Antoine Mountain’s chalet sits nestled at the base of one of Ontario’s highest mountains 45 minutes outside North Bay, Ontario in Mattawa. The scenic setting and historic location lends itself to development as a small ski town. Incredible views off the peak are sensational in every direction providing a spectacular landscape to support physical activities such as skiing, snowboarding, snowshoeing, snowmobiling, mountain biking, rock climbing, ATVing and many more. These outdoor activities encourage participation in physical activity and community-building from people of all ages and segments of society.
Antoine Mountain is transforming what once was a downhill ski club, into an exciting tourist destination with significant benefit to Northeastern Ontario’s economic tourism industry. For the 2014-15 winter season, Antoine Mountain chose 9 Lives Design to develop their brand, marketing material, social media, e-commerce website, signage, and more. We at 9 Lives are proud to be part of North Bay / Mattawa history and excited to help get Antoine Mountain #backontop.
Share the Road, UCycle, 2014
In September 2014, Share the Road launching a new program designed to increase cycling among post-secondary students in Ontario. Through UCycle, Share the Road is partnering with universities, colleges, municipal stakeholders and the local business community to engage with students about safe cycling and to promote cycling to destinations on and off campus.
To bring this program to life, 9 Lives designed a strong logo and identity designed to stand out on walls and windows of universities around Ontario. A website, posters, brochures, advertisements, and bookmarks are being produces to raise awareness and engage participants.
Share the Road, Ride Posters, 2014
Thousands of cyclists in communities across the province ride in support of Share the Road Cycling Coalition to advance cycling in Ontario and support great local charities.
Started in 2006, Share the Road Rides were yearly events held in communities across Ontario. The first Share the Road Ride was held in Milton in September 2006 to commemorate the loss of Eleanor McMahon's husband who was killed while on a training ride in Milton, Ontario. Since 2006, the Ride has grown, in tribute to Greg’s life and his legacy as a husband, father, son and brother, a dedicated public servant who loved life—and loved cycling.
9 Lives has worked with Share the Road since 2010 producing dozens of ride posters and identities to raise awareness for the organization and build excitement around events.
Share the Road Cycling Coalition, 2014
In June 2014, Share the Road put on its first Lids4Kids event at Mississauga's Celebration Square. Les Domestique handed out free Trek helmets to the first 200 kids before they went on a fun, closed-course ride with an official start/finish line.
9 Lives designed the identity and all collateral for this event including brochures, signs, jumbotron slideshow, t-shirts, and more. Read the blog article here if you wish to read about how the Lids4Kids logo came to life.
Web Application*, 2014
70% of the U.S. workforce is actively disengaged costing the economy between $450 billion to $550 billion each year in lost productivity. This web application helps people become more engaged at work. Participants pick challenges, earn badges, and get rewarded by their manager.
* YSDN project instructed by Doug Whitton
Program Design*, 2014
Food for Rewards is a customer appreciation program designed for Food for Life, a food recovery organization in the Halton Region. The goal of this project was to provide a business strategy for a not-for-profit organization that will help it become more sustainable and build public awareness. The Food for Rewards Program proposal was a great success that provided a sustainable solution for Food for Life, increase funding, volunteer support, and food donors while educating the public on the global issue of food waste.
The many design components were developed with consistency: a visual identity, print material, website, mobile app, rewards program card, signage, and promotional material. Detailed documentation of this business model was provided to Food for Life which carefully outlined how this program could be launched successfully.
The approach for this project was to create a solution that is engaging by including gamified elements and also providing education to the player to bring about social change in a community.
* YSDN project instructed by Angela Iarocci
9 Lives has been the graphic design company behind two successful documentary films supported by the FBI and US Police Force. Our company had creative freedom to design and develop websites, DVD/Blu-Ray menus, opening sequence motion graphics, advertisements, and movie posters. This worked aided Modern City Entertainment in signing a contract with the Discovery Channel to expand the documentary in to a television series.
This self-portrait designed by Dave Nighbor was inspired by an Oliver Wendell Holmes Jr quote: "Men do not quit playing because they grow old, they grow old because the quit playing". There is a great deal of truth in this quote and serves as a reminder to keep things light and never stop being playful. Creating a self-portrait is a difficult undertaking for artists and designers because they need to look closely at themselves while doing their craft. A good self-portfrait expresses personality while capturing their representational and/or abstract likeness. It is a great exercise for artists and designers and always a challenge.
Packaging + Branding*, 2013
Inexpensive products do not need to look cheap. The goal of this project was to re-conceptualize the packaging for a department store food brand. My approach was to redesign Walmart’s Great Value because the packaging is ineffective due to its disconnect with the Walmart identity launched in 2008. The existing Great Value packaging is stark and pale and the products have no defined focal point in the photography.
The Great Value identity created from this project used many of the Walmart brand characteristics such as the colour palette and sunrays. The logo was made up of a lowercase g connecting to a lowercase v which also resembles a checkmark to represent value. Franklin Gothic is used on the packaging because it is a neutral, versatile, and readable typeface.
