped seal of approval on boxes of wine being shipped overseas.

In total, I created six different logo options (with some variations around each idea), and the timeframe from initial contact to supply of final artwork was approximately six months.

Client testimonial

We were looking for a logo with a touch of modernism. David grasped our needs and produced a stunning design. When feedback was needed, new versions of the logo or any modifications were made very quickly. We really appreciated David’s flexibility and efficiency. It’s great to work with someone so open-minded and responsive. Thank you!

Cyrille Ehrhart
Henri Ehrhart

If you have any questions about how I work, you might find them answered in my FAQ page, otherwise feel free to ask.

Published on David Airey, graphic designer

VISSUMO brand identity design

David Airey — Thu, 30 Apr 2009 23:17:14 +0000

VISSUMO is a provider of next generation touch technologies for industrial, architectural, retail, transportation, instructional, and entertainment applications. The company has recently undergone a name-change, from Infini Touch to VISSUMO, and it was my task to create the new brand identity and stationery design.

Design brief

My client expressed concern that it would be too difficult to capture the company technology using an image or mark, and a logotype was preferred from the outset.

This ties in with a rule I like to follow revolving around company names — an interesting or original name (such as Vissumo) should utilise a simple design (think Google), whereas a generic name should show a more complex design (think Sun).

Specific keywords for the project were clean, professional, durable, and technology-based (which gave me thoughts of a sans-serif font).

Brainstorming

Sketching

Logo option 1

A visual slice has been taken from the text, leaving a symbolization of two surfaces — the finger and the touch-screen. The slice doesn’t travel the full width of the company name, with the leading character (V) forming the connection that drives the technology.

The typeface used is Verlag Black, by H&FJ.

Logo option 2

The designer who came up with the VISSUMO name wanted to create a “visual” reference, with “sumo” having a size connotation. This design idea splits the syllables, placing emphasis on the visual, and incorporating a surface-like mark.

The typeface used is Knockout Sumo.

Colour options

We experimented with a number of different colours, with the final decision coming down to either red or blue. As one of the main competitors uses red (3M Touch Systems), the options (above) were decided against, and you can see the chosen blue below.

VISSUMO logo applied to the website

VISSUMO business card design

VISSUMO durability tests

The unique selling point is that users can interface with any semi-rigid touch screen surface — glass, plastic, metal, stone, wood, ceramic, or a combination of materials.

VISSUMO touch screens can withstand the force of a 9mm bullet — impressive (Engadget thought so too).

Test video #54 (spray paint vandalism) is another I liked, and you can view more VISSUMO video demos here.

Client testimonial

Because of a spin-off, our business needed to update our name and logo in a short time period. I was familiar with David’s work, but not sure if he could work with our time frame. To my delight, David accepted the project and quickly completed a fantastic design. We feel he understood our goals and created a great logo we can use for a long, long time.

Garrick Infanger
President, VISSUMO

It was a pleasure working with Garrick, and I wish the VISSUMO team every success for the future.

Published on David Airey, graphic designer

Getting your foot in the door

David Airey — Sun, 15 Feb 2009 23:02:20 +0000

Image copyright: Andreas MB

Lee Newham is a senior designer at London-based design consultancy, P&W. He receives around three or four CVs (resumés) every day, and here he details some tips on how graphic designers can get those CVs to the top of the pile.

CV tips for graphic designers

99% of CVs are poorly designed. It’s a struggle.

If your CV is good, and relevant to me, you have a higher chance of getting a response.

The creative director often isn’t the person to contact. Many times senior designers are the first port of call for interviews. There is no harm in sending a CV to more than one person at an agency.

Be creative, but don’t be pushy. Agencies find it very difficult to enlist good staff. That’s why most use expensive recruitment agencies.

