Graphic
Tallow Works
Identity, leasing material and site signage for a 48-acre industrial park on a Great Lakes harbour.
Lease six old buildings to people who read spec sheets
A developer has stabilised a former soap and candle works beside a working quay. The buildings are sound and serviced. Nobody outside the town knows they exist.
Developer Hollin & Ward is fictional.
What was inherited, what is new
Tallow Works is a sub-brand of the developer, Hollin & Ward. The parent supplies the grid, the neutral palette and a quiet sans-serif. The sub-brand adds a condensed bold for headlines, a monospaced face for data, safety orange, and the symbol.
Three lines: road, rail, water
The symbol is three bars. Taken apart, each bar becomes an icon for one mode of transport, and those icons carry through to the signs and the site plan. Orange is used once per layout, for the thing a reader should find first.
One plan behind every drawing
The master plan was fixed before any layout. Building positions, the rail spur, the truck loop and the gate are set once, and the deck, the fact sheets, the map on the pedestrian sign and every photograph follow it.
| No. | Building | Area m² | Clear height | Bay | Docks | Rail |
|---|---|---|---|---|---|---|
| 01 | Heavy Industrial | 9,200 | 8.5 m | 12 m | 3 | Yes |
| 02 | Flex Industrial | 6,800 | 7.5 m | 12 m | 4 | Yes |
| 03 | Multi-Tenant | 5,400 | 6.5 m | 10 m | 2 | No |
| 04 | Warehouse | 4,500 | 7.0 m | 12 m | 3 | No |
| 05 | Specialized Industrial | 7,200 | 9.0 m | 12 m | 4 | Yes |
| 06 | Flex / R&D | 5,800 | 6.5 m | 10 m | 2 | No |
The case in four slides
Where it is, what is on it, and how much of it there is. Each slide carries one idea and one figure large enough to read from the back of a room.
A prospectus, and a sheet per building
The prospectus tells the story once. The fact sheets are a template: the number, the photograph, the plan and six lines of specification sit in the same position on all six, so two buildings can be compared by laying the sheets side by side.
From the gate to the loading dock
A six-metre pylon marks the single gate and sorts traffic before it enters. Inside, three sign types cover vehicles, pedestrians and freight, each placed where a decision is made: the first junction, the car park, the turn to the quay. Buildings are numbered on their walls at a size a truck driver reads from the yard.
The same four numbers, on a phone
The leasing site opens on the waterfront and the proposition, then the figures. The ads reduce the brand to a single fact each.
The Renderhouse
Identity, sales print, hoarding, sales gallery, signage and web for 84 lofts in a 1908 soap works on a canal.
Developer Hollin & Ward is fictional.
Sell 84 lofts in a building people remember closed
A developer is converting a 1908 soap works into homes. The town knows the building as the boarded-up factory on the canal. The work has to change that picture before a single suite is finished.
A century and a bit, on the canal
Four dates carry the narrative everywhere it appears, from the brochure to the gallery wall.
Three things found on site
The wordmark follows the lettering on an old soap wrapper. The pattern is the rhythm of arched windows along the canal front. The colours are soap, brick, the yellow of the wrapper band and the green of canal water.
A narrow roman with a script “The”
Tall, condensed letters echo the window bays. The R drops a hooked tail below the line and the script sits in the space it leaves. An arched emblem holds the name where the long wordmark will not fit.
A brochure sewn in brick-red thread
The cover carries no ink, only a blind deboss, and the exposed spine does the talking. Inside, one photograph and one sentence per spread.
Six suites, six covers
Each suite type gets its own slim booklet, named after part of the works and colour-coded from the palette, so a buyer leaves the gallery with only the plans they asked about.
Sixty metres of hoarding along the towpath
For two years the hoarding is the brand. It is paced for someone walking or cycling past: the name, the window pattern, the line, a detail of brick, then the name again.
From the front desk to the front door
The gallery is on the ground floor of the works and is laid out as one walk: the name at reception, the story and the numbers on the long wall, the six suites and the materials you can touch, then a finished loft upstairs.
Etched brass on painted brick
Floor levels, suite numbers and directions share one material and one serif. The arched window from the pattern marks each front door.
One page, one job: register
The launch site holds the photograph, the line and a three-field form. Social posts rotate through brick, window, interior and pattern.
An invitation, and something to take home
Guests at the opening leave with the brochure, the plans they chose and a bar of soap in the yellow band.
POP ART. The Great Art Heist.
A brand identity and campaign for an art education studio for teens and young adults, built around one question: who stole your love of art?
Make art feel like yours again
POP ART teaches art to teens and young adults. It does not teach people to copy well. It helps them find an attitude, and a love for everyday life, through making things.
Two detectives. Two suspects.
Work that never ends and screens that never stop have stolen our curiosity. Holmes and Watson follow the clues of colour, brushstroke and shape. In class, every student gets to steal it back.
One stroke. One attitude.
One brush stroke rises and falls to spell P-O-P, with a calm, rounded “art” underneath. The empty gold frame is the core symbol: the passion that was stolen.
The case starts at the door
By day a detective stand-up “investigates” at the entrance; at night the shop window becomes the crime scene. Inside, the classroom is a 1920s detective office, and a red brushstroke on the floor is the wayfinding.
The whole city is a crime scene
At the bus shelter Holmes is watching you; the subway corridor is covered in wanted posters; on the billboard the detective bursts out of the frame.
One story. Three invitations.
Three posters for three learning steps: observe, reason, create. The type posters take the P-O-P of the logo apart, and each letter hides a character.
Details you can touch
Gold foil, deboss, wax seals and cotton paper. The graduation certificate is stamped CASE CLOSED. Publications are two-colour riso in vermilion and black, with visible grain and misregistration.
From looking to making
The story goes into the classroom: a clue workbook, colour evidence cards, suspect cards and a magnifying glass, with art materials packed in evidence bags.
Open the frame
The Colour Evidence paint set numbers six colours like exhibits, with a mixing card inside. The brand pattern of magnifying glass, top hat, frame and paw print wraps bags and paper.
A world worth taking home
From tote, guide and ticket to vinyl figures, each character keeps its signature move, so it is recognisable on its own.
Curiosity starts before class
A serial in three beats: the crime (a masterpiece is missing), the clue (look closer, one technique a week), the invitation (you are on the case). The same layout extends to 9:16 stories.
Bloom Pony. Every pony starts blank.
A brand world for a blind-box designer toy: a blank-faced pony that wears a new flower every time. One logo in four finishes, four series, one box for all of them, quiet print, and a store with flower windows.
Character concept, logo, colour system, packaging, layouts and interaction design: mine. Scene renders generated with Google Flow from my prompts; interaction code written with Codex and Claude Code.
One logo, four finishes.
The guide sets out the logo, the colours and the flower window that frames every series.
6 ponies + 1 secret, four times.
Each series has a key visual and a lineup poster. The pony stays the same; the flower and the world change.
One box for all four series.
The same box carries every series. Inside: the pony, a foil bag and a card.
Quiet paper, a little foil.
Stationery, gift wrap and the card that goes in every box.
Cream walls, flower windows.
An open front; the garden is inside.
