CREATIVE DIRECTION
VISUAL IDENTITY
EVENT BRANDING
PHOTOGRAPHY ART DIRECTION
MERCHANDISING
BRAND STYLE GUIDE
SOCIAL MEDIA

Formula E is more than a just a new motorsport series competing for viewership - it’s racing for a cleaner future, faster. The aim is to build a tier one global sport by making the racing as entertaining and exciting as possible whilst accelerating the growth of the fanbase. The championship series acts as a competitive platform to test and develop the latest development in EV technology.

Formula E is on a mission to be the planet’s favourite motorsport — bringing sustainable racing to the heart of the world’s famous cities and using the power of sport to accelerate the change towards an electric future. 11 locations, 16 races, from the glamour of Monaco to the fiesta of Mexico, Formula E is all about wheel-to-wheel action.

In 2022 we began a process to define Formula E’s brand for the next decade and beyond. The brand idea: Electric acceleration. Formula E is positively charged. This dynamic energy is the magic of pure torque. Formula E is a change-accelerator. It is representative of the future of racing entertainment. It channels energy from all around the world toward a single focus: to act as a catalyst to help change the world. Our design concept visualises that instant flow and flex of energy that communicates Formula E’s purpose.

CREATIVE DIRECTION
VISUAL IDENTITY
CAR LIVERY DESIGN
PHOTOGRAPHY ART DIRECTION
HELMET DESIGN


In 2024 Formula E revealed the it’s newest addition to their line-up of fully electric race cars. The Gen3 EVO is the next evolution of the previous Gen3 car which has been racing in the championship series for two seasons. Unique to Formula E, every team uses the same basic chassis and aerodynamic body parts. For the first time ever an electric race car can accelerate from 0-60mph in 1.82 seconds. The goal was to convey that sense of speed and new aerodynamism through the livery design and photographic treatment.

Third Wave’s mission is to provide a trusted and reputable resource for intentional, responsible psychedelic use. They do that by sharing research-based content and training that helps their audience feel safe, supported, and empowered as they follow their path towards personal transformation with psychedelics.

The vision is simple: Cultural Awakening Through Personal Transformation

As the psychedelic renaissance is evolving rapidly - I was approached by Third Wave to help redesign their brand to be able to play their part by building a cohesive platform that meets individual needs.

Their educational and research driven material called for a visual identity that is modern and fresh, can thrive in the new age of self-exploration, and without losing touch with the numinous connection that psychedelics can bring us.

Talisma is a new luxury high-vibration beauty brand focused on the benefits of mindful skincare practices. Working with crystals as the centrepiece of their brand, launching with their first product crystal facial rollers, they believe in the power of daily ritual to enrich the lives of their customers. This elevates them from being simply a beauty brand, to one with a deeper purpose and message.

As a company with a strong sense of social responsibility, they are dedicated to supporting women through education, health and cultural programs around the world. Through a partnership program, they donate a percentage of every sale to Women For Women, an NGO supporting marginalised women in countries afflicted by war and conflict.

With a vision that’s larger than simply their products’ benefits, they want to empower communities around the world. To this effect, I worked closely with their team right from conception. We developed the name, visual and verbal identity, packaging and digital social media look and feel.

The name comes from Talisman – an object thought to be capable of working wonders. With a minimalist look and feel that inspire luxury and giftability, we sprinkle some mystical cosmic wisdom among subtle iconography, derived from the symbology of alchemy and astrology.

Loam Bio are a global team of scientists, farmers, and entrepreneurs united in a global vision: to remove carbon from the atmosphere and restore the world’s farmland. In short: they use 4.5 billion years of microbial evolution to create long-term carbon storage. Utilising the power of microbes to develop a crop seed coating, which supercharges a plant’s natural ability to store carbon.

I worked with Theo+Theo to create the brand refresh and visual identity rollout. Loam was previously known as Soil Carbon Co. - a name which was straightforward but was lacking emotional engagement or the hook to hang a bigger brand idea from. The name Loam is evocative of rich, chocolatey-brown, healthy soil, which immediately brings to mind a productive and fertile world and speaks to their deep focus on microbiology and soil science.

Joe’s Milkbar is an eatery in Albion Park on the south coast of NSW, built on the premise of simple, classic good food made with local ingredients to support and integrate local businesses. Located in a quaint small town shopping centre, from the outside looks like a typical chicken shop.

A classic case of under-promise and over-deliver; with their own milk buns and donuts made in-house, they attract raving fans from all over the local region and even as far up north as Sydney. They take pride in executing their craft well, while having lots of fun along the way with down-to-earth Aussie attitude.

