• About
  • Résumé
  • Contact
APPLE   Category /  Retail experience & brand marketing materials Specs  /  Banners, windows, posters, easels, tabletop signs, web graphics, etc.   As a member of the Apple Marketing design team, I have worked on concepting and layouts for a wide range of launch and sustaining retail marketing materials for iPod, iPad, iPhone, Mac, iTunes, OSX, and iOS.    Due to contractual confidentiality reasons, you will not see any of my Apple product-related work posted online. But, please do feel free to contact me for more specific info about my work at Apple.

APPLE

 

Category /  Retail experience & brand marketing materials

Specs  /  Banners, windows, posters, easels, tabletop signs, web graphics, etc.

 

As a member of the Apple Marketing design team, I have worked on concepting and layouts for a wide range of launch and sustaining retail marketing materials for iPod, iPad, iPhone, Mac, iTunes, OSX, and iOS. 

 

Due to contractual confidentiality reasons, you will not see any of my Apple product-related work posted online. But, please do feel free to contact me for more specific info about my work at Apple.

#
MYRIAD   Category /  T-shirt Specs  /  9” x 3” graphic Images  /  Illustration by Brianna Johnson Fonts  /  Myriad & various others   This is an in-house t-shirt designed to commemorate Apple’s Marketing & Communication division. The brief for the project was to create a graphic representation of what it means to be a designer at Apple. The concept was to show how creative our team really can be be, even within the very strict guidelines of Apple’s corporate branding. I decided to illustrate this typographically by composing Apple’s proprietary font, Myriad, out of a myriad of typefaces to form the word “Myriad.” MYRIAD   Category /  T-shirt Specs  /  9” x 3” graphic Images  /  Illustration by Brianna Johnson Fonts  /  Myriad & various others   This is an in-house t-shirt designed to commemorate Apple’s Marketing & Communication division. The brief for the project was to create a graphic representation of what it means to be a designer at Apple. The concept was to show how creative our team really can be be, even within the very strict guidelines of Apple’s corporate branding. I decided to illustrate this typographically by composing Apple’s proprietary font, Myriad, out of a myriad of typefaces to form the word “Myriad.”

MYRIAD

 

Category /  T-shirt

Specs  /  9” x 3” graphic

Images  /  Illustration by Brianna Johnson

Fonts  /  Myriad & various others

 

This is an in-house t-shirt designed to commemorate Apple’s Marketing & Communication division. The brief for the project was to create a graphic representation of what it means to be a designer at Apple. The concept was to show how creative our team really can be be, even within the very strict guidelines of Apple’s corporate branding. I decided to illustrate this typographically by composing Apple’s proprietary font, Myriad, out of a myriad of typefaces to form the word “Myriad.”

