Pangaea Logistics Solutions and it's 3 subsidiaries needed to be "re-branded" after going public. The group of global companies needed to look cohesive and uniform.
I wanted to incorporate elements of the historical "Plimsol" mark (above left) into the new group company corporate identity. After a series of sketches and several rounds of refinement, the companies were all in agreement on the simple, modern, clean and memorable mark and logotype that you see above right.
Ideally I had hoped to encompass all 5 subsidiaries under the new "monolithic" brand. They all would have translated well, but the Nordic subsidiary had established strong brand identity over the last 7 years so I did not want to risk undoing that. The Greek subsidiary did not have a strong presence but management asked that it be kept as is.
Collateral pieces were designed to carry through the modern, clean look of the new mark and logotype.
These 5 colors represent a more modern look. The old colors were red, white and blue. The navy is corporate and represents the vast oceans that the vessels traverse. The khaki speaks to the colors of the commodities the company carries. The 2 shades of orange are compliments of the blue and indicative of the color the bottom of the vessels are painted.
I chose a circular geometric allover pattern to mimic the new "mark" and modern feel. To carry through the new
corporate color scheme the Spree task chairs were upholstered with "Storm-Plait" fabric by Maharam. The chair-backs
were coordinated with "Sand" mesh. The guest "Diplomat" chairs were covered with "Sangria-Plait" fabric representing
the rusty color of the corporate color scheme.
To warm up the bright white walls of the office, I sprinkled: a chocolate brown walnut clock on one wall, a bronze plaque on another wall, abstract artwork in the kitchen, and many other accent pieces throughout the entire office space.
The finance department needed to move downstairs into an unfurnished office space. I ordered the fabric and materials for the work stations, carpeting, wall decor and accent pieces; creating a perfect balance of old world and contemporary vibes.
There is SO much you can do with a 'nautical" theme, but I didn't want to be too predictable. So, I tried to combine classic shapes and silhouettes with more modern textures and visual appeal
I designed a modern aquarium peninsula cabinet for our entry area into the accounting department. To warm the area up and encourage folks to sit and enjoy the fish I added a wool area rug, 2 neutral colored velour accent chairs, a small table and a rustic lamp.
The main entrance exterior sign needed to be updated with the new logotype. I wanted to incorporate the "old world/industrial" look of a bronze sign with the new more modern logotype. The large metal nuts mimic the same nuts found on Phoenix's vessels. I hand painted the sign to resemble bronze/metal that had some patina due to weathering, like the vessels. The synthetic material is designed to withstand the elements and it costs much less than a real bronze sign.
Frosted vinyl logos adorn each glass door in the office. To the right of the 2nd floor entry there is a frosted glass sign that stands 2" off the wall.
Nordic Bulk Carriers operated the very first bulk carrier to traverse the Northern Sea Route in 2010. The article was laid out into poster form to be displayed in the first floor lobby of the office in Newport, Rhode Island.
Nordic Bulk Carriers was featured in a 13 page article about their trip from Murmansk, Russia to Pori, Finland. All posters are framed with UV safe anti-glare glass and industrial style frames.
A poster showcasing the time and fuel saved by traversing the "Northwest Passage" route across the Arctic.
Phoenix Bulk has a perpetual route with 3-4 vessels carrying cargo from Jamaica to New Orleans at any given time. Photos by the amazing John Guider.
When you take delivery of a new multi-million dollar vessel, the shipyard hosts an "over-the-top" week of celebratory events rooted in Japanese culture. (where the vessel was built). There are more photos on the website when you click the "NEWS" button.
What better way to advertise your business to the rest of the world? A wide variety of people see this logo as the vessel carries cargo all over the world. Therefore the application and execution must be impeccable. I began with white paint on all 4 sides around the middle of the stack, but due to the smoke emitting from the aft vent, that side was painted navy blue so the discoloration over time wouldn't be as noticeable.
Here are a few photos of actual vessels that have the new identity wrapped around the stack. Typically in the shipping industry, a company's logos are displayed on the port and starboard sides only of the funnel.
The size of this logotype measures 2.7 meters, which was applied by specially trained crew via a cut stencil and carefully executed scaffolding.
In keeping with the modern, clean, minimal look for the group companies I have utilized the white space to help
showcase the beautiful photography by John Guider. The corporate colors are melded into the type, graphics, buttons and links. This site was designed and built in Wordpress.
access the site here https://www.pangaeals.com
This brochure is in a horizontal format to appear solid and strong. Striking the right balance between imagery and white space yields a clean yet industrial layout. Each entity has a solid presence along with clean imagery and information about the types of cargoes the companies carry. This piece will go out to existing and prospective
clients. https://www.pangaeals.com/wp-content/uploads/2018/09/Pangaea-Brochure-9-2018-2-pg.pdf
McKenzie Engineering needed a new logo. I focused on something much more modern and sturdier than what they had. I also wanted it to read as 3 letters and not the name Meg.