The design strategy was to create a system (or template) which can be used for any product in the Great Value line. Having packaging that is more vibrant and aesthetic will entice shoppers to choose Great Value products over namebrand competitors.
* YSDN project instructed by Hans Kleefeld
Wayfinding + Branding*, 2013
This project was purposed for a pedestrian-focused wayfinding system in Toronto’s Kensington Market that represents the various cultures, businesses, and customers that make up the district. The system was designed to be legible, visible, and easy to use while blending into the urban environment.
The wayfinding system that is currently implemented in the market is not effective as it has no cohesive identity, it is inconsistently marked, a lacks directional signage. The approach for this design solution was to ensure that it not only functions well as a wayfinding system, but the identity created with it reflects the market’s rich history, multiculturalism, punk music, and spray-painted images that adorn the area. A vibrant colour palette was used to stand out in a visually loud spaces and reflect the vibrant life in Kensington Market.
This project received national recognition by the Graphic Designers of Canada (GDC) by winning the 2013 Veer Scholarship.
* YSDN project instructed by Lyle Friaman
Typeface Design*, 2012
Designing this typeface was an intensive process that was deeply personal. The purpose of this project was to design a typeface and create a usable font. Myrtle script was carefully crafted by studying the penmanship of my grandmother who passed away from Alzheimer’s only months before this typeface was created.
The goal was to honour my grandmother who took great pride in her handwriting and worked on perfecting her style well into her 80s. Seventy years of handwritten letters were gathered and analyzed to design a typeface that matched her smooth, expressive, calligraphic style. The typeface is recognizable by its handdrawn cursive letters, large swashes, and long descenders. Each glyph was handmade and digitally refined.
My approach was to take something real and beautiful and adapt it for digital use to give it new life. This typeface functions best as display type for packaging, signage, and logotypes. It is compatible for use in Windows, Mac, and on the web.
* YSDN project instructed by Zab Hobart
Stoneham Ski Apparel began in November 2009 when two members of the Swedish Cross-Country Ski Team saw the opportunity to introduce more stylish, innovative ski wear to the global market. 9 Lives began designing for the company in 2010 and developed the marketing strategy for North America in 2012. The design approach is gearded toward the après-ski lifestyle depicted in the images, soft colours, and casual themed photography.
After developing a plan to bring Stoneham to forefront of nordic ski brand, 9 Lives created an e-commerce website selling anything from ski accessories to high-performance clothing to ski enthusiasts across Canada and US.
The Stoneham brand became one of the first nordic brands in the world to take a lifestyle approach to branding (opposed to action based themes) making it stand out online and on the shelves.
This series was designed by Dave Nighbor for a handmade typography project at York/Sheridan's Program of Design. Being a big fan of Bob Dylan's music, it was an exciting challenge for Dave to express Dylan's enigma using custom typography. The smoke that makes up his name reflects his elusive, every-changing public identity.
* YSDN project instructed by Adam Antoszek-Rall
Communication Design, 2012
This project was designed by Dave Nighbor at York/Sheridan Program of Design (YSDN). The purpose of the campaign concept is to discourage individuals from drinking and driving. The focus is to use shocking imagery that will create discomfort and draw attention to the fatal consequences of drinking and driving.
* YSDN project instructed by Lyle Fraiman
Information Design*, 2012
Graphic design does not always need to be so serious. Sometimes the best way to communicate is through humour and illustration. Several references to pop culture are included in this information graphic. This exploration of procedural design, shows the viewer how to dress and dance like a white guy. This is in stark contrast to the mundane processes that are often depicted using this style such as airline safety diagrams. The illustrations were done by hand using a tablet and modified in Adobe Illustrator.
The purpose of the design is to depict the steps of a procedure as simply as possible. To achieve this, very little copy is used. The minimal visual style and large amount of white space resembles Otto Neurath’s International Picture Language and many other illustrated diagrams designed in the mid-twentieth century. This style contrasts the modern fashion, products, and ideas communicated in the design.
Futura and DIN typefaces were used throughout the diagram to support the traditional approach. This may cause discomfort for the viewer due to the conflicting nature of the modern content.
* YSDN project instructed by Todd Barsanti
Alpine Canada, Branding, 2011–2012
The Alpine Canada brand and symbol was restyled in 2011 to welcome a new generation of Canadian ski champions. It draws from the strong history while providing an innovative and contemporary edge. The development of the identity was influenced by the characteristics unique to Alpine Canada including speed, innovation, ingenuity, Canadian pride, and strength. The restyled logo closely relates to the longstanding identity of Alpine Canada such as yellow and red that has been tied to the organization since the mid-70s.
This brand shift reflects the evolution of sport and helps solidify Alpine Canada’s relevance in today’s competitive sport market. Creating a new identity for Alpine Canada was an intensive process due to the different sports, provinces, and child organizations follow Alpine Canada’s brand direction.
The new identity was tested and applied to clothing, vehicles, banners, and sporting equipment during the development of the identity to ensure that it stands out on television and photographs.