#
SUPERLOVESMILE   Category /  Identity, exhibition, print, packaging, etc. Specs  /  Various dimensions Images  /  Photography by Angela DeVille and Brianna Johnson, 3D computer modelling & animation by Arturo Lindbergh, and 2D animation by Brianna Johnson Fonts  /  Baruta & Berthold Akzidenz Grotesque   “What is this so-called ‘fandom’ thing all about?” That was the core question I asked myself when I first began working on Superlovesmile. Fandom (or fan culture) is a phenomenon that, even as its popularity grows and becomes more mainstream, is still rather misunderstood. It is most predominantly viewed as being a just bunch of ‘freaks’ and ‘geeks.’ But, I found the entire notion to be absolutely fascinating. The cultural implications of a group of people wholly devoting themselves to subjects that were neither political nor religious was incredibly compelling. In fact, as I immersed myself in this world and really researched and observed the people, I began to see a direct correlation between the growing saturation of media in our society and the growing rate of fandom. As a result, the project became one specifically about Pop Culture media fans. These are the people most individuals think of when the words ‘fan culture’ are brought up. Indeed, they are the comic nerds and the cult film geeks and the dorky toy collectors. But, what most people don’t recognize is that they are also the hip fashionistas and the music officionados and the common brand lovers. This is the point I wanted to communicate with my project, that Pop Culture fans are a broad spectrum of people and we all, even those of us who don’t consider ourselves fans, share one common denominator: the influence of our popular media. Consequently, I wanted to develop an experience that encouraged viewers to identify with fandom. In the end, I did so by creating a uniquely interactive and immersive contemporary anthropological exhibition that invites the viewer to explore the fantasy, fascination and sheer spectacle that is pop culture fandom.   VIEW EXHIBIT VIDEOS HERE.     SUPERLOVESMILE   Category /  Identity, exhibition, print, packaging, etc. Specs  /  Various dimensions Images  /  Photography by Angela DeVille and Brianna Johnson, 3D computer modelling & animation by Arturo Lindbergh, and 2D animation by Brianna Johnson Fonts  /  Baruta & Berthold Akzidenz Grotesque   “What is this so-called ‘fandom’ thing all about?” That was the core question I asked myself when I first began working on Superlovesmile. Fandom (or fan culture) is a phenomenon that, even as its popularity grows and becomes more mainstream, is still rather misunderstood. It is most predominantly viewed as being a just bunch of ‘freaks’ and ‘geeks.’ But, I found the entire notion to be absolutely fascinating. The cultural implications of a group of people wholly devoting themselves to subjects that were neither political nor religious was incredibly compelling. In fact, as I immersed myself in this world and really researched and observed the people, I began to see a direct correlation between the growing saturation of media in our society and the growing rate of fandom. As a result, the project became one specifically about Pop Culture media fans. These are the people most individuals think of when the words ‘fan culture’ are brought up. Indeed, they are the comic nerds and the cult film geeks and the dorky toy collectors. But, what most people don’t recognize is that they are also the hip fashionistas and the music officionados and the common brand lovers. This is the point I wanted to communicate with my project, that Pop Culture fans are a broad spectrum of people and we all, even those of us who don’t consider ourselves fans, share one common denominator: the influence of our popular media. Consequently, I wanted to develop an experience that encouraged viewers to identify with fandom. In the end, I did so by creating a uniquely interactive and immersive contemporary anthropological exhibition that invites the viewer to explore the fantasy, fascination and sheer spectacle that is pop culture fandom.   VIEW EXHIBIT VIDEOS HERE.     SUPERLOVESMILE   Category /  Identity, exhibition, print, packaging, etc. Specs  /  Various dimensions Images  /  Photography by Angela DeVille and Brianna Johnson, 3D computer modelling & animation by Arturo Lindbergh, and 2D animation by Brianna Johnson Fonts  /  Baruta & Berthold Akzidenz Grotesque   “What is this so-called ‘fandom’ thing all about?” That was the core question I asked myself when I first began working on Superlovesmile. Fandom (or fan culture) is a phenomenon that, even as its popularity grows and becomes more mainstream, is still rather misunderstood. It is most predominantly viewed as being a just bunch of ‘freaks’ and ‘geeks.’ But, I found the entire notion to be absolutely fascinating. The cultural implications of a group of people wholly devoting themselves to subjects that were neither political nor religious was incredibly compelling. In fact, as I immersed myself in this world and really researched and observed the people, I began to see a direct correlation between the growing saturation of media in our society and the growing rate of fandom. As a result, the project became one specifically about Pop Culture media fans. These are the people most individuals think of when the words ‘fan culture’ are brought up. Indeed, they are the comic nerds and the cult film geeks and the dorky toy collectors. But, what most people don’t recognize is that they are also the hip fashionistas and the music officionados and the common brand lovers. This is the point I wanted to communicate with my project, that Pop Culture fans are a broad spectrum of people and we all, even those of us who don’t consider ourselves fans, share one common denominator: the influence of our popular media. Consequently, I wanted to develop an experience that encouraged viewers to identify with fandom. In the end, I did so by creating a uniquely interactive and immersive contemporary anthropological exhibition that invites the viewer to explore the fantasy, fascination and sheer spectacle that is pop culture fandom.   VIEW EXHIBIT VIDEOS HERE.     SUPERLOVESMILE   Category /  Identity, exhibition, print, packaging, etc. Specs  /  Various dimensions Images  /  Photography by Angela DeVille and Brianna Johnson, 3D computer modelling & animation by Arturo Lindbergh, and 2D animation by Brianna Johnson Fonts  /  Baruta & Berthold Akzidenz Grotesque   “What is this so-called ‘fandom’ thing all about?” That was the core question I asked myself when I first began working on Superlovesmile. Fandom (or fan culture) is a phenomenon that, even as its popularity grows and becomes more mainstream, is still rather misunderstood. It is most predominantly viewed as being a just bunch of ‘freaks’ and ‘geeks.’ But, I found the entire notion to be absolutely fascinating. The cultural implications of a group of people wholly devoting themselves to subjects that were neither political nor religious was incredibly compelling. In fact, as I immersed myself in this world and really researched and observed the people, I began to see a direct correlation between the growing saturation of media in our society and the growing rate of fandom. As a result, the project became one specifically about Pop Culture media fans. These are the people most individuals think of when the words ‘fan culture’ are brought up. Indeed, they are the comic nerds and the cult film geeks and the dorky toy collectors. But, what most people don’t recognize is that they are also the hip fashionistas and the music officionados and the common brand lovers. This is the point I wanted to communicate with my project, that Pop Culture fans are a broad spectrum of people and we all, even those of us who don’t consider ourselves fans, share one common denominator: the influence of our popular media. Consequently, I wanted to develop an experience that encouraged viewers to identify with fandom. In the end, I did so by creating a uniquely interactive and immersive contemporary anthropological exhibition that invites the viewer to explore the fantasy, fascination and sheer spectacle that is pop culture fandom.   VIEW EXHIBIT VIDEOS HERE.     SUPERLOVESMILE   Category /  Identity, exhibition, print, packaging, etc. Specs  /  Various dimensions Images  /  Photography by Angela DeVille and Brianna Johnson, 3D computer modelling & animation by Arturo Lindbergh, and 2D animation by Brianna Johnson Fonts  /  Baruta & Berthold Akzidenz Grotesque   “What is this so-called ‘fandom’ thing all about?” That was the core question I asked myself when I first began working on Superlovesmile. Fandom (or fan culture) is a phenomenon that, even as its popularity grows and becomes more mainstream, is still rather misunderstood. It is most predominantly viewed as being a just bunch of ‘freaks’ and ‘geeks.’ But, I found the entire notion to be absolutely fascinating. The cultural implications of a group of people wholly devoting themselves to subjects that were neither political nor religious was incredibly compelling. In fact, as I immersed myself in this world and really researched and observed the people, I began to see a direct correlation between the growing saturation of media in our society and the growing rate of fandom. As a result, the project became one specifically about Pop Culture media fans. These are the people most individuals think of when the words ‘fan culture’ are brought up. Indeed, they are the comic nerds and the cult film geeks and the dorky toy collectors. But, what most people don’t recognize is that they are also the hip fashionistas and the music officionados and the common brand lovers. This is the point I wanted to communicate with my project, that Pop Culture fans are a broad spectrum of people and we all, even those of us who don’t consider ourselves fans, share one common denominator: the influence of our popular media. Consequently, I wanted to develop an experience that encouraged viewers to identify with fandom. In the end, I did so by creating a uniquely interactive and immersive contemporary anthropological exhibition that invites the viewer to explore the fantasy, fascination and sheer spectacle that is pop culture fandom.   VIEW EXHIBIT VIDEOS HERE.     SUPERLOVESMILE   Category /  Identity, exhibition, print, packaging, etc. Specs  /  Various dimensions Images  /  Photography by Angela DeVille and Brianna Johnson, 3D computer modelling & animation by Arturo Lindbergh, and 2D animation by Brianna Johnson Fonts  /  Baruta & Berthold Akzidenz Grotesque   “What is this so-called ‘fandom’ thing all about?” That was the core question I asked myself when I first began working on Superlovesmile. Fandom (or fan culture) is a phenomenon that, even as its popularity grows and becomes more mainstream, is still rather misunderstood. It is most predominantly viewed as being a just bunch of ‘freaks’ and ‘geeks.’ But, I found the entire notion to be absolutely fascinating. The cultural implications of a group of people wholly devoting themselves to subjects that were neither political nor religious was incredibly compelling. In fact, as I immersed myself in this world and really researched and observed the people, I began to see a direct correlation between the growing saturation of media in our society and the growing rate of fandom. As a result, the project became one specifically about Pop Culture media fans. These are the people most individuals think of when the words ‘fan culture’ are brought up. Indeed, they are the comic nerds and the cult film geeks and the dorky toy collectors. But, what most people don’t recognize is that they are also the hip fashionistas and the music officionados and the common brand lovers. This is the point I wanted to communicate with my project, that Pop Culture fans are a broad spectrum of people and we all, even those of us who don’t consider ourselves fans, share one common denominator: the influence of our popular media. Consequently, I wanted to develop an experience that encouraged viewers to identify with fandom. In the end, I did so by creating a uniquely interactive and immersive contemporary anthropological exhibition that invites the viewer to explore the fantasy, fascination and sheer spectacle that is pop culture fandom.   VIEW EXHIBIT VIDEOS HERE.     SUPERLOVESMILE   Category /  Identity, exhibition, print, packaging, etc. Specs  /  Various dimensions Images  /  Photography by Angela DeVille and Brianna Johnson, 3D computer modelling & animation by Arturo Lindbergh, and 2D animation by Brianna Johnson Fonts  /  Baruta & Berthold Akzidenz Grotesque   “What is this so-called ‘fandom’ thing all about?” That was the core question I asked myself when I first began working on Superlovesmile. Fandom (or fan culture) is a phenomenon that, even as its popularity grows and becomes more mainstream, is still rather misunderstood. It is most predominantly viewed as being a just bunch of ‘freaks’ and ‘geeks.’ But, I found the entire notion to be absolutely fascinating. The cultural implications of a group of people wholly devoting themselves to subjects that were neither political nor religious was incredibly compelling. In fact, as I immersed myself in this world and really researched and observed the people, I began to see a direct correlation between the growing saturation of media in our society and the growing rate of fandom. As a result, the project became one specifically about Pop Culture media fans. These are the people most individuals think of when the words ‘fan culture’ are brought up. Indeed, they are the comic nerds and the cult film geeks and the dorky toy collectors. But, what most people don’t recognize is that they are also the hip fashionistas and the music officionados and the common brand lovers. This is the point I wanted to communicate with my project, that Pop Culture fans are a broad spectrum of people and we all, even those of us who don’t consider ourselves fans, share one common denominator: the influence of our popular media. Consequently, I wanted to develop an experience that encouraged viewers to identify with fandom. In the end, I did so by creating a uniquely interactive and immersive contemporary anthropological exhibition that invites the viewer to explore the fantasy, fascination and sheer spectacle that is pop culture fandom.   VIEW EXHIBIT VIDEOS HERE.     SUPERLOVESMILE   Category /  Identity, exhibition, print, packaging, etc. Specs  /  Various dimensions Images  /  Photography by Angela DeVille and Brianna Johnson, 3D computer modelling & animation by Arturo Lindbergh, and 2D animation by Brianna Johnson Fonts  /  Baruta & Berthold Akzidenz Grotesque   “What is this so-called ‘fandom’ thing all about?” That was the core question I asked myself when I first began working on Superlovesmile. Fandom (or fan culture) is a phenomenon that, even as its popularity grows and becomes more mainstream, is still rather misunderstood. It is most predominantly viewed as being a just bunch of ‘freaks’ and ‘geeks.’ But, I found the entire notion to be absolutely fascinating. The cultural implications of a group of people wholly devoting themselves to subjects that were neither political nor religious was incredibly compelling. In fact, as I immersed myself in this world and really researched and observed the people, I began to see a direct correlation between the growing saturation of media in our society and the growing rate of fandom. As a result, the project became one specifically about Pop Culture media fans. These are the people most individuals think of when the words ‘fan culture’ are brought up. Indeed, they are the comic nerds and the cult film geeks and the dorky toy collectors. But, what most people don’t recognize is that they are also the hip fashionistas and the music officionados and the common brand lovers. This is the point I wanted to communicate with my project, that Pop Culture fans are a broad spectrum of people and we all, even those of us who don’t consider ourselves fans, share one common denominator: the influence of our popular media. Consequently, I wanted to develop an experience that encouraged viewers to identify with fandom. In the end, I did so by creating a uniquely interactive and immersive contemporary anthropological exhibition that invites the viewer to explore the fantasy, fascination and sheer spectacle that is pop culture fandom.   VIEW EXHIBIT VIDEOS HERE.     SUPERLOVESMILE   Category /  Identity, exhibition, print, packaging, etc. Specs  /  Various dimensions Images  /  Photography by Angela DeVille and Brianna Johnson, 3D computer modelling & animation by Arturo Lindbergh, and 2D animation by Brianna Johnson Fonts  /  Baruta & Berthold Akzidenz Grotesque   “What is this so-called ‘fandom’ thing all about?” That was the core question I asked myself when I first began working on Superlovesmile. Fandom (or fan culture) is a phenomenon that, even as its popularity grows and becomes more mainstream, is still rather misunderstood. It is most predominantly viewed as being a just bunch of ‘freaks’ and ‘geeks.’ But, I found the entire notion to be absolutely fascinating. The cultural implications of a group of people wholly devoting themselves to subjects that were neither political nor religious was incredibly compelling. In fact, as I immersed myself in this world and really researched and observed the people, I began to see a direct correlation between the growing saturation of media in our society and the growing rate of fandom. As a result, the project became one specifically about Pop Culture media fans. These are the people most individuals think of when the words ‘fan culture’ are brought up. Indeed, they are the comic nerds and the cult film geeks and the dorky toy collectors. But, what most people don’t recognize is that they are also the hip fashionistas and the music officionados and the common brand lovers. This is the point I wanted to communicate with my project, that Pop Culture fans are a broad spectrum of people and we all, even those of us who don’t consider ourselves fans, share one common denominator: the influence of our popular media. Consequently, I wanted to develop an experience that encouraged viewers to identify with fandom. In the end, I did so by creating a uniquely interactive and immersive contemporary anthropological exhibition that invites the viewer to explore the fantasy, fascination and sheer spectacle that is pop culture fandom.   VIEW EXHIBIT VIDEOS HERE.     SUPERLOVESMILE   Category /  Identity, exhibition, print, packaging, etc. Specs  /  Various dimensions Images  /  Photography by Angela DeVille and Brianna Johnson, 3D computer modelling & animation by Arturo Lindbergh, and 2D animation by Brianna Johnson Fonts  /  Baruta & Berthold Akzidenz Grotesque   “What is this so-called ‘fandom’ thing all about?” That was the core question I asked myself when I first began working on Superlovesmile. Fandom (or fan culture) is a phenomenon that, even as its popularity grows and becomes more mainstream, is still rather misunderstood. It is most predominantly viewed as being a just bunch of ‘freaks’ and ‘geeks.’ But, I found the entire notion to be absolutely fascinating. The cultural implications of a group of people wholly devoting themselves to subjects that were neither political nor religious was incredibly compelling. In fact, as I immersed myself in this world and really researched and observed the people, I began to see a direct correlation between the growing saturation of media in our society and the growing rate of fandom. As a result, the project became one specifically about Pop Culture media fans. These are the people most individuals think of when the words ‘fan culture’ are brought up. Indeed, they are the comic nerds and the cult film geeks and the dorky toy collectors. But, what most people don’t recognize is that they are also the hip fashionistas and the music officionados and the common brand lovers. This is the point I wanted to communicate with my project, that Pop Culture fans are a broad spectrum of people and we all, even those of us who don’t consider ourselves fans, share one common denominator: the influence of our popular media. Consequently, I wanted to develop an experience that encouraged viewers to identify with fandom. In the end, I did so by creating a uniquely interactive and immersive contemporary anthropological exhibition that invites the viewer to explore the fantasy, fascination and sheer spectacle that is pop culture fandom.   VIEW EXHIBIT VIDEOS HERE.    

