Graphic Designer

ADVERTISING CAMPAIGNStrike Out Lanes

Strike Out Lanes is a local bowling alley and bar located in Wellington, Ohio. The project consisted of taking a business and giving it a new, revamped identity to attract a broader target audience.

Advertising posters for a relaunch were created to draw interest to current and new potential clients.

Check out our fully stocked indoor and outdoor bars, sand volleyball, re pits and more!

ADVERTISING CAMPAIGNStrike Out Lanes

Post cards were also designed to send out as direct mail pieces to advertise the relaunch party to clients.

A new, modernistic web site was developed with easier userbility than the last one. A whole span of merchandise, including uniforms and beverage containers were also created.

ADVERTISING CAMPAIGNStrike Out Lanes

Special Thanks To:

2014marks

the relaunc

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Join us for an exhibition of your local artists decanstruction scultptures. All sculptures are made solely out of aluminum cans!

COLLATERALDecanstruction

The Contemporary Art Museum holds a Decanstuction exhibition each year where proceeds go to charity. Artists create sculptures made solely out of aluminum cans.

Post cards were a huge piece in the promotion of this event.

Join us for an exhibition of your local artists

can scultptures. All sculptures are

made solely out of aluminum cans!

COLLATERALDecanstruction

A poster design was significant to the project to promote the Decanstruction exhibition. The posters intention was to provoke intrigue in the target audience with the visualization of abstract cans and minimal type.

Page 26

Milestones: Rudolf Koch

U&lc, Vol. 14 U&lc, Vol. 14

Milestones:

Rudolf Koch believed that in the creation of a typeface, the work of the type designer and that of the punch cutter were inseparable and of absolute equal value. While an artist and

designer first, Koch yearned to try his hand at punch cutting.

Seven years were necessary, he wrote, before I had the courage to do this, but, with someobvious anxiety Koch began working on Neuland, a typefacecut directly in metalwith virtually no preliminary drawings. When the first proofs were shown to Dr. Klingspor, the owner of the foundry which employed Koch, the immediate response was,abominable, horrible, unbearably ugly!... but by all means go ahead.

By Allen Haley

Page 28

Milestones: Rudolf Koch

U&lc, Vol. 14

To this day, Neuland is not considered a particularlyprac-tical, useful; nor attractive typeface.Dr. Klingspors ini-tial opinion has also been endorsed by a majority of the typophiles who have since critiqued the Neuland type. The obvious question is, Why was Koch encouraged to contin-ue work on the type and why was it eventually released? The answer is that Dr. Klingspor, in addition to being a good businessman, valued artistic expression and was wise enough to know that artists must be allowed the freedom to experimentand (from time to time) to fail. He realized that Koch was a rare blend of artist and craftsman, and that both aspects of his personality required support and encouragement.

Type design was but one of Kochs artistic outlets. In addi-tion, he was a calligrapher, illustrator, poet, and designer of books and tapestries.This small, almost odd-looking man left a very large, and exceptionally beautiful, impression on the early 20th century graphic arts. While the diversity of his output was extensive, encompassing many forms of artistic expression, letters were the unifying theme of all his work. Koch first, and always, considered himself a lettering

artist.

Lettering, he once wrote, gives me the purest and great-est pleasure, and on countless occasions in my life it has been to me what song is to the singer, painting to the paint-er, a cheer to the joyous, and a sigh to the afflicted. To me it is the happiest and most perfect expression of my life.

Throughout history the relatively few special artists who compounded their contribution were those who also were teachers. Koch was such an artist. He once wrote to a friend, I feel sorry for the poor art students...I am certainly no organizer, but if I had a workshop I know that I could help at least help a few of them...To be surrounded by just a few honest and serious students, to be their helper and leader, that would please me...

Koch eventually got his wish. The Offenbach School of Art, near where he worked, provided him with a long, narrow room directly under the school roof. The makeshift class-rooms walls were slanted, and windows (which one had to climb on a table to see out of) were only on one side. The cramped workspace had no stove or other source of heat,

and the attic windows provided little ventilation. As a result, Kochs small band of students sweltered in the summerheat, and were forced to wear heavy clothing to class in the winter. But Koch was satisfiedeven happyteaching in these simple surroundings.

