UX and Design thinker with multi-disciplinary skill set: front-end development, interactive storytelling, and management skills. I take a holistic approach to design and believe in product ownership. I strive to guide and inspire other designers to solve complex business problems and grow their abilities.

The Orchard has it's roots in startup culture, so the design focus had always been on agility and features, at the expense of a heavy load of technical and design debt. I worked towards creating a design system that could extend through both the marketing collateral and the user interface. The question was, could we do this without becoming drab and predictable?

The key concept that helped us tackle this paradox is flexibility – by designing everything to change, and only making strict rules about important things, we made a framework that doesn’t stifle creative approaches. These modular sets of rules can be updated individually, slowly over time, to keep up with The Orchard’s evolving brand.

Color System

Our designers had a handful of colors that they would commonly use in designs: orange, sky blue, green, tan, navy, etc. The problem was our ‘navy’ would end up being a slightly different color depending on the project, designer, monitor calibration and time of day. It’s not a problem in stand-alone designs, but most designs don’t live in a vacuum.

I came up with the concept of ‘palette ranges’ to maximize the flexibility our designers have to make palettes. The addition of a perceptual luminosity system makes it convenient to switch from one range to another: "green-60" is the same perceptual brightness as "blue-60". Using the '.ase' swatch files in illustrator and photoshop, is in many ways easier to use than coming up with palettes from scratch.

I also rolled this up into a SASS function for the website, so the colors can be used like:

orch-color(green[color range], 75%[saturation], 60%[lightness], 50%[opacity])

Concentrated Music

This is an example of an Orchard sub-brand that I designed.The idea is that it should stand on it's own and have it's own internal logic, while still being consistant with the rest of the Orchard's branding.

Visit the full site: http://localore.net
AIR’s nationwide Localore production accelerates innovation at public radio and TV stations and sinks new taproots into local communities with “full-spectrum” models that blend on-air, screen, and street media. Together, Localore’s 10 lead producers—with their stations, interactive storytelling partner Zeega, and a team of more than 230 collaborators—are laying the ground for a more inclusive 21st-century public media. Funding provided by the Corporation for Public Broadcasting, the Wyncote Foundation, the John D. and Catherine T. MacArthur Foundation, the National Endowment for the Arts, and AIR’s 940-plus members worldwide.
Visit the full site: http://youngunknowns.com/wallcloud/

In cinema, motion and sound have proven time and time again to combine in unexpected and powerful ways, but filmmakers often struggle to let go of temporal control of their projects in the interactive space. This approach combines some of that power with the benefits of giving the viewer the option to remain on a spread to contemplate or to quickly skip ahead at the pace they desire, which lends itself to a certain kinesthetic immersion. The use of text frees up the visuals and the audio to be less literal and to form their own parallel lines of thought.

New media projects in general have limited sources for funding, which is why they are less well explored than they should be. Many examples put the focus more on showing off the technology than creating a lasting emotional impact. There is some opportunity for funding from organizations like the National Film Board of Canada and the Tribeca Film Institute, but the process is very selective and mostly limited to documentary projects.

One route I’m interested in exploring is the idea of media books replacing album artwork or music videos, which would allow for the aesthetic and editorial freedom that they need to blossom into a fully realized format. Another appealing possibility would be if they could be self supported through sales: current ebook formats are html websites at their core, so this could potentially be an extension of those distribution channels.

The 10 number cards spell out the common warning signs acronym “IS PATH WARM”. The 16 face cards show the faces of the 16 most famous people (From a list of over 600 people who have Wikipedia articles about them, ordered by the number of hits when searched on google) who have either committed suicide, or suffered from suicidal thoughts/attempts but survived.

Visit the full site: http://pinepoint.nfb.ca
Imagine your hometown never changed. That no one ever grew old or moved on. Part book, part film, part family photo album, Welcome to Pine Point unearths a place frozen in time and discovers what happens when an entire community is erased from the map. Featuring the music of indie rock band The Besnard Lakes.