SUPERLOVESMILE

 

Category /  Identity, exhibition, print, packaging, etc.

Specs  /  Various dimensions

Images  /  Photography by Angela DeVille and Brianna Johnson, 3D computer modelling & animation by Arturo Lindbergh, and 2D animation by Brianna Johnson

Fonts  /  Baruta & Berthold Akzidenz Grotesque

 

“What is this so-called ‘fandom’ thing all about?” That was the core question I asked myself when I first began working on Superlovesmile. Fandom (or fan culture) is a phenomenon that, even as its popularity grows and becomes more mainstream, is still rather misunderstood. It is most predominantly viewed as being a just bunch of ‘freaks’ and ‘geeks.’ But, I found the entire notion to be absolutely fascinating. The cultural implications of a group of people wholly devoting themselves to subjects that were neither political nor religious was incredibly compelling. In fact, as I immersed myself in this world and really researched and observed the people, I began to see a direct correlation between the growing saturation of media in our society and the growing rate of fandom. As a result, the project became one specifically about Pop Culture media fans. These are the people most individuals think of when the words ‘fan culture’ are brought up. Indeed, they are the comic nerds and the cult film geeks and the dorky toy collectors. But, what most people don’t recognize is that they are also the hip fashionistas and the music officionados and the common brand lovers. This is the point I wanted to communicate with my project, that Pop Culture fans are a broad spectrum of people and we all, even those of us who don’t consider ourselves fans, share one common denominator: the influence of our popular media. Consequently, I wanted to develop an experience that encouraged viewers to identify with fandom. In the end, I did so by creating a uniquely interactive and immersive contemporary anthropological exhibition that invites the viewer to explore the fantasy, fascination and sheer spectacle that is pop culture fandom.

 

VIEW EXHIBIT VIDEOS HERE.

 

 

#
HANES   Category /  Identity & brand standards Specs  /  8” x 9.5”, 54 pages Images  /  Photography from stock and by Brianna Johnson  Fonts  /  Clarendon & Univers   This was a project in which I chose to completely re-envision an established brand. I chose the undergarment and leisure-wear company, Hanes. Hanes has firmly placed itself in that familiar realm of ‘All-American’ comfort. My goal was to take it out of it’s comfort-zone and make it a desired brand rather than just an old standard. I wanted it to be something that was cool while still being classic. Something that still called out to the long history of the Hanes brand, but also struck a cord with those who follow the current fashion trends. So, I developed a logo that was at once both solid and classic as well as contemporary and chic. Blocky and solid with elements that kept it fresh and fun, I wanted the logo to embody the new direction I was taking the brand. In keeping with the concept, I also created a color palette that was both bold and unusual and a type style that combined a modern typeface with one that had an air of quaintness. With these basic building blocks, I was able to create a whole range of brand elements and extensions, including a store, packaging, website and promotions that were fun and desirable. HANES   Category /  Identity & brand standards Specs  /  8” x 9.5”, 54 pages Images  /  Photography from stock and by Brianna Johnson  Fonts  /  Clarendon & Univers   This was a project in which I chose to completely re-envision an established brand. I chose the undergarment and leisure-wear company, Hanes. Hanes has firmly placed itself in that familiar realm of ‘All-American’ comfort. My goal was to take it out of it’s comfort-zone and make it a desired brand rather than just an old standard. I wanted it to be something that was cool while still being classic. Something that still called out to the long history of the Hanes brand, but also struck a cord with those who follow the current fashion trends. So, I developed a logo that was at once both solid and classic as well as contemporary and chic. Blocky and solid with elements that kept it fresh and fun, I wanted the logo to embody the new direction I was taking the brand. In keeping with the concept, I also created a color palette that was both bold and unusual and a type style that combined a modern typeface with one that had an air of quaintness. With these basic building blocks, I was able to create a whole range of brand elements and extensions, including a store, packaging, website and promotions that were fun and desirable. HANES   Category /  Identity & brand standards Specs  /  8” x 9.5”, 54 pages Images  /  Photography from stock and by Brianna Johnson  Fonts  /  Clarendon & Univers   This was a project in which I chose to completely re-envision an established brand. I chose the undergarment and leisure-wear company, Hanes. Hanes has firmly placed itself in that familiar realm of ‘All-American’ comfort. My goal was to take it out of it’s comfort-zone and make it a desired brand rather than just an old standard. I wanted it to be something that was cool while still being classic. Something that still called out to the long history of the Hanes brand, but also struck a cord with those who follow the current fashion trends. So, I developed a logo that was at once both solid and classic as well as contemporary and chic. Blocky and solid with elements that kept it fresh and fun, I wanted the logo to embody the new direction I was taking the brand. In keeping with the concept, I also created a color palette that was both bold and unusual and a type style that combined a modern typeface with one that had an air of quaintness. With these basic building blocks, I was able to create a whole range of brand elements and extensions, including a store, packaging, website and promotions that were fun and desirable. HANES   Category /  Identity & brand standards Specs  /  8” x 9.5”, 54 pages Images  /  Photography from stock and by Brianna Johnson  Fonts  /  Clarendon & Univers   This was a project in which I chose to completely re-envision an established brand. I chose the undergarment and leisure-wear company, Hanes. Hanes has firmly placed itself in that familiar realm of ‘All-American’ comfort. My goal was to take it out of it’s comfort-zone and make it a desired brand rather than just an old standard. I wanted it to be something that was cool while still being classic. Something that still called out to the long history of the Hanes brand, but also struck a cord with those who follow the current fashion trends. So, I developed a logo that was at once both solid and classic as well as contemporary and chic. Blocky and solid with elements that kept it fresh and fun, I wanted the logo to embody the new direction I was taking the brand. In keeping with the concept, I also created a color palette that was both bold and unusual and a type style that combined a modern typeface with one that had an air of quaintness. With these basic building blocks, I was able to create a whole range of brand elements and extensions, including a store, packaging, website and promotions that were fun and desirable. HANES   Category /  Identity & brand standards Specs  /  8” x 9.5”, 54 pages Images  /  Photography from stock and by Brianna Johnson  Fonts  /  Clarendon & Univers   This was a project in which I chose to completely re-envision an established brand. I chose the undergarment and leisure-wear company, Hanes. Hanes has firmly placed itself in that familiar realm of ‘All-American’ comfort. My goal was to take it out of it’s comfort-zone and make it a desired brand rather than just an old standard. I wanted it to be something that was cool while still being classic. Something that still called out to the long history of the Hanes brand, but also struck a cord with those who follow the current fashion trends. So, I developed a logo that was at once both solid and classic as well as contemporary and chic. Blocky and solid with elements that kept it fresh and fun, I wanted the logo to embody the new direction I was taking the brand. In keeping with the concept, I also created a color palette that was both bold and unusual and a type style that combined a modern typeface with one that had an air of quaintness. With these basic building blocks, I was able to create a whole range of brand elements and extensions, including a store, packaging, website and promotions that were fun and desirable. HANES   Category /  Identity & brand standards Specs  /  8” x 9.5”, 54 pages Images  /  Photography from stock and by Brianna Johnson  Fonts  /  Clarendon & Univers   This was a project in which I chose to completely re-envision an established brand. I chose the undergarment and leisure-wear company, Hanes. Hanes has firmly placed itself in that familiar realm of ‘All-American’ comfort. My goal was to take it out of it’s comfort-zone and make it a desired brand rather than just an old standard. I wanted it to be something that was cool while still being classic. Something that still called out to the long history of the Hanes brand, but also struck a cord with those who follow the current fashion trends. So, I developed a logo that was at once both solid and classic as well as contemporary and chic. Blocky and solid with elements that kept it fresh and fun, I wanted the logo to embody the new direction I was taking the brand. In keeping with the concept, I also created a color palette that was both bold and unusual and a type style that combined a modern typeface with one that had an air of quaintness. With these basic building blocks, I was able to create a whole range of brand elements and extensions, including a store, packaging, website and promotions that were fun and desirable. HANES   Category /  Identity & brand standards Specs  /  8” x 9.5”, 54 pages Images  /  Photography from stock and by Brianna Johnson  Fonts  /  Clarendon & Univers   This was a project in which I chose to completely re-envision an established brand. I chose the undergarment and leisure-wear company, Hanes. Hanes has firmly placed itself in that familiar realm of ‘All-American’ comfort. My goal was to take it out of it’s comfort-zone and make it a desired brand rather than just an old standard. I wanted it to be something that was cool while still being classic. Something that still called out to the long history of the Hanes brand, but also struck a cord with those who follow the current fashion trends. So, I developed a logo that was at once both solid and classic as well as contemporary and chic. Blocky and solid with elements that kept it fresh and fun, I wanted the logo to embody the new direction I was taking the brand. In keeping with the concept, I also created a color palette that was both bold and unusual and a type style that combined a modern typeface with one that had an air of quaintness. With these basic building blocks, I was able to create a whole range of brand elements and extensions, including a store, packaging, website and promotions that were fun and desirable. HANES   Category /  Identity & brand standards Specs  /  8” x 9.5”, 54 pages Images  /  Photography from stock and by Brianna Johnson  Fonts  /  Clarendon & Univers   This was a project in which I chose to completely re-envision an established brand. I chose the undergarment and leisure-wear company, Hanes. Hanes has firmly placed itself in that familiar realm of ‘All-American’ comfort. My goal was to take it out of it’s comfort-zone and make it a desired brand rather than just an old standard. I wanted it to be something that was cool while still being classic. Something that still called out to the long history of the Hanes brand, but also struck a cord with those who follow the current fashion trends. So, I developed a logo that was at once both solid and classic as well as contemporary and chic. Blocky and solid with elements that kept it fresh and fun, I wanted the logo to embody the new direction I was taking the brand. In keeping with the concept, I also created a color palette that was both bold and unusual and a type style that combined a modern typeface with one that had an air of quaintness. With these basic building blocks, I was able to create a whole range of brand elements and extensions, including a store, packaging, website and promotions that were fun and desirable. HANES   Category /  Identity & brand standards Specs  /  8” x 9.5”, 54 pages Images  /  Photography from stock and by Brianna Johnson  Fonts  /  Clarendon & Univers   This was a project in which I chose to completely re-envision an established brand. I chose the undergarment and leisure-wear company, Hanes. Hanes has firmly placed itself in that familiar realm of ‘All-American’ comfort. My goal was to take it out of it’s comfort-zone and make it a desired brand rather than just an old standard. I wanted it to be something that was cool while still being classic. Something that still called out to the long history of the Hanes brand, but also struck a cord with those who follow the current fashion trends. So, I developed a logo that was at once both solid and classic as well as contemporary and chic. Blocky and solid with elements that kept it fresh and fun, I wanted the logo to embody the new direction I was taking the brand. In keeping with the concept, I also created a color palette that was both bold and unusual and a type style that combined a modern typeface with one that had an air of quaintness. With these basic building blocks, I was able to create a whole range of brand elements and extensions, including a store, packaging, website and promotions that were fun and desirable.