Here’s my advice to graphic designers trying to get their CV to the top of the pile:

Brand yourself. Make yourself memorable. I know that some people may disagree with this, which seems to be a USA thing, but your CV is seen by a creative, not the accountants. ‘Wow’ them.
Be more than a sheet of paper. Most CVs are now sent by email. What can you do to differentiate yourself?
Don’t include things I don’t care about, like ’I once worked as a waiter’ or ’I got a qualification in chemistry’. I don’t care if you like swimming. I do care, however, if you saw the last lecture by Paul Rand before he died and what your thoughts were. Make it relevant.
Ensure everything is beautifully presented. Consider your kerning and double-check there are no silly mistakes — we all want to employ a safe pair of hands.
Follow-up anything you send with a phone call, but remember, don’t hassle, be polite. Ask them what they thought of your CV and how it could be improved.
Don’t try too hard. One student sent a mailer that was a fake bomb (with the tag line ’dynamite designer’. The bomb squad were called and the designer was contacted — by the police. He didn’t get the job. This raises another point — don’t boast, no-one wants to employ an arrogant designer. Never say you are the best. Leave that to Mohammed Ali.

Patience + time = job. Good luck.

Your thoughts

Do you have any additional CV tips to share?

Once your CV gets that foot in the door, Lee has also shared 15 graphic design interview tips to aid the next step in the employment process.

Published on David Airey, graphic designer

Ingalls brand identity design

David Airey — Mon, 09 Feb 2009 23:14:46 +0000

This identity design project was completed for Ingalls & Associates, a New York-based consulting, surveying, and engineering firm, established more than 20 years ago.

Jacqueline Ingalls asked me to redesign their brand identity, and to provide accompanying stationery (letterhead and business card design).

Old identity

The old brand identity had been in place for approximately seven years. Jacqueline said she was unconvinced about the new design showing ‘Ingalls & Associates LLP’. Using only ‘Ingalls’ was an idea I endorsed, believing it to be more succinct and memorable.

Jacqueline requested a modern design — clean, legible and ‘to the point’.

Brainstorming and sketches

Brand identity options

I presented two different options.

Identity #1

The second of the two ‘L’s is elongated to give a sense of upward movement, growth, and construction. The idea is based upon the positive connotations derived from an upwardly mobile firm…
— urban sites being developed from the ground up
— permit applications being given the go-ahead

The typeface used is ‘Hoefler Text Black italic’ — a well-crafted design from Hoefler & Frere-Jones.

Keywords: positive, clear, human, growing

Identity #2

In contrast to the friendlier tone of option #1, this logotype is custom-made, rigid and solid in appearance.

The differing angular forms, with ample spacing in between, relate to today’s meticulously planned urban landscapes and the precision with which their design is carried out.

Keywords: precise, solid, bold, unique, modern, clean

Stationery design

Client testimonial

I wouldn’t change a thing. We love it!

I am not often happy with others ideas. I can always find a list of items I would change in order to make it right, and often have to accept something less. I certainly do not feel that way within this experience. This has been most pleasurable! Thank you.

Jacqueline Ingalls
Ingalls & Associates

I very much enjoyed working on this project, and your thoughts on the new identity are more than welcome.

Published on David Airey, graphic designer

Giacom brand identity design

David Airey — Wed, 21 Jan 2009 10:37:58 +0000

Giacom was established in 1998 as a business-to-business Internet services provider (ISP). The company boasts a rising customer base of 70,000, and an extensive client list that includes the likes of American Airlines, the Ministry of Defence, Channel Four, Experian and Corus.

Managing director, Nick Marshall, contacted me to ask if I’d help create a new brand identity, and after some initial communications, I gratefully accepted the project.

Design brief

Giacom’s ideal customers are small- to medium-sized enterprises (SMEs). Potential customers will be looking for an ISP they can feel confident dealing with, especially as some of the services provided are security-based.

Competitors include all business ISPs, and Giacom differs as it’s smaller than most of the competition, so can provide more of a personal touch. This makes the company more ‘human’ to deal with — something that other SMEs appreciate.

Keywords to be associated with the design include confidence, strength, dependability, and self-assurance. At the same time, my client wanted to remain down-to-earth, accessible, and perhaps a little different.

Brainstorming sample

Identity design options

I presented two initial brandmark options via PDF.

