Initiated by the artists after a trip to Fogo island, this book is meant to evoke the several watercolours they produced during their stay and exploration of the island.

The paint residue on the cover provides a nice contrast to the book’s clean and classic look. In addition, it gives the book the effect of having some “mileage,” linking in with the title Miles on the Brush. The choice of the colour red represents the passion the artists have for their work, whereas the pink end-papers reference the friendly affection among them. Fogo island is also represented on the pink end papers.

With the smear of paint on the cover, red band and several inserts, the book’s concept suggests that it was with them while they were working on the island, and even includes a custom-designed map of Fogo, tucked away inside. The information within is well structured, and the different types of content are presented in a variety of ways to suggest the artists’ collaboration.

The original edition of the book came with a red band and the special edition was later release with a half jacket. Overall the design of the publication calls to mind a complete travel log, with many exciting inserts to discover.

To produce a bilingual poster for the launch of the first exhibition of the newly formed Canadian Photography Institute (CPI) at the National Gallery of Canada.

The poster features a photographic print from The Globe and Mail archives by an unknown press photographer. In the image, a librarian removes a photograph from The Globe and Mail archives cabinet. He holds it as though reading the descriptive caption on the back of the photographic print – also known as a “cutline,” the source of the exhibition’s title. Placing the large CPI letters overlapping and surrounding the image creates a strong compositional focus on the Institute and its identity. Keeping the red from the CPI brand and leaving the rest of the poster black and white further evokes the nostalgic golden age of the newspaper’s history.

The poster was produced as a limited edition for the opening night of the exhibition Cutline, an exhibition of press photographs donated by The Globe and Mail. Powerful, compelling and provocative, these photographs were the lens through which Canadians witnessed the defining moments of the twentieth century.

The posters were printed on 80 lb cover stock and measured 24" x 36".

To Produce a bilingual poster for the launch of the first exhibition of the newly formed Canadian Photography Institute (CPI) at the National Gallery of Canada.

The poster features a photographic print from The Globe and Mail archives by an unknown press photographer. In the image, a librarian removes a photograph from The Globe and Mail archives cabinet. He holds it as though reading the descriptive caption on the back of the photographic print – also known as a “cutline,” the source of the exhibition’s title. Placing the large CPI letters overlapping and surrounding the image creates a strong compositional focus on the Institute and its identity. Keeping the red from the CPI brand and leaving the rest of the poster black and white further evokes the nostalgic golden age of the newspaper’s history.

The poster was produced as a limited edition for the opening night of the exhibition Cutline, an exhibition of press photographs donated by The Globe and Mail. Powerful, compelling and provocative, these photographs were the lens through which Canadians witnessed the defining moments of the twentieth century.

The posters were printed on 80 lb cover stock and measured 24" x 36".

To produce a bilingual poster for the launch of the first exhibition of the newly formed Canadian Photography Institute (CPI) at the National Gallery of Canada.

The poster features a photographic print from The Globe and Mail archives by an unknown press photographer. In the image, a librarian removes a photograph from The Globe and Mail archives cabinet. He holds it as though reading the descriptive caption on the back of the photographic print – also known as a “cutline,” the source of the exhibition’s title. Placing the large CPI letters overlapping and surrounding the image creates a strong compositional focus on the Institute and its identity. Keeping the red from the CPI brand and leaving the rest of the poster black and white further evokes the nostalgic golden age of the newspaper’s history.

The poster was produced as a limited edition for the opening night of the exhibition Cutline, an exhibition of press photographs donated by The Globe and Mail. Powerful, compelling and provocative, these photographs were the lens through which Canadians witnessed the defining moments of the twentieth century.

The posters were printed on 80 lb cover stock and measured 24" x 36".

This catalogue accompanies an exhibition at the National Gallery of Canada of paintings, prints and drawings by Canadian artist Chris Cran. The book includes reproductions of all of the works in the show, along with a number of the artist’s other pieces, and spans from his early career to present day. Cran has experimented with many different styles in his paintings, but one of his characteristic techniques is the use of the halftone dot. The artist produced a remarkable series of paintings using the halftone dot in the early 1990s, and the technique has been carried through to recent work in his series of small round paintings of people’s faces – his Chorus works – that he places around the exhibition space. These works represent visitors themselves, and with their various expressions provide silent commentary on the works that they accompany.