HANES

 

Category /  Identity & brand standards

Specs  /  8” x 9.5”, 54 pages

Images  /  Photography from stock and by Brianna Johnson 

Fonts  /  Clarendon & Univers

 

This was a project in which I chose to completely re-envision an established brand. I chose the undergarment and leisure-wear company, Hanes. Hanes has firmly placed itself in that familiar realm of ‘All-American’ comfort. My goal was to take it out of it’s comfort-zone and make it a desired brand rather than just an old standard. I wanted it to be something that was cool while still being classic. Something that still called out to the long history of the Hanes brand, but also struck a cord with those who follow the current fashion trends. So, I developed a logo that was at once both solid and classic as well as contemporary and chic. Blocky and solid with elements that kept it fresh and fun, I wanted the logo to embody the new direction I was taking the brand. In keeping with the concept, I also created a color palette that was both bold and unusual and a type style that combined a modern typeface with one that had an air of quaintness. With these basic building blocks, I was able to create a whole range of brand elements and extensions, including a store, packaging, website and promotions that were fun and desirable.


#
FREE AT LAST   Category /  Poster insert & newspaper packaging Specs  /  14.5” x 24.5” (2 sides) & 1 custom plastic bag Images  /  Historical photography  Fonts  /  American Typewriter, Avant Garde, Bifurk, Bodoni Poster Italic, Braggadocio, Copper Black, Clarendon, Eagle Bold, Helvetica Neue & Strokes   In this project, I re-created Martin Luther King Jr.’s “I Have A Dream” speech for the Martin Luther King Jr. Day edition of the San Francisco Chronicle. The front side of the poster insert is entirely typographic and contains the bulk of the speech’s content. I wanted there to be an ebb and flow, a palpible momentum to its pacing, much like the speech. So, I chose to build the structure of the typography around the spiral of the Golden Mean, working out from the upper middle-right to the bottom and used varying fonts, sizes and weights as I visually called out some of the more impactful parts of the speech. It all builds to the back side which contains the last line of the speech: “Free at last!” and expresses, through misaligned 4-color printing, the beauty of not being all the same color and the freedom of what happens when everything isn’t made to be neatly placed. FREE AT LAST   Category /  Poster insert & newspaper packaging Specs  /  14.5” x 24.5” (2 sides) & 1 custom plastic bag Images  /  Historical photography  Fonts  /  American Typewriter, Avant Garde, Bifurk, Bodoni Poster Italic, Braggadocio, Copper Black, Clarendon, Eagle Bold, Helvetica Neue & Strokes   In this project, I re-created Martin Luther King Jr.’s “I Have A Dream” speech for the Martin Luther King Jr. Day edition of the San Francisco Chronicle. The front side of the poster insert is entirely typographic and contains the bulk of the speech’s content. I wanted there to be an ebb and flow, a palpible momentum to its pacing, much like the speech. So, I chose to build the structure of the typography around the spiral of the Golden Mean, working out from the upper middle-right to the bottom and used varying fonts, sizes and weights as I visually called out some of the more impactful parts of the speech. It all builds to the back side which contains the last line of the speech: “Free at last!” and expresses, through misaligned 4-color printing, the beauty of not being all the same color and the freedom of what happens when everything isn’t made to be neatly placed. FREE AT LAST   Category /  Poster insert & newspaper packaging Specs  /  14.5” x 24.5” (2 sides) & 1 custom plastic bag Images  /  Historical photography  Fonts  /  American Typewriter, Avant Garde, Bifurk, Bodoni Poster Italic, Braggadocio, Copper Black, Clarendon, Eagle Bold, Helvetica Neue & Strokes   In this project, I re-created Martin Luther King Jr.’s “I Have A Dream” speech for the Martin Luther King Jr. Day edition of the San Francisco Chronicle. The front side of the poster insert is entirely typographic and contains the bulk of the speech’s content. I wanted there to be an ebb and flow, a palpible momentum to its pacing, much like the speech. So, I chose to build the structure of the typography around the spiral of the Golden Mean, working out from the upper middle-right to the bottom and used varying fonts, sizes and weights as I visually called out some of the more impactful parts of the speech. It all builds to the back side which contains the last line of the speech: “Free at last!” and expresses, through misaligned 4-color printing, the beauty of not being all the same color and the freedom of what happens when everything isn’t made to be neatly placed. FREE AT LAST   Category /  Poster insert & newspaper packaging Specs  /  14.5” x 24.5” (2 sides) & 1 custom plastic bag Images  /  Historical photography  Fonts  /  American Typewriter, Avant Garde, Bifurk, Bodoni Poster Italic, Braggadocio, Copper Black, Clarendon, Eagle Bold, Helvetica Neue & Strokes   In this project, I re-created Martin Luther King Jr.’s “I Have A Dream” speech for the Martin Luther King Jr. Day edition of the San Francisco Chronicle. The front side of the poster insert is entirely typographic and contains the bulk of the speech’s content. I wanted there to be an ebb and flow, a palpible momentum to its pacing, much like the speech. So, I chose to build the structure of the typography around the spiral of the Golden Mean, working out from the upper middle-right to the bottom and used varying fonts, sizes and weights as I visually called out some of the more impactful parts of the speech. It all builds to the back side which contains the last line of the speech: “Free at last!” and expresses, through misaligned 4-color printing, the beauty of not being all the same color and the freedom of what happens when everything isn’t made to be neatly placed. FREE AT LAST   Category /  Poster insert & newspaper packaging Specs  /  14.5” x 24.5” (2 sides) & 1 custom plastic bag Images  /  Historical photography  Fonts  /  American Typewriter, Avant Garde, Bifurk, Bodoni Poster Italic, Braggadocio, Copper Black, Clarendon, Eagle Bold, Helvetica Neue & Strokes   In this project, I re-created Martin Luther King Jr.’s “I Have A Dream” speech for the Martin Luther King Jr. Day edition of the San Francisco Chronicle. The front side of the poster insert is entirely typographic and contains the bulk of the speech’s content. I wanted there to be an ebb and flow, a palpible momentum to its pacing, much like the speech. So, I chose to build the structure of the typography around the spiral of the Golden Mean, working out from the upper middle-right to the bottom and used varying fonts, sizes and weights as I visually called out some of the more impactful parts of the speech. It all builds to the back side which contains the last line of the speech: “Free at last!” and expresses, through misaligned 4-color printing, the beauty of not being all the same color and the freedom of what happens when everything isn’t made to be neatly placed. FREE AT LAST   Category /  Poster insert & newspaper packaging Specs  /  14.5” x 24.5” (2 sides) & 1 custom plastic bag Images  /  Historical photography  Fonts  /  American Typewriter, Avant Garde, Bifurk, Bodoni Poster Italic, Braggadocio, Copper Black, Clarendon, Eagle Bold, Helvetica Neue & Strokes   In this project, I re-created Martin Luther King Jr.’s “I Have A Dream” speech for the Martin Luther King Jr. Day edition of the San Francisco Chronicle. The front side of the poster insert is entirely typographic and contains the bulk of the speech’s content. I wanted there to be an ebb and flow, a palpible momentum to its pacing, much like the speech. So, I chose to build the structure of the typography around the spiral of the Golden Mean, working out from the upper middle-right to the bottom and used varying fonts, sizes and weights as I visually called out some of the more impactful parts of the speech. It all builds to the back side which contains the last line of the speech: “Free at last!” and expresses, through misaligned 4-color printing, the beauty of not being all the same color and the freedom of what happens when everything isn’t made to be neatly placed. FREE AT LAST   Category /  Poster insert & newspaper packaging Specs  /  14.5” x 24.5” (2 sides) & 1 custom plastic bag Images  /  Historical photography  Fonts  /  American Typewriter, Avant Garde, Bifurk, Bodoni Poster Italic, Braggadocio, Copper Black, Clarendon, Eagle Bold, Helvetica Neue & Strokes   In this project, I re-created Martin Luther King Jr.’s “I Have A Dream” speech for the Martin Luther King Jr. Day edition of the San Francisco Chronicle. The front side of the poster insert is entirely typographic and contains the bulk of the speech’s content. I wanted there to be an ebb and flow, a palpible momentum to its pacing, much like the speech. So, I chose to build the structure of the typography around the spiral of the Golden Mean, working out from the upper middle-right to the bottom and used varying fonts, sizes and weights as I visually called out some of the more impactful parts of the speech. It all builds to the back side which contains the last line of the speech: “Free at last!” and expresses, through misaligned 4-color printing, the beauty of not being all the same color and the freedom of what happens when everything isn’t made to be neatly placed.