Option #1

A circle is used as the basis for the icon, referencing the global reach of Giacom’s products. The circle is divided into four quarters (or ‘corners of the earth’), with each segment arranged in a puzzle-like fashion — symbolizing the secure aspect.

Option #2

An open circle emphasizes the accessible facet of Giacom. The negative space within the circle mirrors the shape of a keyhole, signifying security.

Each logo icon can be used with or without the accompanying Giacom text. They scale well to all sizes, and the simplicity aids reproduction.

Client feedback

Nick was pleased with the two concepts, and needed time before choosing a favourite. The upper and lowercase text proportions shown in option 2 were preferred, although Nick wasn’t convinced it gave the confidence needed.

I was then shown a typeface that Nick found effective. After asking my Twitter friends for help identifying the type, Nick and I eventually opted to use Expressway Bold, so I re-sent both designs using the favoured typeface (shown below).

The Giacom team contemplated the designs for a few days, before sending the following changes (altering the icon and adding a tagline).

Designs alterations by the client, returned via PDF

One of the segments has been reversed to clearly show we’re dealing with a globe. The segment that’s turned outwards is to signify a connection to our client’s world.

The icon was made slightly larger and a tagline was added.

My first question was about the specific segment that faces outwards. Was there a reason to choose the lower-left quarter? Why not top-right, or top-left? It turned out to be a random choice, so I presented the following option, where a subtle letter “G” is created by inverting the lower-right segment.

Gotham Rounded is the typeface used to display the tagline.

After further consideration the Giacom team were happy to proceed and asked for some colour experimentation. Blue was the predominant colour requested — already strongly associated with the company.

Giacom website

A new website design is being prepared to bring the best out of the identity. At present, the new logo has simply been slotted in where the old design was.

Before…

…and after.

At the time of writing, there’s no favicon uploaded to the website, but it’ll appear like so:

Here’s a closer look at the old and new identities, shown below at actual screen size. Note how the tagline on the old version was almost illegible.

Before…

…and after.

I supplied the design in black, reversed (white), and in colour. Files were provided with and without the accompanying tagline, “connecting to your world”. These six options were sent in EPS format (encapsulated postscript).

Client testimonial

I’ve always appreciated a good logo, but never invested quite enough time or resources to have one of our own that matched my aspirations. Many times I’d tinkered with ideas, but nothing had real meaning or impact. We were also frequently tempted by many of the online promises of corporate identities for around $100 or so.

Choosing to let David loose on our logo was an enormous leap of faith — and I was extremely skeptical whether he could extract our USP and form it into a logo that had meaning and purpose. To be honest, when I first saw the initial designs I still wasn’t convinced, but I soon realised that was just the start of an ongoing process — our logo idea evolved over a couple of weeks into exactly what I was looking for.

Now, thanks to David’s skill (and logo design is definitely a skill), we have a brand identity we can be proud of.

Nick Marshall
Managing Director, Giacom

If you have any questions about my working procedures, you may find them answered in my FAQ page. If not, do feel free to ask.

Published on David Airey, graphic designer

Ecometrica brand identity design

David Airey — Thu, 04 Dec 2008 23:03:59 +0000

Ecometrica is an independent business bringing together experienced analysts and world-class scientists. It’s based in Edinburgh, Scotland, and Montreal, Canada, and it was my role to design a distinctive brand identity for the new company (started in October 2008). Here’s a brief insight into my design process.

To give you some background information, Ecometrica provides the following science-based information products and services:

Assessment of corporate and product greenhouse gas emissions
Assessment and monitoring of land use change, deforestation, carbon stock changes, ecosystem
Viability, bioenergy resources and other ecosystem functions
Monitoring the delivery of ecosystem services
Policy advice based on ecometric analysis and interpretation
Combined economic and ecometric studies
Training and technology transfer

Most of my identity design clients are based overseas, so I don’t often have the pleasure of meeting them face-to-face. It was different on this occasion, however, with both parties based in Edinburgh, so an initial meeting was arranged with managing director, Dr Richard Tipper, operations director, Gary Davis, and a silent partner from the Ecometrica team. We discussed both of our businesses, what was required from the new brand identity, and the provision of corporate stationery.

