A desktop wallpaper I created to give away on the LRS Web Solutions blog. It was inspired by "King and Lionheart," a song by Of Monsters and Men.
This poster references the antics that ensued between members of both the Republican and Democratic parties over Wisconsin's 2011 decision to pass a bill limiting the bargaining rights of unions. More than anything else, it is a plea for government officials to work together for the people and not become preoccupied with battling members of rival political parties.
This piece was selected for inclusion in Illinois State University's 2011 Student Annual; a juried exhibition.
Brave Face is a hypothetical cosmetics company that is geared toward young adult women. Its products are all-natural. This aspect of the company is reflected in the trademark by the three marks under its eye. The marks reference a time when the face paint of warriors would have been made with only all-natural ingredients. Also, the overall shape of the face and its hair are references to leaf shapes.
LRS CurbAppeal provides real estate professionals with beautifully designed websites and other tools to promote their business and gain prospective clients. The idea of growth, both of the real estate professional's business and of their clients growing into a new home, is made evident through the design of the logo.
The symbol depicts a house that also resembles a flower or bud. Beneath the house/flower are two green marks representing leaves. These leaves could also portray the front yard of a house. In this scenario, the shape of the white space surrounding the leaves depicts a sidewalk and curb.
Art direction by Jason Eisele.
The Multicultural Leadership Program is based in Bloomington-Normal, Illinois. The organization wanted a mark that would depict both multiculturalism and leadership equally. To accomplish this, I took inspiration from a drop of water falling into a pool. In this scenario, the drop is the leader and the spray that it creates is the effect that the leader has on others. The colors of the mark were chosen to be different yet complementary to each other. This indicates the ability for people of different backgrounds to work together to reach common goals.
Spangle is a paper bead design kit. Paper bead design involves the process of rolling paper strips into spirals to create beads. It is ordinarily thought of as a children's activity, but this kit is geared more toward adults. The trademark is sophisticated enough to reflect this, but also playful enough to evoke paper bead design's youthful origins.
This hypothetical banner series was created with the idea of promoting Illinois State University's sports teams in mind. They would be hung on light poles and in restaurants and buildings on and around the ISU campus.
The graphics on these posters are abstractions of the ball used in football, baseball, and basketball respectively. Gradients and transparencies are used to portray the ball in motion. This also references the motion and excitement associated with playing and watching each sport.
This hypothetical banner series was created with the idea of promoting Illinois State University's sports teams in mind. They would be hung on light poles and in restaurants and buildings on and around the ISU campus.
The graphics on these posters are abstractions of the ball used in football, baseball, and basketball respectively. Gradients and transparencies are used to portray the ball in motion. This also references the motion and excitement associated with playing and watching each sport.
This graphic standards manual is a continuation of the Brave Face identity system. It clearly outlines the acceptable and unacceptable uses of the Brave Face trademark. The manual also illustrates how to use the preferred typefaces, colors, patterns, and secondary trademarks associated with the system.
Note: The two photographs used in this manual are the work of Andreas Öhlund for Elle Sweden.
This graphic standards manual is a continuation of the Brave Face identity system. It clearly outlines the acceptable and unacceptable uses of the Brave Face trademark. The manual also illustrates how to use the preferred typefaces, colors, patterns, and secondary trademarks associated with the system.
Note: The two photographs used in this manual are the work of Andreas Öhlund for Elle Sweden.
This graphic standards manual is a continuation of the Brave Face identity system. It clearly outlines the acceptable and unacceptable uses of the Brave Face trademark. The manual also illustrates how to use the preferred typefaces, colors, patterns, and secondary trademarks associated with the system.
Note: The two photographs used in this manual are the work of Andreas Öhlund for Elle Sweden.
This graphic standards manual is a continuation of the Brave Face identity system. It clearly outlines the acceptable and unacceptable uses of the Brave Face trademark. The manual also illustrates how to use the preferred typefaces, colors, patterns, and secondary trademarks associated with the system.
Note: The two photographs used in this manual are the work of Andreas Öhlund for Elle Sweden.
This graphic standards manual is a continuation of the Brave Face identity system. It clearly outlines the acceptable and unacceptable uses of the Brave Face trademark. The manual also illustrates how to use the preferred typefaces, colors, patterns, and secondary trademarks associated with the system.
Note: The two photographs used in this manual are the work of Andreas Öhlund for Elle Sweden.
This graphic standards manual is a continuation of the Brave Face identity system. It clearly outlines the acceptable and unacceptable uses of the Brave Face trademark. The manual also illustrates how to use the preferred typefaces, colors, patterns, and secondary trademarks associated with the system.
Note: The two photographs used in this manual are the work of Andreas Öhlund for Elle Sweden.
This graphic standards manual is a continuation of the Brave Face identity system. It clearly outlines the acceptable and unacceptable uses of the Brave Face trademark. The manual also illustrates how to use the preferred typefaces, colors, patterns, and secondary trademarks associated with the system.
Note: The two photographs used in this manual are the work of Andreas Öhlund for Elle Sweden.
This graphic standards manual is a continuation of the Brave Face identity system. It clearly outlines the acceptable and unacceptable uses of the Brave Face trademark. The manual also illustrates how to use the preferred typefaces, colors, patterns, and secondary trademarks associated with the system.
Note: The two photographs used in this manual are the work of Andreas Öhlund for Elle Sweden.
This graphic standards manual is a continuation of the Brave Face identity system. It clearly outlines the acceptable and unacceptable uses of the Brave Face trademark. The manual also illustrates how to use the preferred typefaces, colors, patterns, and secondary trademarks associated with the system.
Note: The two photographs used in this manual are the work of Andreas Öhlund for Elle Sweden.
This graphic standards manual is a continuation of the Brave Face identity system. It clearly outlines the acceptable and unacceptable uses of the Brave Face trademark. The manual also illustrates how to use the preferred typefaces, colors, patterns, and secondary trademarks associated with the system.
Note: The two photographs used in this manual are the work of Andreas Öhlund for Elle Sweden.
This graphic standards manual is a continuation of the Brave Face identity system. It clearly outlines the acceptable and unacceptable uses of the Brave Face trademark. The manual also illustrates how to use the preferred typefaces, colors, patterns, and secondary trademarks associated with the system.
Note: The two photographs used in this manual are the work of Andreas Öhlund for Elle Sweden.
This graphic standards manual is a continuation of the Brave Face identity system. It clearly outlines the acceptable and unacceptable uses of the Brave Face trademark. The manual also illustrates how to use the preferred typefaces, colors, patterns, and secondary trademarks associated with the system.
Note: The two photographs used in this manual are the work of Andreas Öhlund for Elle Sweden.