FREE AT LAST

 

Category /  Poster insert & newspaper packaging

Specs  /  14.5” x 24.5” (2 sides) & 1 custom plastic bag

Images  /  Historical photography 

Fonts  /  American Typewriter, Avant Garde, Bifurk, Bodoni Poster Italic, Braggadocio, Copper Black, Clarendon, Eagle Bold, Helvetica Neue & Strokes

 

In this project, I re-created Martin Luther King Jr.’s “I Have A Dream” speech for the Martin Luther King Jr. Day edition of the San Francisco Chronicle. The front side of the poster insert is entirely typographic and contains the bulk of the speech’s content. I wanted there to be an ebb and flow, a palpible momentum to its pacing, much like the speech. So, I chose to build the structure of the typography around the spiral of the Golden Mean, working out from the upper middle-right to the bottom and used varying fonts, sizes and weights as I visually called out some of the more impactful parts of the speech. It all builds to the back side which contains the last line of the speech: “Free at last!” and expresses, through misaligned 4-color printing, the beauty of not being all the same color and the freedom of what happens when everything isn’t made to be neatly placed.


#
TUBE   Category /  Book Specs  /  10” x 13”, 32 pages Images  /  Photography by Brianna Johnson Fonts  /  Univers   We watch far too much television here in the United States. In fact, the notion that more people would honestly rather zone out in front of the T.V. than read a good book is staggering. Tube was a conceptual project about this phenomenon. An exploration of typography and experimental design, I wanted the design of this book to satirize America’s addiction to television. With a combination of statistical information graphics, abstracted photography of television screens and cliched promotional T.V. quotes, such as the book’s subtitle, “Stay Tuned,” my goal was to communicate the idea that we, as a people, are turning into a nation of television zombies. Beyond the titling and the quotes, Tube’s typographic style is also very abstracted, both visually and in meaning. Much in the same way that television ads always have huge, in-your-face messages combined with that ever-present ‘fine print’ that no one ever reads, I chose to juxtapose very large type with extremely tiny type. And while it might look like there is nothing to get out of some of the pages, there is always an underlying message coming from each spread. As a result of my experimentation between the balance of literal content and the meaning behind that content, I ended up creating a piece about television’s degradation of intelligence that I feel was really for an intelligent reader. TUBE   Category /  Book Specs  /  10” x 13”, 32 pages Images  /  Photography by Brianna Johnson Fonts  /  Univers   We watch far too much television here in the United States. In fact, the notion that more people would honestly rather zone out in front of the T.V. than read a good book is staggering. Tube was a conceptual project about this phenomenon. An exploration of typography and experimental design, I wanted the design of this book to satirize America’s addiction to television. With a combination of statistical information graphics, abstracted photography of television screens and cliched promotional T.V. quotes, such as the book’s subtitle, “Stay Tuned,” my goal was to communicate the idea that we, as a people, are turning into a nation of television zombies. Beyond the titling and the quotes, Tube’s typographic style is also very abstracted, both visually and in meaning. Much in the same way that television ads always have huge, in-your-face messages combined with that ever-present ‘fine print’ that no one ever reads, I chose to juxtapose very large type with extremely tiny type. And while it might look like there is nothing to get out of some of the pages, there is always an underlying message coming from each spread. As a result of my experimentation between the balance of literal content and the meaning behind that content, I ended up creating a piece about television’s degradation of intelligence that I feel was really for an intelligent reader. TUBE   Category /  Book Specs  /  10” x 13”, 32 pages Images  /  Photography by Brianna Johnson Fonts  /  Univers   We watch far too much television here in the United States. In fact, the notion that more people would honestly rather zone out in front of the T.V. than read a good book is staggering. Tube was a conceptual project about this phenomenon. An exploration of typography and experimental design, I wanted the design of this book to satirize America’s addiction to television. With a combination of statistical information graphics, abstracted photography of television screens and cliched promotional T.V. quotes, such as the book’s subtitle, “Stay Tuned,” my goal was to communicate the idea that we, as a people, are turning into a nation of television zombies. Beyond the titling and the quotes, Tube’s typographic style is also very abstracted, both visually and in meaning. Much in the same way that television ads always have huge, in-your-face messages combined with that ever-present ‘fine print’ that no one ever reads, I chose to juxtapose very large type with extremely tiny type. And while it might look like there is nothing to get out of some of the pages, there is always an underlying message coming from each spread. As a result of my experimentation between the balance of literal content and the meaning behind that content, I ended up creating a piece about television’s degradation of intelligence that I feel was really for an intelligent reader. TUBE   Category /  Book Specs  /  10” x 13”, 32 pages Images  /  Photography by Brianna Johnson Fonts  /  Univers   We watch far too much television here in the United States. In fact, the notion that more people would honestly rather zone out in front of the T.V. than read a good book is staggering. Tube was a conceptual project about this phenomenon. An exploration of typography and experimental design, I wanted the design of this book to satirize America’s addiction to television. With a combination of statistical information graphics, abstracted photography of television screens and cliched promotional T.V. quotes, such as the book’s subtitle, “Stay Tuned,” my goal was to communicate the idea that we, as a people, are turning into a nation of television zombies. Beyond the titling and the quotes, Tube’s typographic style is also very abstracted, both visually and in meaning. Much in the same way that television ads always have huge, in-your-face messages combined with that ever-present ‘fine print’ that no one ever reads, I chose to juxtapose very large type with extremely tiny type. And while it might look like there is nothing to get out of some of the pages, there is always an underlying message coming from each spread. As a result of my experimentation between the balance of literal content and the meaning behind that content, I ended up creating a piece about television’s degradation of intelligence that I feel was really for an intelligent reader. TUBE   Category /  Book Specs  /  10” x 13”, 32 pages Images  /  Photography by Brianna Johnson Fonts  /  Univers   We watch far too much television here in the United States. In fact, the notion that more people would honestly rather zone out in front of the T.V. than read a good book is staggering. Tube was a conceptual project about this phenomenon. An exploration of typography and experimental design, I wanted the design of this book to satirize America’s addiction to television. With a combination of statistical information graphics, abstracted photography of television screens and cliched promotional T.V. quotes, such as the book’s subtitle, “Stay Tuned,” my goal was to communicate the idea that we, as a people, are turning into a nation of television zombies. Beyond the titling and the quotes, Tube’s typographic style is also very abstracted, both visually and in meaning. Much in the same way that television ads always have huge, in-your-face messages combined with that ever-present ‘fine print’ that no one ever reads, I chose to juxtapose very large type with extremely tiny type. And while it might look like there is nothing to get out of some of the pages, there is always an underlying message coming from each spread. As a result of my experimentation between the balance of literal content and the meaning behind that content, I ended up creating a piece about television’s degradation of intelligence that I feel was really for an intelligent reader. TUBE   Category /  Book Specs  /  10” x 13”, 32 pages Images  /  Photography by Brianna Johnson Fonts  /  Univers   We watch far too much television here in the United States. In fact, the notion that more people would honestly rather zone out in front of the T.V. than read a good book is staggering. Tube was a conceptual project about this phenomenon. An exploration of typography and experimental design, I wanted the design of this book to satirize America’s addiction to television. With a combination of statistical information graphics, abstracted photography of television screens and cliched promotional T.V. quotes, such as the book’s subtitle, “Stay Tuned,” my goal was to communicate the idea that we, as a people, are turning into a nation of television zombies. Beyond the titling and the quotes, Tube’s typographic style is also very abstracted, both visually and in meaning. Much in the same way that television ads always have huge, in-your-face messages combined with that ever-present ‘fine print’ that no one ever reads, I chose to juxtapose very large type with extremely tiny type. And while it might look like there is nothing to get out of some of the pages, there is always an underlying message coming from each spread. As a result of my experimentation between the balance of literal content and the meaning behind that content, I ended up creating a piece about television’s degradation of intelligence that I feel was really for an intelligent reader. TUBE   Category /  Book Specs  /  10” x 13”, 32 pages Images  /  Photography by Brianna Johnson Fonts  /  Univers   We watch far too much television here in the United States. In fact, the notion that more people would honestly rather zone out in front of the T.V. than read a good book is staggering. Tube was a conceptual project about this phenomenon. An exploration of typography and experimental design, I wanted the design of this book to satirize America’s addiction to television. With a combination of statistical information graphics, abstracted photography of television screens and cliched promotional T.V. quotes, such as the book’s subtitle, “Stay Tuned,” my goal was to communicate the idea that we, as a people, are turning into a nation of television zombies. Beyond the titling and the quotes, Tube’s typographic style is also very abstracted, both visually and in meaning. Much in the same way that television ads always have huge, in-your-face messages combined with that ever-present ‘fine print’ that no one ever reads, I chose to juxtapose very large type with extremely tiny type. And while it might look like there is nothing to get out of some of the pages, there is always an underlying message coming from each spread. As a result of my experimentation between the balance of literal content and the meaning behind that content, I ended up creating a piece about television’s degradation of intelligence that I feel was really for an intelligent reader. TUBE   Category /  Book Specs  /  10” x 13”, 32 pages Images  /  Photography by Brianna Johnson Fonts  /  Univers   We watch far too much television here in the United States. In fact, the notion that more people would honestly rather zone out in front of the T.V. than read a good book is staggering. Tube was a conceptual project about this phenomenon. An exploration of typography and experimental design, I wanted the design of this book to satirize America’s addiction to television. With a combination of statistical information graphics, abstracted photography of television screens and cliched promotional T.V. quotes, such as the book’s subtitle, “Stay Tuned,” my goal was to communicate the idea that we, as a people, are turning into a nation of television zombies. Beyond the titling and the quotes, Tube’s typographic style is also very abstracted, both visually and in meaning. Much in the same way that television ads always have huge, in-your-face messages combined with that ever-present ‘fine print’ that no one ever reads, I chose to juxtapose very large type with extremely tiny type. And while it might look like there is nothing to get out of some of the pages, there is always an underlying message coming from each spread. As a result of my experimentation between the balance of literal content and the meaning behind that content, I ended up creating a piece about television’s degradation of intelligence that I feel was really for an intelligent reader.