Pangaea needed a website facelift. I incorporated the branding standards I had designed to flow through the site with a more modern vibe and color scheme. https://www.pangaeals.com
Pangaea needed products to hand out at trade shows and also for its employees to wear and use in and out of the workplace.
I spearheaded a fundraising project where I took photos of the Portsmouth High School football teams and cheer leading squads. Combined with ad space for local businesses and candid photos of fans and students, $10,000 was raised over the 2 year program which supported the T-3 project. The programs were a great way to kick-off the new school year during the fall semester.
https://issuu.com/christinejenkins88/docs/football_cheer_yearbook_2012
Greg Fatigati needed a new site for his new Italian restaurant. He studied at the CIA and had many years of experience as a chef. His family roots were deep in the Italian food industry, and he wanted me to emulate some of that rich history in his website and FB page.
Greg no longer runs this great little eatery since he was hired by
Google to cook for the folks in the Palo Alto office.
Geoff came to me after years and years of photographing birds. He had accrued thousands and thousands of beautiful shots. After editing many, we came up with a large assortment for his site. He is still one of the few photographers who uses "blinds" to take the perfect shot.
Sue and Claire discovered me at The Jacob Javit's Center selling polymer clay jewelry and beads. They needed accent beads for their collection of wholesale knitting products. I also designed and built their wholesale website. A few months ago they decided to pursue other avenues and close Serendipity.
A grass roots nonprofit supporting the sustainability of "Smart Growth" in Portsmouth and surrounding area towns. I designed the identity and all of the marketing materials as well as spearheaded this group along with Conni Harding. We were successful in reducing the "store size cap" to 45K sq. ft. after Target tried to build a 147K sq. ft store in a residential neighborhood in Portsmouth. http://www.preserveportsmouth.org
I designed a clean, modern site for Stacey Mac Donald who is the owner of Power Supplies and Services. She is a sales rep for companies that manufacture equipment for power plants across the globe. She loves what she does and is very good at it as a result. It was important for her to showcase her business as "female owned", therefore I placed the tagline directly under her company logo.
http://www.powersuppliesandservices.com
At the start of this project I made sure the community could see how unsafe the conditions had become on the track and main athletic field at Portsmouth High School. Toward the end of the project enough money was raised to also completely renovate the existing tennis courts which had also deteriorated. At that time the project was known as "T3".
https://friendsofphsartsandathleticcomplex.wordpress.com/about/
After exhibiting at Surtex years ago I collaborated with the mill Joan Fabrics Inc. located in Fall River, Massachusetts on contract furniture designs for Herman Miller. We came up with an Aspect Ratio Formula for a Single Repeat based on Joan's Loom Specs:
LOOMS- 54" (repeats: 3.375", 6.75", 9", 13.5", 27")
WARP Constructions: 4800 (88.889 ends or pixels per inch) or DPI
2400 (44.444 ends or pixels per inch) or 44.444DPI
Aspect Ratio Formula for a single repeat:
Ends divided by Picks = Ratio
Width in inches divided by Ratio = Height in inches
Final dimensions in inches translates to a file with a dpi of 88.889/inch
The design above was conceived in Adobe Illustrator and executed in Photoshop, eliminating the need for scanning and cleaning up the artwork. You can see 6 of 17 different colorways above the computer generated file printout. This allover design file was provided as a 3.375"W X 3.375"L repeat.
The top 2 swatches are a woven design I made for Herman Miller. The high contrast artwork below the swatches is the clean, indexed artwork I created in Adobe Photoshop. The mill and client chose the final color scheme. The repeat measures 6.75".
4 colorways of the "Dots" pattern I designed for Herman Miller. The original artwork file at the bottom was purposely designed using high contrast colors for indexing. The client and the mill chose the different colorways. The design was executed in Photoshop with a repeat of 3.38".
Another design for Herman Miller. The top left swatch is a close up of a portion of the top right swatch. Original artwork designed in Photoshop, with a printout of the file at the bottom using strong colors, easily distinguished from each other. Repeat measures 6.75".
3 of 12 colorways across the top with the Adobe Illustrator and Photoshop file below. Repeat size 3.38".
The top swatch is 1 of 12 colorways for another woven for Herman Miller, produced at Joan in Fall River, Massachusetts. The high contrast artwork at the bottom was created in Photoshop with a 3.5"W X 3.5"L repeat provided.
For this design I wanted to emulate the look and feel of a Paul Klee painting. The repeat is 6.75" wide.
This iridescent woven pattern was also designed for Herman Miller's contract furniture design department. The macro swatch shows the fabric from a different angle looking much flatter.
Another design made at Joan in Fall River, Mass., more abstract than geometric. The repeat is 6.5"W, not sure on the length as my cut piece is not long enough to see a full repeat.
Experimenting with textures and color. Produced at Joan.