It was essential that the design of the book be sympathetic to the work of this contemporary artist. The halftone dot was chosen as an approach for the cover as this technique has been one constant in the artist’s multifaceted career. The yellow color sleeve was incorporated as a way to reference the many layers in this artist’s practice, and the use of one of the Chorus faces on the cover was a humorous nod to the visitor experience. A selection of Chorus works were also used throughout the catalogue as dividers between sections. The rationale behind this was to tie the inside of the book in with the cover and extend the idea of commentary and the importance of the halftone in this artist’s work. The endpapers was a great concept collaboration between the artist and I to create a unique work, that brought a personal touch to the book. A spot-UV varnish was used on the cover to give the image a three-dimensional quality similar to his works.

It is crucial that an artist’s work is respected, yet at the same time it is important to add another dimension to give depth and autonomy to the final product. Because the image on the front cover of this catalogue is an altered version of the original artwork, I had to convince the artist that this would be the best approach. It was important to relate to him the value in making a book that would be an object in its own right.

This catalogue accompanies an exhibition at the National Gallery of Canada of paintings, prints and drawings by Canadian artist Chris Cran. The book includes reproductions of all of the works in the show, along with a number of the artist’s other pieces, and spans from his early career to present day. Cran has experimented with many different styles in his paintings, but one of his characteristic techniques is the use of the halftone dot. The artist produced a remarkable series of paintings using the halftone dot in the early 1990s, and the technique has been carried through to recent work in his series of small round paintings of people’s faces – his Chorus works – that he places around the exhibition space. These works represent visitors themselves, and with their various expressions provide silent commentary on the works that they accompany.

It was essential that the design of the book be sympathetic to the work of this contemporary artist. The halftone dot was chosen as an approach for the cover as this technique has been one constant in the artist’s multifaceted career. The yellow color sleeve was incorporated as a way to reference the many layers in this artist’s practice, and the use of one of the Chorus faces on the cover was a humorous nod to the visitor experience. A selection of Chorus works were also used throughout the catalogue as dividers between sections. The rationale behind this was to tie the inside of the book in with the cover and extend the idea of commentary and the importance of the halftone in this artist’s work. The endpapers was a great concept collaboration between the artist and I to create a unique work, that brought a personal touch to the book. A spot-UV varnish was used on the cover to give the image a three-dimensional quality similar to his works.

It is crucial that an artist’s work is respected, yet at the same time it is important to add another dimension to give depth and autonomy to the final product. Because the image on the front cover of this book is an altered version of the original artwork, I had to convince the artist that this would be the best approach. It was important to relate to him the value in making a book that would be an object in its own right.

This catalogue accompanies an exhibition at the National Gallery of Canada of paintings, prints and drawings by Canadian artist Chris Cran. The book includes reproductions of all of the works in the show, along with a number of the artist’s other pieces, and spans from his early career to present day. Cran has experimented with many different styles in his paintings, but one of his characteristic techniques is the use of the halftone dot. The artist produced a remarkable series of paintings using the halftone dot in the early 1990s, and the technique has been carried through to recent work in his series of small round paintings of people’s faces – his Chorus works – that he places around the exhibition space. These works represent visitors themselves, and with their various expressions provide silent commentary on the works that they accompany.

It was essential that the design of the book be sympathetic to the work of this contemporary artist. The halftone dot was chosen as an approach for the cover as this technique has been one constant in the artist’s multifaceted career. The yellow color sleeve was incorporated as a way to reference the many layers in this artist’s practice, and the use of one of the Chorus faces on the cover was a humorous nod to the visitor experience. A selection of Chorus works were also used throughout the catalogue as dividers between sections. The rationale behind this was to tie the inside of the book in with the cover and extend the idea of commentary and the importance of the halftone in this artist’s work. The endpapers was a great concept collaboration between the artist and I to create a unique work, that brought a personal touch to the book. A spot-UV varnish was used on the cover to give the image a three-dimensional quality similar to his works.

It is crucial that an artist’s work is respected, yet at the same time it is important to add another dimension to give depth and autonomy to the final product. Because the image on the front cover of this book is an altered version of the original artwork, I had to convince the artist that this would be the best approach. It was important to relate to him the value in making a book that would be an object in its own right.

This catalogue accompanies an exhibition at the National Gallery of Canada of paintings, prints and drawings by Canadian artist Chris Cran. The book includes reproductions of all of the works in the show, along with a number of the artist’s other pieces, and spans from his early career to present day. Cran has experimented with many different styles in his paintings, but one of his characteristic techniques is the use of the halftone dot. The artist produced a remarkable series of paintings using the halftone dot in the early 1990s, and the technique has been carried through to recent work in his series of small round paintings of people’s faces – his Chorus works – that he places around the exhibition space. These works represent visitors themselves, and with their various expressions provide silent commentary on the works that they accompany.