TUBE

 

Category /  Book

Specs  /  10” x 13”, 32 pages

Images  /  Photography by Brianna Johnson

Fonts  /  Univers

 

We watch far too much television here in the United States. In fact, the notion that more people would honestly rather zone out in front of the T.V. than read a good book is staggering. Tube was a conceptual project about this phenomenon. An exploration of typography and experimental design, I wanted the design of this book to satirize America’s addiction to television. With a combination of statistical information graphics, abstracted photography of television screens and cliched promotional T.V. quotes, such as the book’s subtitle, “Stay Tuned,” my goal was to communicate the idea that we, as a people, are turning into a nation of television zombies. Beyond the titling and the quotes, Tube’s typographic style is also very abstracted, both visually and in meaning. Much in the same way that television ads always have huge, in-your-face messages combined with that ever-present ‘fine print’ that no one ever reads, I chose to juxtapose very large type with extremely tiny type. And while it might look like there is nothing to get out of some of the pages, there is always an underlying message coming from each spread. As a result of my experimentation between the balance of literal content and the meaning behind that content, I ended up creating a piece about television’s degradation of intelligence that I feel was really for an intelligent reader.

#
VISCERA: Takashi Miike Fan Film Festival & Convention   Category  /  Identity, catalogue book, poster, tickets, uniforms, souvenirs, etc. Specs  /  Various dimensions Images  /  Photography by Niklas Pearce and Brianna Johnson   Viscera was a project that challenged me to design the identity and collateral for an entire film festival. I was expected not only to come up with a logo, poster and tickets, but also a festival catalog, employee uniforms, a website and collectibles, including a DVD set and souvenirs. And all the items within the project were expected to adhere to the identity I developed for the festival. Though I was personally unfamiliar with his work at the time I began the project, I knew that Miike-san had quite a fan following here in the United States. In fact, it was this that became the basis for my design. I wanted to create a design that these cult film fans would immediately recognize as Miike-esque by drawing direct visual inspiration from the films themselves. The result, much like Miike’s work, is a combination of beauty, horror, black comedy, and ultra-violence. VISCERA: Takashi Miike Fan Film Festival & Convention   Category  /  Identity, catalogue book, poster, tickets, uniforms, souvenirs, etc. Specs  /  Various dimensions Images  /  Photography by Niklas Pearce and Brianna Johnson   Viscera was a project that challenged me to design the identity and collateral for an entire film festival. I was expected not only to come up with a logo, poster and tickets, but also a festival catalog, employee uniforms, a website and collectibles, including a DVD set and souvenirs. And all the items within the project were expected to adhere to the identity I developed for the festival. Though I was personally unfamiliar with his work at the time I began the project, I knew that Miike-san had quite a fan following here in the United States. In fact, it was this that became the basis for my design. I wanted to create a design that these cult film fans would immediately recognize as Miike-esque by drawing direct visual inspiration from the films themselves. The result, much like Miike’s work, is a combination of beauty, horror, black comedy, and ultra-violence. VISCERA: Takashi Miike Fan Film Festival & Convention   Category  /  Identity, catalogue book, poster, tickets, uniforms, souvenirs, etc. Specs  /  Various dimensions Images  /  Photography by Niklas Pearce and Brianna Johnson   Viscera was a project that challenged me to design the identity and collateral for an entire film festival. I was expected not only to come up with a logo, poster and tickets, but also a festival catalog, employee uniforms, a website and collectibles, including a DVD set and souvenirs. And all the items within the project were expected to adhere to the identity I developed for the festival. Though I was personally unfamiliar with his work at the time I began the project, I knew that Miike-san had quite a fan following here in the United States. In fact, it was this that became the basis for my design. I wanted to create a design that these cult film fans would immediately recognize as Miike-esque by drawing direct visual inspiration from the films themselves. The result, much like Miike’s work, is a combination of beauty, horror, black comedy, and ultra-violence. VISCERA: Takashi Miike Fan Film Festival & Convention   Category  /  Identity, catalogue book, poster, tickets, uniforms, souvenirs, etc. Specs  /  Various dimensions Images  /  Photography by Niklas Pearce and Brianna Johnson   Viscera was a project that challenged me to design the identity and collateral for an entire film festival. I was expected not only to come up with a logo, poster and tickets, but also a festival catalog, employee uniforms, a website and collectibles, including a DVD set and souvenirs. And all the items within the project were expected to adhere to the identity I developed for the festival. Though I was personally unfamiliar with his work at the time I began the project, I knew that Miike-san had quite a fan following here in the United States. In fact, it was this that became the basis for my design. I wanted to create a design that these cult film fans would immediately recognize as Miike-esque by drawing direct visual inspiration from the films themselves. The result, much like Miike’s work, is a combination of beauty, horror, black comedy, and ultra-violence. VISCERA: Takashi Miike Fan Film Festival & Convention   Category  /  Identity, catalogue book, poster, tickets, uniforms, souvenirs, etc. Specs  /  Various dimensions Images  /  Photography by Niklas Pearce and Brianna Johnson   Viscera was a project that challenged me to design the identity and collateral for an entire film festival. I was expected not only to come up with a logo, poster and tickets, but also a festival catalog, employee uniforms, a website and collectibles, including a DVD set and souvenirs. And all the items within the project were expected to adhere to the identity I developed for the festival. Though I was personally unfamiliar with his work at the time I began the project, I knew that Miike-san had quite a fan following here in the United States. In fact, it was this that became the basis for my design. I wanted to create a design that these cult film fans would immediately recognize as Miike-esque by drawing direct visual inspiration from the films themselves. The result, much like Miike’s work, is a combination of beauty, horror, black comedy, and ultra-violence. VISCERA: Takashi Miike Fan Film Festival & Convention   Category  /  Identity, catalogue book, poster, tickets, uniforms, souvenirs, etc. Specs  /  Various dimensions Images  /  Photography by Niklas Pearce and Brianna Johnson   Viscera was a project that challenged me to design the identity and collateral for an entire film festival. I was expected not only to come up with a logo, poster and tickets, but also a festival catalog, employee uniforms, a website and collectibles, including a DVD set and souvenirs. And all the items within the project were expected to adhere to the identity I developed for the festival. Though I was personally unfamiliar with his work at the time I began the project, I knew that Miike-san had quite a fan following here in the United States. In fact, it was this that became the basis for my design. I wanted to create a design that these cult film fans would immediately recognize as Miike-esque by drawing direct visual inspiration from the films themselves. The result, much like Miike’s work, is a combination of beauty, horror, black comedy, and ultra-violence. VISCERA: Takashi Miike Fan Film Festival & Convention   Category  /  Identity, catalogue book, poster, tickets, uniforms, souvenirs, etc. Specs  /  Various dimensions Images  /  Photography by Niklas Pearce and Brianna Johnson   Viscera was a project that challenged me to design the identity and collateral for an entire film festival. I was expected not only to come up with a logo, poster and tickets, but also a festival catalog, employee uniforms, a website and collectibles, including a DVD set and souvenirs. And all the items within the project were expected to adhere to the identity I developed for the festival. Though I was personally unfamiliar with his work at the time I began the project, I knew that Miike-san had quite a fan following here in the United States. In fact, it was this that became the basis for my design. I wanted to create a design that these cult film fans would immediately recognize as Miike-esque by drawing direct visual inspiration from the films themselves. The result, much like Miike’s work, is a combination of beauty, horror, black comedy, and ultra-violence. VISCERA: Takashi Miike Fan Film Festival & Convention   Category  /  Identity, catalogue book, poster, tickets, uniforms, souvenirs, etc. Specs  /  Various dimensions Images  /  Photography by Niklas Pearce and Brianna Johnson   Viscera was a project that challenged me to design the identity and collateral for an entire film festival. I was expected not only to come up with a logo, poster and tickets, but also a festival catalog, employee uniforms, a website and collectibles, including a DVD set and souvenirs. And all the items within the project were expected to adhere to the identity I developed for the festival. Though I was personally unfamiliar with his work at the time I began the project, I knew that Miike-san had quite a fan following here in the United States. In fact, it was this that became the basis for my design. I wanted to create a design that these cult film fans would immediately recognize as Miike-esque by drawing direct visual inspiration from the films themselves. The result, much like Miike’s work, is a combination of beauty, horror, black comedy, and ultra-violence.