Mind-mapping and a sample of sketches

Identity design options

Typeface used: Knockout, from H&FJ

Typeface used: Calibri, a specific client request

Rationale

The outlined circle signifies the surrounding environment, with a hinged section forming both the letter ‘e’ and indicating a closer look inside — indepth ecosystem reporting — and a ‘breaking’ of the ozone layer (I did question, however, if this was too negative a connotation for representing the business).

The three intersecting ellipses convey a number of ideas. Dr Richard Tipper, Ecometrica’s MD, explains using more better terms than me:

Mapping of ideas and physical space: a lot of our work involves the analysis of “contested space” for example there may be differing views about the best use for an area of land — nature conservation; food production or biofuels. We are often exploring ideas through different lenses or viewpoints [carbon, biodiversity, incomes].
Remote sensing of ecosystem changes: we use various satellite based sensors to gather data on changes in land use and vegetation. The ellipses represent orbits.
Petals of a flower: flowering plants are the largest components of terrestrial ecosystems. The style references representations of maize in mesoamerican art.
Our three areas of business activity: greenhouse gas assessments, ecosystems and policy research.

Keeping print costs to a minimum

The Ecometrica logo uses just one colour — Pantone 655. The three ellipses appear different due to the transparency settings (50%, 75%, and 100%). Using one colour can save on printing costs.

Business card design

Image copyright: Sassen

Client testimonial

David’s combination of creativity and professionalism was exactly what we needed. Our team of professionals had strong opinions on the project. David was able to take on board their ideas and steer us towards an outcome that we are proud of.

Dr Richard Tipper
Managing Director, Ecometrica

Any thoughts of your own are more than welcome.

Published on David Airey, graphic designer

Berthier Associates brand identity design

David Airey — Thu, 30 Oct 2008 10:30:27 +0000

Dominique Berthier, Managing Director at Berthier Associates, approached me to redesign his company’s identity.

Berthier Associates Co., Ltd. was launched in 1987, specialising in the planning, design, installation and maintenance of modern workspaces. The company is based in Tokyo, but provides coverage throughout Japan, and the client list includes Air France-KLM, Ferrari, Citroen, Carrefour, Aozora Bank, Saudi Petroleum, and Vale.

Here are a few shots of the company brochure prior to the identity redesign project:

Identity design brief

Dominique wasn’t satisfied with the old Berthier identity (below).

I asked what the new design should say about the company, and the following key words and terms were listed: fresh, attractive, livable, reliable, concern of the users, modern, innovative, flexible, on time, perfection, professional, total management, high quality, multinational, planned efficiency, conceptual, detailed, cost saving.

I was glad when Dominique added, “The above key words should be called to mind, not shown explicitly.”

A ’simple, yet powerful’ logo was called for, text-only (known as a logotype), to be incorporated into a visit card design (visit cards are the Japanese equivalent of business cards).

The final design needed to work as a watermark, inverted, monochrome, gray and in small sizes.

I expect, on top of good taste, a flawless graphic work, with fonts carefully selected and juxtaposed … a detail — preferably genius one — should express our creativity and modernism. Overall, kindly keep in mind that our selling points are not products but solutions resulting from intellectual activities.
Dominique Berthier

Mind-mapping and a sample of sketches

A vital part of any design project, sketches allow for a free flow of ideas, unrestricted by computers.

Various identity options

This option (above / below) was deemed too organic, when the service offered by Berthier is more functional and precise.

The following images show a little of my exploration into customised letterforms — one aim was to find the right balance to work beside ~~Japanese~~ Kanji (Chinese characters used in Japanese writing).

Black and reversed identities

It’s important to have an adaptable brand identity — one that works on light or dark backgrounds.

The logotype was formed by customising Gotham — a superb type design from Hoefler & Frere-Jones) — and here I highlight the individual characters that were amended.

It’s an elemental, no-nonsense font, therefore a good match for any architectural firm. The work you did on this also has the advantage to give it a more refreshing touch than the original.
Dominique Berthier

Berthier visit cards

Once the identity was finalised, we began the visit card design.