It was essential that the design of this catalogue be sympathetic to the work of this contemporary artist. The halftone dot was chosen as an approach for the cover as this technique has been one constant in the artist’s multifaceted career. The colour sleeve was incorporated as a way to reference the many layers in this artist’s practice, and the use of one of the Chorus faces on the cover was a humorous nod to the visitor experience. A selection of Chorus works were also used throughout the catalogue as dividers between sections. The rationale behind this was to tie the inside of the book in with the cover and extend the idea of commentary and the importance of the halftone in this artist’s work. A spot-UV varnish was used on the cover to give the image a three-dimensional quality similar to his works.

It is crucial that an artist’s work is respected, yet at the same time it is important to add another dimension to give depth and autonomy to the final product. Because the image on the front cover of this catalogue is an altered version of the original artwork, I had to convince the artist that this would be the best approach. It was important to relate to him the value in making a book that would be an object in its own right.

This book was published to accompany Shine a Light, the 2014 Canadian Biennial of contemporary art exhibited at the National Gallery of Canada. The Biennial highlighted works of art acquired by the Gallery within a two-year period. One of the most spectacular works in the exhibition was the 124-foot long Leaves of Grass by Geoffrey Farmer – an installation that includes more than 16,000 images cut out from Life magazine.

I was interested in using the Leaves of Grass by Geoffrey Farmer for the cover of the catalogue because of the strength of the work, but also because I felt that it would give the cover the same dynamic, impressive feeling as the work itself. In order to achieve this, I designed the cover as a 4-panel gatefold, with Leaves of Grass featured on 5 sides. This resulted in the catalogue having two spines. As the catalogue is bilingual, I considered having one spine for the English title and one for the French, but in order to highlight the strength of the work and keep the wow factor of the image, I decided to continue the reproduction of the work on the second “spine,” putting the UPC at the top.

There are particular challenges involved in designing a bilingual catalogue and many approaches one can take to incorporate both languages. I decided to reserve all the pages on the left-hand side for English text and keep French text to the right. I did not want to have to repeat images for both languages (for many reasons, including cost), so this affected my decision to reject a tumble format. By saving money on this element, we were able to reserve some funds for the gatefold cover.

The catalogue was applauded for its design and was well-received. The book marked a departure from previous Biennial catalogues and indicated a willingness to experiment with unconventional design and binding techniques.

This book was published to accompany Shine a Light, the 2014 Canadian Biennial of contemporary art exhibited at the National Gallery of Canada. The Biennial highlighted works of art acquired by the Gallery within a two-year period. One of the most spectacular works in the exhibition was the 124-foot long Leaves of Grass by Geoffrey Farmer – an installation that includes more than 16,000 images cut out from Life magazine.

I was interested in using the Leaves of Grass by Geoffrey Farmer for the cover of the catalogue because of the strength of the work, but also because I felt that it would give the cover the same dynamic, impressive feeling as the work itself. In order to achieve this, I designed the cover as a 4-panel gatefold, with Leaves of Grass featured on 5 sides. This resulted in the catalogue having two spines. As the catalogue is bilingual, I considered having one spine for the English title and one for the French, but in order to highlight the strength of the work and keep the wow factor of the image, I decided to continue the reproduction of the work on the second “spine,” putting the UPC at the top.

There are particular challenges involved in designing a bilingual catalogue and many approaches one can take to incorporate both languages. I decided to reserve all the pages on the left-hand side for English text and keep French text to the right. I did not want to have to repeat images for both languages (for many reasons, including cost), so this affected my decision to reject a tumble format. By saving money on this element, we were able to reserve some funds for the gatefold cover.

The catalogue was applauded for its design and was well-received. The book marked a departure from previous Biennial catalogues and indicated a willingness to experiment with unconventional design and binding techniques.

This book was published to accompany Shine a Light, the 2014 Canadian Biennial of contemporary art exhibited at the National Gallery of Canada. The Biennial highlighted works of art acquired by the Gallery within a two-year period. One of the most spectacular works in the exhibition was the 124-foot long Leaves of Grass by Geoffrey Farmer – an installation that includes more than 16,000 images cut out from Life magazine.