VISCERA: Takashi Miike Fan Film Festival & Convention

 

Category  /  Identity, catalogue book, poster, tickets, uniforms, souvenirs, etc.

Specs  /  Various dimensions

Images  /  Photography by Niklas Pearce and Brianna Johnson

 

Viscera was a project that challenged me to design the identity and collateral for an entire film festival. I was expected not only to come up with a logo, poster and tickets, but also a festival catalog, employee uniforms, a website and collectibles, including a DVD set and souvenirs. And all the items within the project were expected to adhere to the identity I developed for the festival. Though I was personally unfamiliar with his work at the time I began the project, I knew that Miike-san had quite a fan following here in the United States. In fact, it was this that became the basis for my design. I wanted to create a design that these cult film fans would immediately recognize as Miike-esque by drawing direct visual inspiration from the films themselves. The result, much like Miike’s work, is a combination of beauty, horror, black comedy, and ultra-violence.

#
EPHEMERA   Category  /  Book Specs  /  7” x 7”, 20 pages  Images  /  Illustrations by Brianna Johnson Fonts  /  Poesie Noire & Poplar   Ephemera is hand silkscreened onto newspaper pages and bound in a raw bookboard cover. It is a fine art book created to be just as it’s title suggests, something ephemeral. I knew going into the process that this book was not going to be a lasting piece. The pages weren’t printed on archival quality, acid-free paper and the book is eventually going to rot and fall apart. But, even that unfortunate fact fit into the piece’s concept. I liked the idea that I had created something beautiful on something transitory and knew that even if a viewer enjoyed it, at some point, they would have to throw it away. EPHEMERA   Category  /  Book Specs  /  7” x 7”, 20 pages  Images  /  Illustrations by Brianna Johnson Fonts  /  Poesie Noire & Poplar   Ephemera is hand silkscreened onto newspaper pages and bound in a raw bookboard cover. It is a fine art book created to be just as it’s title suggests, something ephemeral. I knew going into the process that this book was not going to be a lasting piece. The pages weren’t printed on archival quality, acid-free paper and the book is eventually going to rot and fall apart. But, even that unfortunate fact fit into the piece’s concept. I liked the idea that I had created something beautiful on something transitory and knew that even if a viewer enjoyed it, at some point, they would have to throw it away. EPHEMERA   Category  /  Book Specs  /  7” x 7”, 20 pages  Images  /  Illustrations by Brianna Johnson Fonts  /  Poesie Noire & Poplar   Ephemera is hand silkscreened onto newspaper pages and bound in a raw bookboard cover. It is a fine art book created to be just as it’s title suggests, something ephemeral. I knew going into the process that this book was not going to be a lasting piece. The pages weren’t printed on archival quality, acid-free paper and the book is eventually going to rot and fall apart. But, even that unfortunate fact fit into the piece’s concept. I liked the idea that I had created something beautiful on something transitory and knew that even if a viewer enjoyed it, at some point, they would have to throw it away. EPHEMERA   Category  /  Book Specs  /  7” x 7”, 20 pages  Images  /  Illustrations by Brianna Johnson Fonts  /  Poesie Noire & Poplar   Ephemera is hand silkscreened onto newspaper pages and bound in a raw bookboard cover. It is a fine art book created to be just as it’s title suggests, something ephemeral. I knew going into the process that this book was not going to be a lasting piece. The pages weren’t printed on archival quality, acid-free paper and the book is eventually going to rot and fall apart. But, even that unfortunate fact fit into the piece’s concept. I liked the idea that I had created something beautiful on something transitory and knew that even if a viewer enjoyed it, at some point, they would have to throw it away.

EPHEMERA

 

Category  /  Book

Specs  /  7” x 7”, 20 pages 

Images  /  Illustrations by Brianna Johnson

Fonts  /  Poesie Noire & Poplar

 

Ephemera is hand silkscreened onto newspaper pages and bound in a raw bookboard cover. It is a fine art book created to be just as it’s title suggests, something ephemeral. I knew going into the process that this book was not going to be a lasting piece. The pages weren’t printed on archival quality, acid-free paper and the book is eventually going to rot and fall apart. But, even that unfortunate fact fit into the piece’s concept. I liked the idea that I had created something beautiful on something transitory and knew that even if a viewer enjoyed it, at some point, they would have to throw it away.