Working closely with founder and head patty-flipper Joe Lee, we developed a visual and verbal identity that was applied across uniforms, menus, signage, packaging and digital design. The low branding budget meant we relied more on illustrations and copywriting over photography. The result is a distinctly Australian celebration of the important things in life – simple, good, proper food, with a side of banter coated in humourous, intentional puns.

Scentre Group owns and operates the pre-eminent portfolio of shopping centres in Australia and New Zealand. The identity aims to place them right at the epicentre of their world.

Designed at Moon with Clinton Duncan, Dana Rogers, Ayumi Moritoki, Jon Zhu, Andrew Suggit, Lyndall Harris.

The rapid rise of digital has unearthed a new threat to television companies worldwide: video streaming and illegal downloading. For SKY New Zealand, the solution was to create a video-streaming service of their own. There service’s user interface would account for 90% of the user experience. So that’s exactly where we started. 

What did SKY customers want? To get from searching content to watching it, as quickly and easily as possible. That’s how NEON, a bright, bold, brand of the future was born.

Once you switch its interactive logo ‘on’, it breaks your search into three simple steps; Explore, Inform, and Escape. Incredibly intuitive, it guides you through vast amounts of content so that you find exactly what you want to watch. And once you’ve found it, it gets out of the way. So you can forget about your world, and drift effortlessly into another.

Designed at Interbrand with Ben Miles, Dan Ingham, Dave Storey, Mike Tosetto, Matt Hinchliffe.

How do you create a craft beer at an entry level price point, for the mass Australian market?

Aussies are a no nonsense bunch. They say it how it is. So what better name for a beer than ‘Tinnies’ – an Australian slang term for beer in a can. A born and bred Aussie brand.

So fire up the barby and grab yourself a tinny, mate.

Designed at Landor, Sydney

Top Taste identified a differentiated, single serve, individually wrapped, product format that would be difficult to replicate by private label and competitors. The creative team were excited and inspired by a truly differentiated product concept.

The result? A fun, playful, evocative brand with a refreshing identity, loaded with personality. We extended the idea of the characters to every face of the packaging through a fun and cheeky visual style, influencing the brand beyond packaging and creating a new dimension to bring the characters Kevin, Bruce and Cath to life.

Designed at Landor, with Ben Chandler

City of Melbourne is a dynamic, progressive city, internationally recognized for its diversity, innovation, sustainability, and livability. City of Melbourne council supports the city’s world-class offerings, represents it nationally and internationally, and ensures it remains a preeminent Australian center for culture, arts, dining, entertainment, education, and shopping. Since implementing its previous identity 15 years ago, City of Melbourne has experienced significant change. As a result, the council had accumulated a range of isolated logos for various services, which had become increasingly difficult and costly to manage. The fragmentation of City of Melbourne’s identity meant equity was driven away from the core brand, and the council realized that it needed a long-term solution.

City of Melbourne asked Landor to develop a cohesive brand strategy and new identity system. The challenge was to reflect City of Melbourne’s cool sophistication on the world stage, capture the passion of its people, and provide the city with a unified, flexible, and future-focused image.

The new identity needed to overcome political complexities, improve the cost-effectiveness of managing the brand, and unite the disparate range of entities (including the council, City of Melbourne’s destination brand, and an ever-growing portfolio of different initiatives, programs, services, events, and activities).

We built the branding program based on the results of a thorough audit of City of Melbourne’s various identities and its long-term sustainability and strategic plans. The audit assessed public opinion and interviewed stakeholders who included local government officials, business owners, and community representatives. At the heart of the new design, the bold “M” presents a full expression of the identity system - immediately recognizable and as multifaceted as the city itself: creative, cultural, sustainable. A celebration of diversity and personal interpretation that is both future-proof and iconic.

Designed at Landor with Jason Little, Sam Pemberton, Ivana Martinovic, and Malin Holmstrom.

Turning the unspoken, into the unforgettable

By 2030, Alzheimer’s disease could kill more Australians than any other disease, and, currently, there is no cure.

To help increase awareness and the level of funding afforded to Alzheimer’s Disease and other forms of dementia, we had to create a brand that could cut through the clutter of the charity landscape. A brand with a fighting spirit at its heart. A brand designed to create a a grass roots movement and galvanize an entire nation. 

The identity is bold, simple, clear, and, deliberately, very easy to manage. Using just two colours and, often, only four words. It features a flexible logo that changes and evolves to communicate different messages. From fighting to funding, to research and education - whatever the topic, we have a logo to carry that message.

We marched march on Parliament House as part of a high impact brand launch, joined by the Alzheimer’s Australia team, Ita Buttrose, and hundreds of other passionate supporters.

The march heralded not only the launch of the new brand identity, but the “bloody great big bomb” we were told to set off by the organisations president, Glenn Rees.

