Graham Clifford has been building better brand images his entire career. Graham is a second generation design director who perfected his craft in some of London and New York’s best creative agencies. He collaborates with agencies and directly with clients on branding projects for digital, print and TV. He approaches every project with the same passion and belief in the power of a great idea. And as any communicator will tell you, a great idea is priceless. Well… not quite priceless… everything is negotiable, call for a free quote today.

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    26 Business Cards

    Independent Copywriter

    You don’t design a business card for one of the most in demand freelance copywriters in the country. You design business cards.

    The 3rd and final set of 26 alphabetical business cards that became one of the most awarded and effective self-promotion campaigns in industry history for one of the most in demand freelance copywriters in the country.

    The “Golden Unhandcuffs” logo on the back of the cards symbolizes the client’s freedom to provide a true outside creative perspective.


    Client: Colin Corcoran, Independent Copywriter

    3D Renderer/Retoucher: Ed Gabel, Brobel Design

    Printer: Todd Thyberg, Angel Bomb Design + Letterpress

    Photographer: Dan Marshall, Dan Marshall Photo

    Editor: Danny Ameri, Very Nice Industries

    Music: “The Typewriter” by Leroy Anderson. Used by permission of Woodbury Music Company LLC.

    Independent Copywriter, Identity

    • Calling.All.Rogues
    • Usain
    • Bolt.Doubt
    • Balotelli
    • Aguero
    • Ricky
    • Lexi
    • Marta
    • Bolt.Subway
    • Balotelli.Subway

    Forever Faster


    Puma rallies  ‘troublemakers’  with its biggest brand campaign ever.

    In early August 2014, Puma launched Forever Faster a comprehensive global multi-media marketing campaign.

    Forever Faster recognizes athletes who stand out as individuals through both performance and personality.

    Among sports stars featured in the campaign are the fastest man on the planet Usain Bolt, along with footballers Mario Balotelli, Sergio Agüero, Cesc Fàbregas and Marta. Rounding out the cast are golfers Rickie Fowler and Lexi Thompson.

    We were thrilled to collaborate with the in-house JWT design team to develop print, out-of-home and digital assets.

    Special thanks to Aaron Padin, Jeff Benjamin, Chad Baker, Dan Morales, Soyeon Yoo, Emely Perez, Elaine Barker, Boogie (the photographer) and his team. And all the wonderful folks at Puma.

    Thank You

    J. Walter Thompson

    J. Walter Thompson is celebrating its 150th anniversary and they wanted to say “Thank You” to their clients. So we rolled up our sleeves and redrew these classic logos. Happy Sesquicentennial J. Walter, and thanks for letting us help you say as much. Merci beaucoup to Emmanuel Lallevé and Florent Imbert for coming up with such a lovely simple idea.

    Lastly, thank you to Communication Arts for deeming it worthy enough to be in their Typography Annual 2015, on sale at newsstands now!

    Editor: Danny Ameri, Very Nice Industries

    Please select full screen mode for increased viewing pleasure.



    J. Walter Thompson, Identity

    • Reader’s Digest

    Front cover redesign

    Reader’s Digest

    DiMassimo Goldstein (DIGO Brands), engaged us last summer to help redesign the cover of the Reader’s Digest magazine, one of the most-read media brands in the world. Researching the iconic classic covers lead us to our design direction — highlighting the uniqueness of the brand by incorporating the table of contents on the cover. Unveiled for the January 2014 edition, the new design also applies to the iPad and tablet editions.

    Reader’s Digest, Identity

    • Amplify descriptor
    • Amplify wordmark
    • Amplify tablet
    • Amplify web 1
    • Amplify web 2
    • Amplify font
    • Amplify business card
    • Amplify magazine

    News Corp


    A dream assignment collaborating with our good friends at Co:collective. We had a seat at the table right from the beginning of the project envisioning a new education brand from scratch. Amplify (an independent subsiduary of News Corp) is changing the realities of today’s classroom experience by leading the way in data-driven instruction, breaking new ground in mobile learning and paving the way for the next generation of digital curriculum and  assessment for grades K—12.
    The brand story was to Amplify the amazing potential of individual students and teachers by connecting them in new ways. The essence of the brand is; optimistic, inventive, radical, effective and thoughtful.
    The word mark becomes a part of a larger system with a custom drawn font doing a lot of the heavy lifting. The illustration style is endless, adaptive and without boundaries, we like to call it “infinite connections”. Combined they bring a clear, approachable visual distinctiveness to the brand. Huge thanks goes to Henrik Kubel from A2-Type in London for the marathon number of hours he spent drawing letter forms.
    We are proud to have been a part of building a brand to shape the future of education.

    And lastly, thanks to Communication Arts and the Type Directors Club for deeming the typeface worthy of winning awards in their esteemed competitions.

    • Celebrate master
    • Celebrate b
    • Celebrate c
    • Celebrate d

    Celebrate 65

    Type Directors Club

    To celebrate its 65th anniversary the Type Directors Club invited prominent designers to submit a design for a number between 1 and 65. We were handed number 12 from the typographic tombola. One of the most important missions of the TDC is education so our concept was 12 things maybe you didn’t know about the number 12.

    Type Directors Club, Identity

    Title Design

    Killer Elite

    We recently designed the opening title and end sequence for the movie “Killer Elite”. Based on a true story, this period action thriller is the first major motion picture directed by Gary Mckendry. The plot covers the globe from Australia to Paris, London and the Middle East. Starring Jason Statham, Clive Owen and Robert De Niro, we give it 3 thumbs up.