#
HOW TO AVOID THE BUMMER LIFE   Category /  Book Specs  /  4.5” x 4.5”, 144 pages Images  /  Courtesy of the HOWTOAVOIDTHEBUMMERLIFE.COM blog Fonts  /  Digitally-captured type & Helvetica Neue   For this project, I was asked by Swobo Bicycle’s Tim Parr to create a print artifact for his company’s bicycle and lifestyle weblog, How To Avoid The Bummer Life. After reading through the blog, I decided that in order to maintain its unique voice without imposing my own point of view too heavily upon it, I would literally grab from the source’s digital material and make it print. By taking countless screenshots, I chose a collection of iconic words, images and stories to exemplify just what How To Avoid The Bummer Life is and whom it represents. As to the form of the book, that too was inspired by the blog. Since a weblog is both an interactive and ephemeral experience, I wanted the book to be these things as well. So, I designed the book pages to be removable cards. The cards were made to be torn out and used at the reader’s discretion. Whether as beer coasters, wall art, dog toys or spoke cards, I ultimately wanted the How To Avoid The Bummer Life book to be something that could be used, abused, shared and enjoyed. HOW TO AVOID THE BUMMER LIFE   Category /  Book Specs  /  4.5” x 4.5”, 144 pages Images  /  Courtesy of the HOWTOAVOIDTHEBUMMERLIFE.COM blog Fonts  /  Digitally-captured type & Helvetica Neue   For this project, I was asked by Swobo Bicycle’s Tim Parr to create a print artifact for his company’s bicycle and lifestyle weblog, How To Avoid The Bummer Life. After reading through the blog, I decided that in order to maintain its unique voice without imposing my own point of view too heavily upon it, I would literally grab from the source’s digital material and make it print. By taking countless screenshots, I chose a collection of iconic words, images and stories to exemplify just what How To Avoid The Bummer Life is and whom it represents. As to the form of the book, that too was inspired by the blog. Since a weblog is both an interactive and ephemeral experience, I wanted the book to be these things as well. So, I designed the book pages to be removable cards. The cards were made to be torn out and used at the reader’s discretion. Whether as beer coasters, wall art, dog toys or spoke cards, I ultimately wanted the How To Avoid The Bummer Life book to be something that could be used, abused, shared and enjoyed. HOW TO AVOID THE BUMMER LIFE   Category /  Book Specs  /  4.5” x 4.5”, 144 pages Images  /  Courtesy of the HOWTOAVOIDTHEBUMMERLIFE.COM blog Fonts  /  Digitally-captured type & Helvetica Neue   For this project, I was asked by Swobo Bicycle’s Tim Parr to create a print artifact for his company’s bicycle and lifestyle weblog, How To Avoid The Bummer Life. After reading through the blog, I decided that in order to maintain its unique voice without imposing my own point of view too heavily upon it, I would literally grab from the source’s digital material and make it print. By taking countless screenshots, I chose a collection of iconic words, images and stories to exemplify just what How To Avoid The Bummer Life is and whom it represents. As to the form of the book, that too was inspired by the blog. Since a weblog is both an interactive and ephemeral experience, I wanted the book to be these things as well. So, I designed the book pages to be removable cards. The cards were made to be torn out and used at the reader’s discretion. Whether as beer coasters, wall art, dog toys or spoke cards, I ultimately wanted the How To Avoid The Bummer Life book to be something that could be used, abused, shared and enjoyed. HOW TO AVOID THE BUMMER LIFE   Category /  Book Specs  /  4.5” x 4.5”, 144 pages Images  /  Courtesy of the HOWTOAVOIDTHEBUMMERLIFE.COM blog Fonts  /  Digitally-captured type & Helvetica Neue   For this project, I was asked by Swobo Bicycle’s Tim Parr to create a print artifact for his company’s bicycle and lifestyle weblog, How To Avoid The Bummer Life. After reading through the blog, I decided that in order to maintain its unique voice without imposing my own point of view too heavily upon it, I would literally grab from the source’s digital material and make it print. By taking countless screenshots, I chose a collection of iconic words, images and stories to exemplify just what How To Avoid The Bummer Life is and whom it represents. As to the form of the book, that too was inspired by the blog. Since a weblog is both an interactive and ephemeral experience, I wanted the book to be these things as well. So, I designed the book pages to be removable cards. The cards were made to be torn out and used at the reader’s discretion. Whether as beer coasters, wall art, dog toys or spoke cards, I ultimately wanted the How To Avoid The Bummer Life book to be something that could be used, abused, shared and enjoyed. HOW TO AVOID THE BUMMER LIFE   Category /  Book Specs  /  4.5” x 4.5”, 144 pages Images  /  Courtesy of the HOWTOAVOIDTHEBUMMERLIFE.COM blog Fonts  /  Digitally-captured type & Helvetica Neue   For this project, I was asked by Swobo Bicycle’s Tim Parr to create a print artifact for his company’s bicycle and lifestyle weblog, How To Avoid The Bummer Life. After reading through the blog, I decided that in order to maintain its unique voice without imposing my own point of view too heavily upon it, I would literally grab from the source’s digital material and make it print. By taking countless screenshots, I chose a collection of iconic words, images and stories to exemplify just what How To Avoid The Bummer Life is and whom it represents. As to the form of the book, that too was inspired by the blog. Since a weblog is both an interactive and ephemeral experience, I wanted the book to be these things as well. So, I designed the book pages to be removable cards. The cards were made to be torn out and used at the reader’s discretion. Whether as beer coasters, wall art, dog toys or spoke cards, I ultimately wanted the How To Avoid The Bummer Life book to be something that could be used, abused, shared and enjoyed. HOW TO AVOID THE BUMMER LIFE   Category /  Book Specs  /  4.5” x 4.5”, 144 pages Images  /  Courtesy of the HOWTOAVOIDTHEBUMMERLIFE.COM blog Fonts  /  Digitally-captured type & Helvetica Neue   For this project, I was asked by Swobo Bicycle’s Tim Parr to create a print artifact for his company’s bicycle and lifestyle weblog, How To Avoid The Bummer Life. After reading through the blog, I decided that in order to maintain its unique voice without imposing my own point of view too heavily upon it, I would literally grab from the source’s digital material and make it print. By taking countless screenshots, I chose a collection of iconic words, images and stories to exemplify just what How To Avoid The Bummer Life is and whom it represents. As to the form of the book, that too was inspired by the blog. Since a weblog is both an interactive and ephemeral experience, I wanted the book to be these things as well. So, I designed the book pages to be removable cards. The cards were made to be torn out and used at the reader’s discretion. Whether as beer coasters, wall art, dog toys or spoke cards, I ultimately wanted the How To Avoid The Bummer Life book to be something that could be used, abused, shared and enjoyed. HOW TO AVOID THE BUMMER LIFE   Category /  Book Specs  /  4.5” x 4.5”, 144 pages Images  /  Courtesy of the HOWTOAVOIDTHEBUMMERLIFE.COM blog Fonts  /  Digitally-captured type & Helvetica Neue   For this project, I was asked by Swobo Bicycle’s Tim Parr to create a print artifact for his company’s bicycle and lifestyle weblog, How To Avoid The Bummer Life. After reading through the blog, I decided that in order to maintain its unique voice without imposing my own point of view too heavily upon it, I would literally grab from the source’s digital material and make it print. By taking countless screenshots, I chose a collection of iconic words, images and stories to exemplify just what How To Avoid The Bummer Life is and whom it represents. As to the form of the book, that too was inspired by the blog. Since a weblog is both an interactive and ephemeral experience, I wanted the book to be these things as well. So, I designed the book pages to be removable cards. The cards were made to be torn out and used at the reader’s discretion. Whether as beer coasters, wall art, dog toys or spoke cards, I ultimately wanted the How To Avoid The Bummer Life book to be something that could be used, abused, shared and enjoyed.

HOW TO AVOID THE BUMMER LIFE

 

Category /  Book

Specs  /  4.5” x 4.5”, 144 pages

Images  /  Courtesy of the HOWTOAVOIDTHEBUMMERLIFE.COM blog

Fonts  /  Digitally-captured type & Helvetica Neue

 

For this project, I was asked by Swobo Bicycle’s Tim Parr to create a print artifact for his company’s bicycle and lifestyle weblog, How To Avoid The Bummer Life. After reading through the blog, I decided that in order to maintain its unique voice without imposing my own point of view too heavily upon it, I would literally grab from the source’s digital material and make it print. By taking countless screenshots, I chose a collection of iconic words, images and stories to exemplify just what How To Avoid The Bummer Life is and whom it represents. As to the form of the book, that too was inspired by the blog. Since a weblog is both an interactive and ephemeral experience, I wanted the book to be these things as well. So, I designed the book pages to be removable cards. The cards were made to be torn out and used at the reader’s discretion. Whether as beer coasters, wall art, dog toys or spoke cards, I ultimately wanted the How To Avoid The Bummer Life book to be something that could be used, abused, shared and enjoyed.


#
HOTEL EXPRESSIONISM   Category  /  Poster Specs  /  24” x 18” Images  /  Photography by Brianna Johnson Fonts  /  News Gothic & Helvetica Compressed   Hotel Expressionism is an interesting exploration in non-standard typographic layout. In this project, I was asked to create a poster that represented a song visually, but to do so with minimal the use of a computer. The song I was to represent was “Hotel Expressionism” by the UK-based artist and producer who calls himself The Streets. The method I ended up using to capture the musical essence of the song was to print the copy onto transparent acetate and position the pieces of acetate in a back alleyway with some graffiti elements and then use gritty black and white photography to capture the composition. HOTEL EXPRESSIONISM   Category  /  Poster Specs  /  24” x 18” Images  /  Photography by Brianna Johnson Fonts  /  News Gothic & Helvetica Compressed   Hotel Expressionism is an interesting exploration in non-standard typographic layout. In this project, I was asked to create a poster that represented a song visually, but to do so with minimal the use of a computer. The song I was to represent was “Hotel Expressionism” by the UK-based artist and producer who calls himself The Streets. The method I ended up using to capture the musical essence of the song was to print the copy onto transparent acetate and position the pieces of acetate in a back alleyway with some graffiti elements and then use gritty black and white photography to capture the composition. HOTEL EXPRESSIONISM   Category  /  Poster Specs  /  24” x 18” Images  /  Photography by Brianna Johnson Fonts  /  News Gothic & Helvetica Compressed   Hotel Expressionism is an interesting exploration in non-standard typographic layout. In this project, I was asked to create a poster that represented a song visually, but to do so with minimal the use of a computer. The song I was to represent was “Hotel Expressionism” by the UK-based artist and producer who calls himself The Streets. The method I ended up using to capture the musical essence of the song was to print the copy onto transparent acetate and position the pieces of acetate in a back alleyway with some graffiti elements and then use gritty black and white photography to capture the composition. HOTEL EXPRESSIONISM   Category  /  Poster Specs  /  24” x 18” Images  /  Photography by Brianna Johnson Fonts  /  News Gothic & Helvetica Compressed   Hotel Expressionism is an interesting exploration in non-standard typographic layout. In this project, I was asked to create a poster that represented a song visually, but to do so with minimal the use of a computer. The song I was to represent was “Hotel Expressionism” by the UK-based artist and producer who calls himself The Streets. The method I ended up using to capture the musical essence of the song was to print the copy onto transparent acetate and position the pieces of acetate in a back alleyway with some graffiti elements and then use gritty black and white photography to capture the composition.

HOTEL EXPRESSIONISM

 

Category  /  Poster

Specs  /  24” x 18”

Images  /  Photography by Brianna Johnson

Fonts  /  News Gothic & Helvetica Compressed

 

Hotel Expressionism is an interesting exploration in non-standard typographic layout. In this project, I was asked to create a poster that represented a song visually, but to do so with minimal the use of a computer. The song I was to represent was “Hotel Expressionism” by the UK-based artist and producer who calls himself The Streets. The method I ended up using to capture the musical essence of the song was to print the copy onto transparent acetate and position the pieces of acetate in a back alleyway with some graffiti elements and then use gritty black and white photography to capture the composition.

#