I was interested in using the Leaves of Grass by Geoffrey Farmer for the cover of the catalogue because of the strength of the work, but also because I felt that it would give the cover the same dynamic, impressive feeling as the work itself. In order to achieve this, I designed the cover as a 4-panel gatefold, with Leaves of Grass featured on 5 sides. This resulted in the catalogue having two spines. As the catalogue is bilingual, I considered having one spine for the English title and one for the French, but in order to highlight the strength of the work and keep the wow factor of the image, I decided to continue the reproduction of the work on the second “spine,” putting the UPC at the top.

There are particular challenges involved in designing a bilingual catalogue and many approaches one can take to incorporate both languages. I decided to reserve all the pages on the left-hand side for English text and keep French text to the right. I did not want to have to repeat images for both languages (for many reasons, including cost), so this affected my decision to reject a tumble format. By saving money on this element, we were able to reserve some funds for the gatefold cover.

The catalogue was applauded for its design and was well-received. The book marked a departure from previous Biennial catalogues and indicated a willingness to experiment with unconventional design and binding techniques.

This exhibition on the First World War showcases both national and international photographs to “illustrate the many important roles that photography played during the war and how photography conveyed the reality, the fiction, the ugliness, and the bravery of World War. The exhibition also has to commemorate the first photo exhibition on World War I held in 1917 at the Grafton Galleries in London.

After looking more in detail I kept on running into the same specific on World War I. World War I was called the war of the camera. While many earlier wars fought after photography's invention were documented by the medium, WWI represented a turning point. One of the most important changes was the way in which both the Allied forces and the Central Powers used photography as a tool: to spy, to provoke and to persuade. The official photographs made during the war were telling in terms of strategies, censorship and the constant need to whip up public support for the cause. With this in mind I had to incorporate the camera into the graphic elements on the poster and promo items. Using the focus of the lens also representing the focus of a scope was the perfect solution.

I also had to put in focus or incorporate something as part of the exhibition to mention the Grafton Galleries exhibition, held in 1917.

Using the largest gallery space in the exhibition, I came up with a proposal to re-create a gallery space from the original Grafton Galleries 1917 exhibition Canadian Official War Photographs in London. Working from found images I made a solid proposal to higher management so we could increased the budget to make this feasible. The presentation sold the idea and here we went.

The room, which was designed to put the modern viewer in the shoes of a viewer from 1917, also featured a dramatic to-scale reproduction of a photograph of the Battle of Vimy Ridge, called the largest photograph ever made during its time.

I could not work on a exhibition on World War I without remembering our fallen. A high wall was covered with the names of more than 60,000 Canadian solders who died in the war, a roll call that affected almost every Canadian family.

As the lead designer on the exhibition, I had the responsibility to oversee the implementation and building of the exhibition and display stand, creating all visual material, including marketing poster, invitation, billboard, to outdoor banners. I had to create an aesthetic appeal and to communicate the client's message, concept and image to visitors while meeting the limitations imposed by space and budget.

This exhibition on the First World War showcases both national and international photographs to “illustrate the many important roles that photography played during the war and how photography conveyed the reality, the fiction, the ugliness, and the bravery of World War. The exhibition also has to commemorate the first photo exhibition on World War I held in 1917 at the Grafton Galleries in London.

After looking more in detail I kept on running into the same specific on World War I. World War I was called the war of the camera. While many earlier wars fought after photography's invention were documented by the medium, WWI represented a turning point. One of the most important changes was the way in which both the Allied forces and the Central Powers used photography as a tool: to spy, to provoke and to persuade. The official photographs made during the war were telling in terms of strategies, censorship and the constant need to whip up public support for the cause. With this in mind I had to incorporate the camera into the graphic elements on the poster and promo items. Using the focus of the lens also representing the focus of a scope was the perfect solution.

I also had to put in focus or incorporate something as part of the exhibition to mention the Grafton Galleries exhibition, held in 1917.

Using the largest gallery space in the exhibition, I came up with a proposal to re-create a gallery space from the original Grafton Galleries 1917 exhibition Canadian Official War Photographs in London. Working from found images I made a solid proposal to higher management so we could increased the budget to make this feasible. The presentation sold the idea and here we went.

The room, which was designed to put the modern viewer in the shoes of a viewer from 1917, also featured a dramatic to-scale reproduction of a photograph of the Battle of Vimy Ridge, called the largest photograph ever made during its time.

I could not work on a exhibition on World War I without remembering our fallen. A high wall was covered with the names of more than 60,000 Canadian solders who died in the war, a roll call that affected almost every Canadian family.

As the lead designer on the exhibition, I had the responsibility to oversee the implementation and building of the exhibition and display stand, creating all visual material, including marketing poster, invitation, billboard, to outdoor banners. I had to create an aesthetic appeal and to communicate the client's message, concept and image to visitors while meeting the limitations imposed by space and budget.

