I’m working on digitaly illustrating human figures. What better person to start with then my love Gypso.
BAI Editorial Illustration: A2 – AdWeek
I’m so pleased to have the opportunity to showcase my work on Adweek and alongside other great illustrations. It’s been a pleasure creating visuals to help illustrate complex written concepts.
I just started an editorial illustration class at the Baltimore Academy of Illustration, taught by the renowned illustrator Alex Fine.
Our first assignment was to create an illustration the spoke to the meaning behind an Op-Ed article in the NYT by
Below are two illustrations I submitted as final work.
It’s the new year and a good time to reflect on whats happening in art in design.
You may have noticed that Facebook is testing color status backgrounds. Companies are using more neon colors, desaturated neons and pastels that are often blended together in smooth gradients or are used in photographic duotone effects. This is notable in Spotify’s 2016 rebrand demonstrated by “the colorizer”. This proprietary app (on the fly) converts images to grayscale, allowing manual contrast adjustment and then reworks the source colors from a palette of preselected brand colors. This alternative open source web app demonstrates a similar effect. To achieve the exact same effect as “the colorizer” it takes a few extra steps in Photoshop and/or Indesign. Here’s a cool Photoshop template for building complex blended color gradients. Spotify’s brand color even looks like Pantone’s selection for the 2017 color of the year. The 2016 color of the year and Pantone’s 2016 spring fashion colors also fall into this trends scope of aesthetic.
Neo-Memphis Design is also trending with major brands and design schools publishing content with these distinct patterns. Some say we are copying the 80’s-90’s esthetic. That may be true to an extent with these trends having strong roots in the 80’s and 90’s. As a society who increasingly engages with technology, we are reflecting/re-interpreting technology’s “rise to power” that took place in the late 20th century.
But we are not just influenced by the past, modern graphic identity systems like material design are playing an increasing role on our daily visual stimuli. Looking to the future, design systems in VR hold promise as a whole new set of influence.
What are your thoughts on today’s trends in color, patterns and visual systems? What are we reflecting on and what does this represent culturally?
A typographic exercise reflecting on the 2016 election.
A longstanding client asked me to help him convert a pixel based logo he design to vector based format. Converting this pixel based logo was difficult because of the heavy use of gradation and texture. My solution was to use defuse dither in Photoshop and then import that into Illustrator for auto-trace. This gave me vector gradation with ought having to use a stylized bitmap halftone.
Original Pixel (Raster) logo designed by Michael Owen
Check out this pocket envelope die I made. It can hold content under .25″ thick that is 7″x5″.
A good logo design reads well, looks the same and is effective across many applications. Some applications of the logo will require alterations. For example you can’t place a black logo on a black background. Utilizing wight/black and color, variations of the logo should be created so that when they are all viewed together they read as equals.
W on B
W on C
B on W
B on C
C on W
C on B
C on C (503c compliance requires tonal contrast to be readable)
Its best to keep branding packages as simple as possible unless its necessary to add additional variations to the logo. This sometimes happens to distinguish departmental differences for example. For smaller companies (especially with no internal design team) it’s best to keep the variations at a minimal because it decreases the chances they will be misused. Establishing a guidebook on how to use and not use their logos can help alleviate this problem.