I'm a freelance designer who employs a broad skill set, a keen eye for detail, and a conceptual mind. Particularly interested in projects that have cultural impact, I produce effective and engaging visual communication that speaks with a unique voice.
Looking for a creative hand? Let's talk! → Rio.T@outlook.com
CFUV 101.9 FM is Victoria’s non-profit campus and community radio station. Since 1984 they have provided a platform for marginalized voices, highlighted music unrepresented in the mainstream, and contributed to their local community through the promotion of artists, organizations, events, and festivals.
Inspired by the station's Orwellian founding date, CFUV wanted the graphics for their 2018 funding drive based on a tonally dark aesthetic influenced by authoritarian and cultist iconography. I designed the campaign's imagery around a rework of the Eye of Providence, a classic signifier in the conspiracy theorist's canon. Enclosed by it's requisite triangle, a dominating central eye radiates optically challenging waves—a reference to the radio format as well as propaganda's manipulative effects. This form is supported with bold typography and additional graphic elements, which are used in a collage variant and for the campaign's social media component.
While working with the funding drive's arcane theme, we made sure the graphics held a contemporary edge that appealed to the station's visually literate audience. This effort was a success, with merchandise being re-ordered by the end of the campaign due to its popularity.
Dedicated to being a welcoming place of enlightenment, enjoyment and education, the Nanaimo Art Gallery is a cultural highlight on Vancouver Island. The Gallery continually presents exhibitions by professional contemporary artists and dynamic public programming that encourages active involvement with the visual arts.
To celebrate its 40th anniversary, the Gallery underwent a process of renovation to its physical space and public appearance. Working closely with its curator, I developed a new identity for the Gallery using geometric shapes and the RGB (red, green, blue) colour palette. Fundamental in nature, combinations of the geometric shapes constitute all imagery. Likewise, the primary RGB palette alludes to the light spectrum all imagery becomes visible in. The thee colours speak not only to technological mediums, particularly relevant to contemporary art, but also to the institution's three core components: its exhibition space, workshop branch, and retail area. Contoured islands were additionally combined into this identity as the gallery explored its year-long question What does it mean to live on an Island?
With generous white space, clean typography, and a focus on simple lines, the Gallery's new face feels modern and definite without intruding on the range of visual presentation that occurs within it.
The Navigator is Vancouver Island University's independently run student newspaper. As the
publication's art director for its 46th volume, I had creative control over the year's redesign. Working with the editor-in-chief,
we sought to elevate the publication beyond its “student newspaper” appearance. I introduced a classic yet modern literary aesthetic raising
the newspaper's perceived value within the local community and more accurately representing the quality of the journalism within its pages.
Stantem is an online binary options company currently in development. Aiming at traders seeking financial liberation, Stantem sought a logo that represented its innovative nature while retaining a strong sense of credibility.
A conceptualized arts society, Ptero is a space for everything evolving from, passing through, or influencing Vancouver’s creative culture.
The Little Green Fox
The Little Green Fox wanted a vintage inspired logo to reflect its collection of elegant bohemian textile art.
Fuller & Creek
Neat As A Pin
Neat As A Pin provides boutique landscaping expertise and services in a utilitarian package.
Developed from a rough drawing in the back of the family bible, the Novakowski's crest required an update.
Representing the emotional minefield of relationships and domestic life, this poster drew on Kasher's lyrical themes.
Have A Nice Life
Have A Nice Life's experimental post-punk as visualized through sine wave interference for one of their Brooklyn shows.
A free music series in Victoria featuring local and emerging talent.
Dishwasher's Party #2
An eclectic all-ages show that featured a variety of local musicians.
Experimental noise band Street Sect's 2017 westcoast tour.
Release tour of experimental art rock outfit Xiu Xiu's 2017 album Forget.
Consisting of two exhibitions, Silva was a contemporary art project that followed a thematic path from the microcosms of the forest floor, to the quantifying and processing of lumber, to the global distribution of forestry products. Similarly, each aspect of the project's design was inspired by this theme: typographic layouts were based on a founding silviculture text from 1664; exhibition pamphlets incorporated botanical renderings of fungus and roots; and mailers were printed on newspaper, a pulp industry product.
Arvo Leo's The Orchids / Had the Look of Flowers That Are Looked At explored the enigmatic orchid plant family. The exhibition's accompanying publication of the same name lead its reader “astray into a series of histories and ideas revolving around the orchid.” Part calendar and part essay, the free almanac-inspired booklet provided visitors a supplementary greenhouse of ideas they could leave with, continuing to propagate after their immediate experience had ended.
Gilherse was created to generate culturally valuable experiences in public settings.
Unlike galleries, coffee shops or other traditional venues, Gilherse integrates its imagery directly into the urban environment. This enrichs people’s predictable surroundings by challenging their visual expectations. These new experiences contribute to an overall impression of distinctiveness and vitality within our city.
As an independent project, Gilherse is a uniquely accessible venue for artists and designers to reach a general audience. Their collective voice broadens the range of creative expression within our community and invigorates our cultural dialogue.
Gilherse primarily uses greyscale prints to display its contributors’ work. This format allows imagery to be quickly and economically reproduced. The larger the quantity of prints that are put up on a variety of urban surfaces, such as power poles, the wider their cultural impact.
Conversely, Gilherse pop-up exhibitions create a more unified and captivating experience than the isolated pieces provide. Along with these shows, materials such as stickers and pins are used to increase the public’s awareness of Gilherse and its purpose.
All these components are supported by the project’s branding, which gives the same sense of legitimacy found in institutionalized art and design. Its crisp and cohesive visual identity conveys the quality of Gilherse’s content without distracting from it.