Created at Interbrand Australia. Strategy, with Mike Rigby, Chris Maclean, Dean Christie, Chris Doyle, Chris Lamont, Joao Peres, and Mike Tossetto

A series of event posters made for AGDA (Australian Graphic Designers Association) including designer dinners, conferences, and talks between the period of 2009 to 2011.

Following last years rebrand of Steve Bland as - The Great Blandini - Photoshop retoucher extraordinaire. We produced this little magic book of 'Photo-shoppe'. The brochure features 10 tricks used by the great man himself, plus some custom retouches that show off his unparalleled skills - such as sawing the women in half. 

The whole brochure is hand drawn with calligraphy pens and ink (even the body copy). A rare thing these days and a real labour of love.  The brochure is printed on recycled stock and singer sewn stitched down the spine. To be sent out to Steve's design industry contacts in 2012 as a keepsake and a powerful demonstration of Blandini's mastery of the mysterious Photo-shoppe.

Created at Interbrand Australia. Designed, written and art directed with the magical Mike Rigby, Diana Chirilas, and the marvellous Mike Reed.

Modeling kindly provided in the form of Mike Tossetto, Ami Gainford and David Sutherland.

The new identity is designed to build greater positivity, optimism and emotional connection with Optus customers. In a market dominated by formal and formulaic brands, it’s a clear departure from what many Australians would expect from a large telecommunications provider. The brand expression uses a new voice, one that is friendly, easy to understand, and peppered with a relaxed humour that doesn’t try too hard.

Along with a completely refreshed logo and colour palette, a bespoke hand-drawn headline typeface and brand character have been introduced to provide a greater level of humanity. Together, these allow us to demonstrate how Optus has a useful and significant role in enabling the people of Australia to do the things they want with minimal stress and maximum ease.

Designed at Re.

What’s the first thing you do when a recruiter calls? You pretend you’re not talking to a recruiter. At the end of 2011, Chantal Manning-Knight thought it was time to start doing things differently. 

Addressing the standard hurdles of changing jobs – secret meetings, awkward phone calls and absolute discretion – we avoided all reference to recruitment whatsoever. Instead we created Cloak & Dagger; online emporium of coats and knives (and jobs), where only the perfect fit and sharpest cut will make it.

Designed at Interbrand with Chris Doyle, Mike Tosetto, Chris Lamont, Lex Courts.

Album art photography for Thinking In Textures, the debut extended play (EP) by Australian musician Chet Faker. 

Design and art direction by Christopher Doyle.

Our brief was a tweet. Less than 140 characters. "Wanted: Dynamic and motivated designer to spruce up the Al Carbon truck before we hit the streets of Sydney." In an inspiring and intimate warehouse (doubling as La Lupita, up until recently, a twice weekly pop up restaurant before moving to The Basement) we met Attila Yilmaz to discuss the opportunity to brand his colossal food truck over tacos, raspados and some Mexican beers.

Attila was about to launch Al Carbon as part of the City of Sydney's licensed food trucks trial. A retired policeman, Al Carbon (which means 'over charcoal') was Attila's chance to throw himself into something he loved, food. After some time travelling around Mexico, Attila had discovered authentic ways to cook Mexican food, coupled with hints of inspiration from his father and his Turkish roots.

Inspired by our surroundings, we had an idea. What if we could transport our studio to the warehouse and do something we'd never done before - Create a brand in a day. So one Saturday, we transported a mix of 20 interior and graphic designers, writers, strategists, management and client service people, macs and flip-charts to La Lupita. The process was fluid, but with frequent scheduled meetings to keep us on track. Leaders of each team would come together each hour to discuss ideas, agree direction and to allow Attila to be involved every step of the way. We developed a customer journey, social media strategy, brand identity and graphics for the truck as well as the story of Al Carbon. We literally created a brand in a day.

We agreed that the brand of Al Carbon would be a mythical place. Everything on the truck would be the best of Al Carbon.' The best chef of Al Carbon, the juiciest limes, the sweetest pineapple. Wherever the food truck pulled up it would transform the space it occupied. Visitors would enter the world of Al Carbon. To communicate the idea, we conceived the brand as a tourist campaign. 'Visit Al Carbon.' In transit, the truck was a big tourism ad for itself. When static, it became Al Carbon the place. We used bins to create a perimeter around the truck, so visitors literally cross the border and are asked to abandon all Mexican cliché's like moustaches and sombrero's. This was to be an authentic experience after all! We designed the Immigración, where customers order their tacos and drinks. And we focused the queue along the side of the flame grilling barbecue where the theatre of cooking the meat captivated all the senses.

Designed at Interbrand, with Mike Rigby, Chris Maclean, Dan Ingham, Eric Ng, Diana Chirilas, Jessica Waal, Flicka Davison