    Killer Elite, Identity

    • lips
    • lipscar


    Ford Edge

    To showcase the new MyFord Touch driver connect technology, we helped Team Detroit steer the message through consecutive right hand page ads. The 2011 Edge understands 10,000 voice and touch commands - as our hand cramps can confirm - and the campaign’s success was such that the Canadian agency asked us to hand letter the whole ad from scratch in French. Which is why we’re dictating this blurb. Mon Dieu!


    Ford Edge, Advertising

    • sky
    • front.row
    • spitzer
    • yankees
    • review

    The New York Times

    The New York Times

    In the WSJ vs. NYT newspaper wars we came out swinging for the New York Times, contributing a tough, non-nonsense design to punch up the headlines of a citywide outdoor transit campaign. The iron fist/velvet glove tone reflects the fact that no one knows or reports better on these mean streets we call home.


    The New York Times, Advertising

    • front
    • before and after
    • catalogues
    • storefront

    New Logo

    Vineyard Vines

    Vineyard Vines is an apparel and accessory brand founded in 1998 on Martha’s Vineyard by brothers Shep an Ian Murray. We were originally called in for a packaging assignment, but after a brief exploratory we arrived at the decision they needed to refresh their existing logo. This sort of thing requires a deft hand, knowing exactly how much bath water to throw out while keeping the baby happy can be a tricky business. The original logo was designed as a tie label for their first product. Since then the brand has grown into a fully fledged retailer with lines for men and women. We took a surgeons knife to the word mark and amputated Martha’s Vineyard, optically adjusted the letter spacing, carefully trimmed ascender and descender and added the company’s cute pink whale mascot aloft. By subtly transforming the logo we imbue the brand with more sophistication while keeping a hint of whimsy.

    • SHAQ
    • wood



    How do you design a logo for someone who’s larger than life? Like this. Applied to TV commercials and T-shirts, Reebok saw to it that Mr. O’Neal (or “sir”, as we call him) and his size 23s took the NBA and the retail market by storm.


    Reebok, Logos

    • Best in Show

    Best in Show

    Type Directors Club

    This year marks the Type Directors Club’s 65th anniversary and the 57th year of juried competitions to reward excellence in the typographic arts. We felt it was high time that the competition awarded a “Best in Show”, so we designed one. The award is a scale replica of a Franklin Gothic lowercase “t” milled from a solid chunk of aluminum. High polished on the face and 2 sides, satin finished on 2 sides and oxidized on the shoulder. The inaugural award was handed to Niklaus Troxler from Switzerland for his poster Ullman-Kühne at the Cooper Union opening last July.

    Type Directors Club, Identity

    • Teany
    • Back
    • Moby



    Visuals: GCD. Lyrics: Moby. The packaging for the musician’s tea and fruit beverages - designed to reflect the bold flavours - features a quirky character and copy created by the maestro himself. A One Show Design and Creativity’s design annual winner, it failed to land us a support gig at Bonaroo.


    Teany, Identity

    • Paper Moon
    • Now Voyager
    • close up

    Paper Moon

    Time Warner/Stella Artois

    Forget dinner and a movie, why not a fine pilsner and a flatscreen? This co-promotion between Stella Artois and Turner Classic Movies mixed behind-the-scenes facts of well-known films with the exclusive 9-step pouring process of the Belgian elixir. A potent brew, and one that went down well.


    Time Warner/Stella Artois, Advertising

    • LAtimesShoe
    • LAtimesWatch
    • LAtimesSunglasses
    • LAtimesBag

    Image Section

    Los Angeles Times

    When the LA Times were looking to create typographic illustrations of fashion accessories for the launch of their new Image section in the Sunday edition, they gave us the word. The campaign ran as outdoor, print and 30 second animated commercials in movie theatres.


    Los Angeles Times, Advertising

    • fingercar
    • fingercar


    Ford Edge

    To showcase the new MyFord Touch driver connect technology, we helped Team Detroit steer the message through consecutive right hand page ads. The 2011 Edge understands 10,000 touch and voice commands - as our hand cramps can confirm - and the campaign’s success was such that the Canadian agency asked us to hand letter the whole ad from scratch in French. Which is why we’re dictating this blurb. Mon Dieu!


    Ford Edge, Advertising

    • NY Cares
    • detail T
    • detail D

    New York Cares

    New York Cares

    One day a year city dwellers are encouraged to pick up a broom and help clean up their streets, playgrounds, and immediate living environs. We created these posters with antique wood block type; using under-inking, grain and printing on newsprint which helps impart the necessary gritty, “can-do” energy. 


    New York Cares, Advertising

    • Orbitz Beach
    • Orbitz Africa
    • Orbitz Tower



    A homage to the great travel posters of the 50s and 60s, TBWA/Chiat/Day NY let us loose on the typographic design for this series. This led to weeks of researching, reviving and redrawing fonts from a bygone era – but, curiously, no actual traveling.


    • Molson
    • molson.2
    • molson.3
    • molson.4
    • molson.5
    • molson.6

    Twin Label

    Molson Canadian

    We designed two exclusive fonts as well as the “twin” label attached to the back of each bottle for Crispin Porter + Bogusky’s Twin Label Technology promotion for Molson Canadian. Over 200 were produced, sales were up over 30% and the concept took home a lion at Cannes. We’ll drink to that.

    Molson Canadian, Advertising

    • Arnette
    • close up



    Cutwater SF commissioned us to create a custom antique wood type wordmark for their NOTORIOUS campaign. We painstakingly rummaged through our extensive library of old, dusty type specimen catalogues to uncover these gems. Best of all, because the type was created digitally nobody had to suffer a broken nail or endure a nasty splinter.


    Arnette, Advertising


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