This exhibition on the First World War showcases both national and international photographs to “illustrate the many important roles that photography played during the war and how photography conveyed the reality, the fiction, the ugliness, and the bravery of World War. The exhibition also has to commemorate the first photo exhibition on World War I held in 1917 at the Grafton Galleries in London.

After looking more in detail I kept on running into the same specific on World War I. World War I was called the war of the camera. While many earlier wars fought after photography's invention were documented by the medium, WWI represented a turning point. One of the most important changes was the way in which both the Allied forces and the Central Powers used photography as a tool: to spy, to provoke and to persuade. The official photographs made during the war were telling in terms of strategies, censorship and the constant need to whip up public support for the cause. With this in mind I had to incorporate the camera into the graphic elements on the poster and promo items. Using the focus of the lens also representing the focus of a scope was the perfect solution.

I also had to put in focus or incorporate something as part of the exhibition to mention the Grafton Galleries exhibition, held in 1917.

Using the largest gallery space in the exhibition, I came up with a proposal to re-create a gallery space from the original Grafton Galleries 1917 exhibition Canadian Official War Photographs in London. Working from found images I made a solid proposal to higher management so we could increased the budget to make this feasible. The presentation sold the idea and here we went.

The room, which was designed to put the modern viewer in the shoes of a viewer from 1917, also featured a dramatic to-scale reproduction of a photograph of the Battle of Vimy Ridge, called the largest photograph ever made during its time.

I could not work on a exhibition on World War I without remembering our fallen. A high wall was covered with the names of more than 60,000 Canadian solders who died in the war, a roll call that affected almost every Canadian family.

As the lead designer on the exhibition, I had the responsibility to oversee the implementation and building of the exhibition and display stand, creating all visual material, including marketing poster, invitation, billboard, to outdoor banners. I had to create an aesthetic appeal and to communicate the client's message, concept and image to visitors while meeting the limitations imposed by space and budget.

This exhibition on the First World War showcases both national and international photographs to “illustrate the many important roles that photography played during the war and how photography conveyed the reality, the fiction, the ugliness, and the bravery of World War. The exhibition also has to commemorate the first photo exhibition on World War I held in 1917 at the Grafton Galleries in London.

After looking more in detail I kept on running into the same specific on World War I. World War I was called the war of the camera. While many earlier wars fought after photography's invention were documented by the medium, WWI represented a turning point. One of the most important changes was the way in which both the Allied forces and the Central Powers used photography as a tool: to spy, to provoke and to persuade. The official photographs made during the war were telling in terms of strategies, censorship and the constant need to whip up public support for the cause. With this in mind I had to incorporate the camera into the graphic elements on the poster and promo items. Using the focus of the lens also representing the focus of a scope was the perfect solution.

I also had to put in focus or incorporate something as part of the exhibition to mention the Grafton Galleries exhibition, held in 1917.

Using the largest gallery space in the exhibition, I came up with a proposal to re-create a gallery space from the original Grafton Galleries 1917 exhibition Canadian Official War Photographs in London. Working from found images I made a solid proposal to higher management so we could increased the budget to make this feasible. The presentation sold the idea and here we went.

The room, which was designed to put the modern viewer in the shoes of a viewer from 1917, also featured a dramatic to-scale reproduction of a photograph of the Battle of Vimy Ridge, called the largest photograph ever made during its time.

I could not work on a exhibition on World War I without remembering our fallen. A high wall was covered with the names of more than 60,000 Canadian solders who died in the war, a roll call that affected almost every Canadian family.

As the lead designer on the exhibition, I had the responsibility to oversee the implementation and building of the exhibition and display stand, creating all visual material, including marketing poster, invitation, billboard, to outdoor banners. I had to create an aesthetic appeal and to communicate the client's message, concept and image to visitors while meeting the limitations imposed by space and budget.

The National Gallery of Canada was staging one of the most ambitious contemporary art exhibitions in its history. Sakahàn: International Indigenous Art was the first of a series of exhibits dedicated to “diverse, complex and challenging artworks being made by indigenous artists in regions such as the Americas, Asia, Oceania, Europe and Africa.” It filled both floors of the National Gallery of Canada special exhibition spaces as well as the contemporary art galleries—not to mention several public spaces inside and outside the Gallery. The exhibition was a milestone, and was incredibly significant for Canadian and International art history.