Dominique kindly sent some of his printed cards from Japan, which I took a few photos of (below). Plike was used as the card stock, which is also what my own business cards are printed on. It gives a very distinctive feel, and I was more than happy to recommend its use.

You’ll notice in the photo above how the Berthier logo wraps around onto the reverse side, and appears in a very subtle white ink.

Berthier online

At the time of writing, the Berthier website is almost 100% Flash-based — not ideal for search engine optimisation. A new website development is in the pipeline, which I very much look forward to seeing.

Client testimonial

We had been in quest of a graphic designer for several months but the few ones I got in touch with never seemed able to meet our taste. Finally, when I discovered David through a Google search, it appeared likely that such a passionate designer would be the partner we had been looking for — which became obvious as soon as we started working together. After reviewing our requirements, David sent us a few proposals and, taking great care, created numerous modifications. We were plainly satisfied. Most importantly, each modification introduced that special detail that makes all the difference. Needless to say we are extremely satisfied with the results. Thanks David.

Dominique Berthier
Managing Director, Berthier Associates

Published on David Airey, graphic designer

Komplett Fitness brand identity design

David Airey — Tue, 07 Oct 2008 15:01:53 +0000

Komplett Fitness is a company selling training equipment and fitness consulting. Based in Norway, their target customers are those looking to buy commercial fitness equipment, such as healthcare institutions and gymnasiums.

Initial contact was made through my identity design questionnaire, and the following was stipulated:

We are in need of a new visual identity for our company, Komplett Fitness. We have just finished up two different projects without success. We are now seeking creativity elsewhere and would like to ask for your service.

I asked Ole — my contact at Komplett Fitness — to supply those previous unsuccessful logo designs, so that I may offer my thoughts and learn what directions to avoid.

Preparation and sketching

Identity design options

Logo design a/

Icon represents a count of 001 — the first day of a fitness regime.
The two zeros are given an angle to mirror the arms of your ‘Komplett’ ‘K’ — adding a sense of forward motion / looking to the future.
The number 1 is shown in green, symbolising a positive start.

Logo design b/

Circle used to emphasize completeness.
Negative space highlights the ‘K’ of ‘Komplett’.
Curved sections symbolise services offered — training equipment / consulting.

Red, green and gray were preferred colours.

Ole saw too much of a likeness to the BMW M3 marque in design a/, and b/ was favoured following focus group feedback.

I was asked to make some subtle changes, to add something a little extra to the symbol, so I brought the internal elements closer together. This integration greatly appealed to Ole, and his colleagues agreed on the improvement.

Logo adaptability

A number of layouts were presented for feedback.

The wide version (top-left, above) was ideal for the website framework which was already in place, and Ole suggested that variations could be used across marketing promotions.

As long as certain aspects are kept consistent, a brand identity design doesn’t need to be static. The Tate Modern identity is a good example of this. There are a number of design options that can be interchanged.

Design in context

The new logo has been added to the Komplett Fitness website. By clicking the small screenshot below, you can view a larger image.

Client testimonial

I would like to point out that we are very pleased with our new brand identity and the way you conduct your business. It has been a great experience for us to work with you, and we will recommend your services whenever it is suitable.

Ole Haugen
Komplett Fitness

Ole and I will be working together on another identity project, so I look forward to sharing that with you soon.

David Airey, graphic designer » Portfolio works

New portfolio complete

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Experimenting with a new portfolio design

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Henri Ehrhart brand identity design

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VISSUMO brand identity design

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Getting your foot in the door

CV tips for graphic designers

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Ingalls brand identity design

Brainstorming and sketches

Brand identity options

Stationery design

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Giacom brand identity design

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Ecometrica brand identity design

Mind-mapping and a sample of sketches

Identity design options

Rationale

Keeping print costs to a minimum

Business card design

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Berthier Associates brand identity design

Identity design brief

Mind-mapping and a sample of sketches

Various identity options

Black and reversed identities

Berthier visit cards

Berthier online

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Komplett Fitness brand identity design

Preparation and sketching

Identity design options

Logo adaptability

Design in context

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