PRESTIGE is a new status program launched by Street Capital to enhance their elite brokers experience and reward them for their loyalty.
As the principal designer on this project, it was my responsibility to conceptualize a strategy and prepare a plan to accomplish what the development team required within the guidelines that were set by senior management. We wanted this program to look rich in quality, which led to an industrial feel evoking drive, determination and hard work. The addition of the colour gold represents the pinnacle of the program tiers.
In the development of the package, our design options had constraints in a few areas which needed special care and consideration. First, we had a very limited budget for printing. Our solution was to shift most of the collateral to a more digital sphere. Second, there are many over-rides on our current website that would impact the colour scheme. Work-arounds within the code were developed and implemented to ensure cohesiveness in design across digital/social platforms.
Initial testing for the program has launched to the market with positive response. The program will be further validated through future testing and analytics.
This project was designed for the Street Capital annual broker incentive trip to Italy. Each year Street Capital takes its top performing brokers to a different destination globally to show their appreciation for past work performed. For this project, we wanted to focus on the more rustic Tuscan feel of Italy and tailor the design to have a more handmade quality without losing the clean and sophisticated style that has become synonymous with the Street Capital brand.
We began the project by sending all top performing brokers a gift package announcing that they had won a place on our trip. For the announcement, we wanted to create a sense of anticipation for the trip by shipping out packages containing a custom pasta box featuring their trip itinerary, a congratulatory letter and a sauce—all of which were housed in a colander. We received positive feedback from brokers with many registering for the trip almost immediately upon receiving the package.
Upon arrival in Italy, each of the brokers were given a folder with their itinerary and details on the activities they would be participating in. It was important for everything to be packaged in a way that would allow them to carry it easily throughout the trip. Everything was sized with the notion that it could fit within a back pocket or purse.
I was tasked with redesigning the “My Street Mortgage” brochure to push Street Capital into a more modern and crisp direction. This refreshed look helped to reflect the new direction the business was taking as a Schedule I Bank.
On February 2017, Street Capital became a licensed Schedule I Bank within Canada. I began working with Street Capital as the primary creative in November of 2016 and assisted in the phase one re-brand of the company to meet compliance requirements. We had many constraints during the project from meeting AODA compliance to maintaining the integrity of the previous logo. During the process, we adjusted the design aesthetic for Street Capital to introduce a cleaner and crisper look.
The logo itself had minor tweaks to the colour and structure, while the Street Capital colours became bolder to accommodate the restrictions we had to meet. There was significant planning in the photography that was required to ensure the essence of the brand and all our offerings were captured.
Street Capital re-launched their internal quarterly newsletter. In order to make this feel like a new initiative, as the primary designer, I set out to re-brand the entire newsletter with the requirements set in place by all stakeholders. It was a success within the organization and employees became more involved with determining the content they wished to see in future versions.
While on a work trip to Vimy to prepare for the ‘Vimy 100’ festivities the following year, I had taken a series of photographs of the grounds while we were there to film a 360-degree video. The photos captured the beauty of the space we were working with.
The ‘We Remember’ campaign was an initiative that was launched in the year leading up to ‘Vimy 100’ to recognize our veterans on Remembrance Day. The goal was to get school-aged children more involved in recognizing our history and paying homage to those who have died in the line of duty.
As the lead designer on this project, it was my responsibility to devise a creative plan to get students involved, based on the guidelines set by senior management. In order to make this more interactive, I came up with the idea of using paper craft to assemble a poppy. Schools participated in the campaign by creating paper poppy wall murals that were then shared on social media.
We had challenges with time frames for when this could be launched internally, so the scope of the school boards involvement in the project greatly diminished by launch date. Those who did participate really enjoyed the creative campaign and welcomed it as a part of their curriculum for the day.
In January 2016, I was sent as the design lead to Vimy, France to scope out potential site venues for the ‘VIMY 100’ festivities. While there, I worked with a team who developed a 360-degree video of the monument, graveyards and trenches. Afterwards, in order to promote the videos and the festivities for the following year, we branded google VR glasses and distributed them to potential sponsors to garner interest in the initiative.
I was tasked with designing a ‘VIMY 100’ advertisement for our corporate brochure as a lead-up to our event the following year. The challenge with this advertisement was to have it convey a message and yet have it reasonably generic as the program planning for that day was not set in place.
This is a personal photography series of mementos.
#MYEFSTORY was an initiative launched to gather insight and valuable stories from our trip participants. It was based on the idea that everyone has a story to tell and that you learn the most about yourself while travelling the world.
As the lead designer on this project, it was my responsibility to come up with the overall aesthetic for the program, which played on incorporating the EF brand with hand-written storytelling—much like writing a postcard or a diary entry.
This initiative was very successful and garnered a lot of valuable stories from our participants that were later used in other collateral.
I was tasked as the lead designer to create a pamphlet for the International Baccalaureate program offered at EF Educational Tours. I wanted to make this a bit more engaging than a typical pamphlet, so I came up with gatefold design to aid in organizing the content in a clear concise manner and visually represent our offerings.
I was approached by the manager of Rainbow Maniac and owner of Phwoar and Peace to develop a poster for an upcoming show for the band Honeymilk in Cardiff, Whales that would be featuring his clients.
In November 2015, I joined other employees at EF Educational Tours in the Boston office to be part of a 24 hour ‘hack-a-thon' styled event. This event was held yearly with the purpose of solving a specific business case provided by senior management. My group’s responsibility this particular year was to develop an app and demonstrate its value to the organization. We determined that the best use for an app would be to enable travellers to stay connected with other participants during their tour. This would house their daily itinerary, maps, any announcements and an Instagram styled photo gallery.
As the primary creative on the team, it was my role to determine the flow and design of the app that would be used. We had many limitations on this project, most notably the short time frame in which we were working with. I utilized my knowledge of UX best practices to determine the layout as quickly as possible. We then presented our business case to the head of the organization and the Creative Director.
The two books showcased here were developed for Me to We to highlight important speakers and individuals we have had at our We Day events globally. Initially it was a project to say thank you to all of the sponsors, but it blossomed into a full-scale book that was available in book stores across Canada.
As the primary designer, it was my role to design, typeset, and aid in the production of the book. I worked quite heavily with the writer and editor to ensure all content flowed properly.
The Last Maasai Warriors is a book about the story of Wilson and Jackson—two Maasai warriors who are connected to Me to We. It was important to set the right tone with the book cover design and depict just who Wilson and Jackson are.
As the primary creative, I was involved in meeting with the photographer and for designing the interior and exterior of the book.