As the lead designer on the exhibition, my mandate was to conceive a show that worked on a number of different levels. I had the responsibility of overseeing and implementing the layout and construction of the physical exhibitions space, as well as the numerous, purpose-built display cases, of creating all visual and didactic material, including marketing poster, invitation, billboard, and outdoor banners. I had to create a visual identity with aesthetic appeal that also communicated the client's message, concept and image to visitors, while meeting the limitations imposed by space and budget.

The idea of incorporating the large construction zone into the exhibition was well received by other team members on the project, to take advantage of the interior and exterior hoarding, scaffolding and temporary ceiling we had to install in the Great Hall. Some sections of hoarding inside was left unfinished to show the wood grain, while also relating to traditional aboriginal materials, while other sections were painted white to reflect a relationship to contemporary art. Raw plywood was also brought into the exhibition space to replace drywall to have a consistent look throughout.

We also had the opportunity to use the exterior windows and scaffolding around the Great Hall covered with a massive mural created by Greenlandic artist Inuk Silis Høegh that transformed the building into a looming iceberg.

The collaboration with several artists was valuable for the installation of their works. A close working relationship with the curator and project manager of the exhibition was incredibly important in order to make this project happen. It also required outsourcing and managing all sorts of unusual outside suppliers and production, from large-format printing to fabrication.

The summer exhibition at the National Gallery of Canada earned praise and attracted visitors even while though the building itself was under construction. Making the infrastructure work disappear within the exhibition was a success. The Great Hall of the National Gallery became more than an entrance to the exhibition: it was transformed into a social hub, and an icon for the show.

The National Gallery of Canada was staging one of the most ambitious contemporary art exhibitions in its history. Sakahàn: International Indigenous Art was the first of a series of exhibits dedicated to “diverse, complex and challenging artworks being made by indigenous artists in regions such as the Americas, Asia, Oceania, Europe and Africa.” It filled both floors of the National Gallery of Canada special exhibition spaces as well as the contemporary art galleries—not to mention several public spaces inside and outside the Gallery. The exhibition was a milestone, and was incredibly significant for Canadian and International art history.

As the lead designer on the exhibition, my mandate was to conceive a show that worked on a number of different levels. I had the responsibility of overseeing and implementing the layout and construction of the physical exhibitions space, as well as the numerous, purpose-built display cases, of creating all visual and didactic material, including marketing poster, invitation, billboard, and outdoor banners. I had to create a visual identity with aesthetic appeal that also communicated the client's message, concept and image to visitors, while meeting the limitations imposed by space and budget.

The idea of incorporating the large construction zone into the exhibition was well received by other team members on the project, to take advantage of the interior and exterior hoarding, scaffolding and temporary ceiling we had to install in the Great Hall. Some sections of hoarding inside was left unfinished to show the wood grain, while also relating to traditional aboriginal materials, while other sections were painted white to reflect a relationship to contemporary art. Raw plywood was also brought into the exhibition space to replace drywall to have a consistent look throughout.

We also had the opportunity to use the exterior windows and scaffolding around the Great Hall covered with a massive mural created by Greenlandic artist Inuk Silis Høegh that transformed the building into a looming iceberg.

The collaboration with several artists was valuable for the installation of their works. A close working relationship with the curator and project manager of the exhibition was incredibly important in order to make this project happen. It also required outsourcing and managing all sorts of unusual outside suppliers and production, from large-format printing to fabrication.

The summer exhibition at the National Gallery of Canada earned praise and attracted visitors even while though the building itself was under construction. Making the infrastructure work disappear within the exhibition was a success. The Great Hall of the National Gallery became more than an entrance to the exhibition: it was transformed into a social hub, and an icon for the show.

The National Gallery of Canada was staging one of the most ambitious contemporary art exhibitions in its history. Sakahàn: International Indigenous Art was the first of a series of exhibits dedicated to “diverse, complex and challenging artworks being made by indigenous artists in regions such as the Americas, Asia, Oceania, Europe and Africa.” It filled both floors of the National Gallery of Canada special exhibition spaces as well as the contemporary art galleries—not to mention several public spaces inside and outside the Gallery. The exhibition was a milestone, and was incredibly significant for Canadian and International art history.

As the lead designer on the exhibition, my mandate was to conceive a show that worked on a number of different levels. I had the responsibility of overseeing and implementing the layout and construction of the physical exhibitions space, as well as the numerous, purpose-built display cases, of creating all visual and didactic material, including marketing poster, invitation, billboard, and outdoor banners. I had to create a visual identity with aesthetic appeal that also communicated the client's message, concept and image to visitors, while meeting the limitations imposed by space and budget.