4 color floral design for print- apparel market
Scattered floral 6 color design for print- apparel market
Allover 5 color floral design for print- apparel market
Love the detail in this textile design- created in Adobe Capture
This was initially meant for the apparel industry, but I think it would make some killer pillows too. It would also look great as a large canvas print hung on a wall.
To me this has such great movement and the colors work so well together. Another great pillow or print design for the interiors market.
Pattern created in Adobe Capture
Pattern created in Adobe Capture
Pattern created in Adobe Capture
Patterns created in Adobe Capture
Patterns created in Adobe Capture
Pattern created in Capture
Polymer clay is a wonderful medium to create beads for fashion jewelry. It can be manipulated into endless colors, textures and shapes. It is very forgiving and spontaneous. Self-taught in the art of "caning", I developed over 400SKUs, wholesaling to over 250 retailers worldwide. Frajeelai was a collection of earrings, necklaces, bracelets, pins, watches and more. The customer ranged from 5-95 years old. The line wholesaled via major trade shows and nationwide reps. As founder, I was responsible for each design and all creative aspects of the production process. The company was in business for 7 years.
These beads were made into earrings, bracelets and pendants. Specific instructions and Pantone colors were needed to get exactly what I wanted from the factory we worked with.
This butterfly bead was mass produced in 4 different sizes: small stud earrings, slightly larger dangle earrings, a bit larger size for a pendant and the largest size was a pin. The clay is easy to drill into and glue onto.
This one-of-a-kind necklace is a combination of hand-rolled and mass produced beads. Various glass, shell and Swarovski beads also accent the overall look of the piece.
Once I designed this color combination, I was pleasantly surprised at how popular it was!! They flew off the shelf...
This piece was the very first of my many designs. I wanted to do something fun and sophisticated, so I I designed a custom stainless steel stretch bracelet with hooks on just one side. This allowed the other side to look prettier and more polished that the existing blank bracelets on the market. The beads are a mixture of hand rolled clay, Swarovski crystal, glass, and shell beads. This bracelet became one of my best sellers and was also offered in the same colors as the matching Sea Urchin necklace.
Named after the town where Tom Brady grew up.
This necklace was designed to be worn with a wide range of colors and looks. Tiny pearl seed beads in between each clay bead and a toggle closure give it a sophisticated look.
Wire strung glass beads are wrapped around this square, graphic pin. Lightweight and fun.
Colored turtle pins and pendants in a variety of colors.
Clay slices are carefully pressed onto textured metal and then baked for permanent placement.
The word comes from the movie "A Christmas Story" when the dad reads the side of the leg lamp crate. Fun and whimsical like the majority of the line.
A bright, colorful design with crisp images that pop off the page. I art directed the photography, designed the layout and managed the file and printing process. These catalogs were mass mailed to retailers worldwide.
https://issuu.com/christinejenkins88/docs/frajeelai_summer_2007_wholesale
I always thought of myself as more of a 2D artist, but once I began working with Chris Rover at CGA I fell in love with architectural scale model making.
I worked with several designers on the Ellis Island Museum project. In addition to the scale model of the venue I also laid out some of the exhibit graphics as you can see in the third photo.
I had the pleasure of working with Tom Geismar, partner at CGA on a potential wall mural and a hanging fish sculpture.
These models represent new designs to the Citicorp Plaza Center at 53rd Street between Lex and Third in Manhattan. At the time I was not aware of all of the controversy surrounding architect LeMessurier and the viability of the tall office tower. Both the Citicorp logos and the tall, skinny flags were designed to continually rotate slowly.
This open design worked out well for Frajeelai's jewelry collection to be viewed by numerous buyers at the same time. Halogen lights enhanced the Swarovski crystals and glass beads in many of the designs.
I am a producer. I quite often lean toward the Swiss design principles. My job is to communicate a message or feeling, to make the unappealing more beautiful. Having a passion for both handwork and digital, I like pushing the boundaries of what a market or industry thinks it's customer can wrap their head around.
Some of my mentors and favorite graphic designers are: Massimo Vignelli, Ivan Chermayeff, Tom Geismar, Paula Scher, Barbara Kuhr, Jessica Walsh, and Stefan Sagmeister, Jessica Hische, and Alex Proba.
This building showcases the long span of work created by Massimo Vignelli and his wife Lella. It is located in the heart of the academic side of Rochester Institute of Technology's campus. I had the pleasure of meeting Massimo and his wife while attending school there.
Now known as CGH, working with these design icons was an amazing experience. Barbara Kuhr seen at the top worked on The Louvre Visitor Info System, Carnegie Hall Museum Exhibitions and many other high profile projects. Barbara and her husband John Plunkett went on to found "Wired" magazine after she departed CGA.
Ivan Chermayeff and Tom Geismar pictured left and right below Barbara are world renowned for their extensive design work. When I worked there in 1990 they were celebrating their 30th anniversary in business together. Steff Guissbuhler pictured at the bottom was an associate who I worked closely with on various accounts.