The idea of incorporating the large construction zone into the exhibition was well received by other team members on the project, to take advantage of the interior and exterior hoarding, scaffolding and temporary ceiling we had to install in the Great Hall. Some sections of hoarding inside was left unfinished to show the wood grain, while also relating to traditional aboriginal materials, while other sections were painted white to reflect a relationship to contemporary art. Raw plywood was also brought into the exhibition space to replace drywall to have a consistent look throughout.

We also had the opportunity to use the exterior windows and scaffolding around the Great Hall covered with a massive mural created by Greenlandic artist Inuk Silis Høegh that transformed the building into a looming iceberg.

The collaboration with several artists was valuable for the installation of their works. A close working relationship with the curator and project manager of the exhibition was incredibly important in order to make this project happen. It also required outsourcing and managing all sorts of unusual outside suppliers and production, from large-format printing to fabrication.

The summer exhibition at the National Gallery of Canada earned praise and attracted visitors even while though the building itself was under construction. Making the infrastructure work disappear within the exhibition was a success. The Great Hall of the National Gallery became more than an entrance to the exhibition: it was transformed into a social hub, and an icon for the show.

Designing and producing in consultation with Garry Neill Kennedy, a publication including printed matter designed by, or in collaboration with, the artist and incorporates formats such as books, pamphlets, leaflets, sheets, cards, page-works, posters, and wallpaper.

To design something clean, uncluttered but really attractive at the same time. I also wanted to convey the particular “Gerry Neill Kennedy” touch and feel that his own works have. I had to have a great comprehension of his works if I wanted the book to reflect their essence.

With the book I vividly recreated the experience of ambling through the gallery exhibition. Upon turning the unembellished cover, the reader is struck by the visual impact of the dynamic, exciting endpapers, and the art plates command attention on a separate stock. Beautiful layouts throughout indicate a deep grasp of the text structure, while the back matter manages to be both interesting and tasteful.

The Alcuin Society awarded the book with the first price in the Pictorial category for the Alcuin Society Awards for Excellence in Book Design in Canada. The book was also long-listed in the annual competition for The Best Book Design from all over the World held in Leipzig, Germany in 2014.

The book is now part of the permanents collection of The Special Collections and Rare Books Division of W.A.C. Bennett Library in Burnaby, Canada, Deutsches Buch-Schrift Museum / German Book and Type Museum in Leipzig, Germany and The E.H. Norman Library Collection in Tokyo, Japan.

Designing and producing in consultation with Garry Neill Kennedy, a publication including printed matter designed by, or in collaboration with, the artist and incorporates formats such as books, pamphlets, leaflets, sheets, cards, page-works, posters, and wallpaper.

To design something clean, uncluttered but really attractive at the same time. I also wanted to convey the particular “Gerry Neill Kennedy” touch and feel that his own works have. I had to have a great comprehension of his works if I wanted the book to reflect their essence.

With the book I vividly recreated the experience of ambling through the gallery exhibition. Upon turning the unembellished cover, the reader is struck by the visual impact of the dynamic, exciting endpapers, and the art plates command attention on a separate stock. Beautiful layouts throughout indicate a deep grasp of the text structure, while the back matter manages to be both interesting and tasteful.

The Alcuin Society awarded the book with the first price in the Pictorial category for the Alcuin Society Awards for Excellence in Book Design in Canada. The book was also long-listed in the annual competition for The Best Book Design from all over the World held in Leipzig, Germany in 2014.

The book is now part of the permanents collection of The Special Collections and Rare Books Division of W.A.C. Bennett Library in Burnaby, Canada, Deutsches Buch-Schrift Museum / German Book and Type Museum in Leipzig, Germany and The E.H. Norman Library Collection in Tokyo, Japan.

Designing and producing in consultation with Garry Neill Kennedy, a publication including printed matter designed by, or in collaboration with, the artist and incorporates formats such as books, pamphlets, leaflets, sheets, cards, page-works, posters, and wallpaper.

To design something clean, uncluttered but really attractive at the same time. I also wanted to convey the particular “Gerry Neill Kennedy” touch and feel that his own works have. I had to have a great comprehension of his works if I wanted the book to reflect their essence.

With the book I vividly recreated the experience of ambling through the gallery exhibition. Upon turning the unembellished cover, the reader is struck by the visual impact of the dynamic, exciting endpapers, and the art plates command attention on a separate stock. Beautiful layouts throughout indicate a deep grasp of the text structure, while the back matter manages to be both interesting and tasteful.

The Alcuin Society awarded the book with the first price in the Pictorial category for the Alcuin Society Awards for Excellence in Book Design in Canada. The book was also long-listed in the annual competition for The Best Book Design from all over the World held in Leipzig, Germany in 2014.

The book is now part of the permanents collection of The Special Collections and Rare Books Division of W.A.C. Bennett Library in Burnaby, Canada, Deutsches Buch-Schrift Museum / German Book and Type Museum in Leipzig, Germany and The E.H. Norman Library Collection in Tokyo, Japan.

The National Gallery of Canada needed to develop an identity for the exhibition Made in America 1900-1950. Composed of just over 100 photographs, this exhibition celebrates the exceptional contribution that American photographers made to the history of art in the 20th century. The idea was to conceive a look that would work for a poster and exterior banner, which at the same time could be used as the visual look in the exhibition space.

The exhibition had a very restrained budget and to compensate for the lack of promotion, the main challenge was to come up with a very powerful identity. Representing America of the early 20th century and finding the right icon. American modern dancer and choreographer, Martha Graham, whose influence on dance has been compared with the influence of Picasso on modern visual arts was a great choice to go with.

The vertical/horizontal image of well known American modern dancer Martha Graham was a great start for the visual of the exhibition. By focusing on the basic activities of the human form, Martha enlivened the body with raw, electric emotion and reinforcing the visual with vertical type, supported the movement language based upon the expressive capacity of the human. All this resulted in a very compiling imagery.

This book was published to document Nomads, exhibited at the National Gallery of Canada. The exhibition explored different interpretations of nomadism, a way of life that takes place in a non-structured environment where movement is paramount. Keeping in mind the idea that “travel is also a territory of the imagination” and focusing on the gathered works by the artists that dealt with the concept of outward and inward journeys.

The approach was to design something non-linear, but at the same time, comprehensible. The format had to be small, like a notebook, to make it feel more realistic when the visitor went through the exhibition with it.

I came up with a non-traditional Art Book, using different paper stocks. It was purposefully unmethodical – the essay was interrupted, sometimes with notes, sketches and unfolding pages, at others with blank pages, color tests or even loose postcards. The book was a literal and conceptual travel journal of the exhibition that recorded “memories” for each work on view.

This book was published to document Nomads, exhibited at the National Gallery of Canada. The exhibition explored different interpretations of nomadism, a way of life that takes place in a non-structured environment where movement is paramount. Keeping in mind the idea that “travel is also a territory of the imagination” and focusing on the gathered works by the artists that dealt with the concept of outward and inward journeys.

The approach was to design something non-linear, but at the same time, comprehensible. The format had to be small, like a notebook, to make it feel more realistic when the visitor went through the exhibition with it.

I came up with a non-traditional Art Book, using different paper stocks. It was purposefully unmethodical – the essay was interrupted, sometimes with notes, sketches and unfolding pages, at others with blank pages, color tests or even loose postcards. The book was a literal and conceptual travel journal of the exhibition that recorded “memories” for each work on view.

This book was published to document Nomads, exhibited at the National Gallery of Canada. The exhibition explored different interpretations of nomadism, a way of life that takes place in a non-structured environment where movement is paramount. Keeping in mind the idea that “travel is also a territory of the imagination” and focusing on the gathered works by the artists that dealt with the concept of outward and inward journeys.

The approach was to design something non-linear, but at the same time, comprehensible. The format had to be small, like a notebook, to make it feel more realistic when the visitor went through the exhibition with it.

I came up with a non-traditional Art Book, using different paper stocks. It was purposefully unmethodical – the essay was interrupted, sometimes with notes, sketches and unfolding pages, at others with blank pages, color tests or even loose postcards. The book was a literal and conceptual travel journal of the exhibition that recorded “memories” for each work on view.

This book was published to document Nomads, exhibited at the National Gallery of Canada. The exhibition explored different interpretations of nomadism, a way of life that takes place in a non-structured environment where movement is paramount. Keeping in mind the idea that “travel is also a territory of the imagination” and focusing on the gathered works by the artists that dealt with the concept of outward and inward journeys.

The approach was to design something non-linear, but at the same time, comprehensible. The format had to be small, like a notebook, to make it feel more realistic when the visitor went through the exhibition with it.

I came up with a non-traditional Art Book, using different paper stocks. It was purposefully unmethodical – the essay was interrupted, sometimes with notes, sketches and unfolding pages, at others with blank pages, color tests or even loose postcards. The book was a literal and conceptual travel journal of the exhibition that recorded “memories” for each work on view.