Koch worked his whole life in Germany, during the first part of the century. To some degree this was an unfortunate circumstance for the international graphic communications community. Fraktur, or German gothic types, were the dominant typestyles used in Germany at the time. As a result, much of Kochs creative efforts were directed toward designing those beautiful, but today, little-used styles.

As with most of Kochs work, his Frakturs were not conservative in design; they tended to be explorations of the design envelope.

At the turn of the century German printers, typog-raphers and publishers became dissatisfied with the gothic types that had prevailed since Gutenbergs first work. They had a desire for simpler typemore like the roman designs used in the rest of western Europe.Encouraged by this and influenced by the Jugendstil, or art nouveau, German type designers began to experi-ment with new and simpler letter shapes.

It is interesting that the work of a British designer, William Morris, helped to define this attitude. His Troy type of 1892 was a melding of gothic and roman letterforms. Troy was, at best, a controversial design in Britain. But it did find its way to the United States, when the American Type Founders released their own version of the style, under the name Satanick. The design wasnt very popular in the U.S. either, but it was eventually ordered by a number of German printers,

U&lc, Vol. 14

who began to use the face with zeal. Within a short time Satanick, and various appropriated similar designs, became one of the most used typefaces in Germany.

Much of Kochs work with German gothic letterforms was an exploration of gothic and roman letter shapes based on the foundation laid by Satanick. In fact, the distinctive low-ercase g, which is almost a trademark of Kochs designs, can trace its heritage to the Troy types of William Morris.

His first roman type was released as Koch-Antigua in Germany; throughout the rest of Europe it became known as Locarno, and in the United States it was for some rea-son given the name Eve. Locarno is the name that stuck. The roman was first released in 1922, followed by an italic a year later, and the bold a yearafter that.

As with most of Kochs alphabet designs, the hand of the artist is readily apparent in Locarno. This is clearly a type best suited to display and ephemeral applicationsa type-face of obvious personality. Character strokes, while true to the capabilities of a broad brush, have unusual weight stress. Ascending strokes are quite heavy on top and taper to delicate bases. If anything, this is the very opposite of a normal ascending character stroke. Locarno also has agreat diversity in character proportions. The first appearance of Kochs distinctive lowercase g is also found here.

In a short time, the design began to be used throughout Eu-rope, and continued in use for several years. Its popularity was echoed in America, when ATF released Rivoli, a close copy of Kochs original design.

Now, after several decades of rest, Kochs first roman has been updat-ed and revived by Colin Brignall of Letraset Ltd. Brignalls main objective was to revise some of the characteristics of the original face without losing its distinctive personality. As a result, many subtle, and a few not so subtle, changes were made to the basic design. An increased x-height, improved serif design for digital type setting, and an evening of the capital pro-portions are the most prevalent design modifications. While the original Locarno is no longer offered, this new Letraset design is being made available through a number of type setting equipment suppliers.

One year after the release of Locarno, in 1923,Kochs Neuland was announced. The project was primarily an

experiment on his part; a chance to test, in Kochs words, the ... measure of freedom in the formation of characters which could not have been achieved by any other means. His goal was to create a type through the direct action of the engraving tools on metalwith no preliminary draw-ings or sketches. Koch felt that this method was, (1) truer to the historical method for the way type was produced in the past, and (2) would provide him the opportunity to partici-pate first hand, in the total type design experience.

Virtually no one at the Klingspor type foundry was in favor of his new design. If it were putto avote, Neuland would have never seen the light of day. Artists and company own-ers, however, are not known for democratic attitudes when it comes to their personal preferences, so work proceeded without delay.

It is difficult to determine if Kochs experiment has any practical value; in fact, some type critics would probably compare his effort to the old medical adage, The operation was a success, but the patient died. While Neuland is a ro-bust and distinctive design, it is not especially attractive, nor even very useful. Its realistic applications are quite limited.

And yet, when first released, the type was popular; so much so that a number of competitive foundries felt compelled to copy the design. It even made the transition from metal to phototype in the 1970s.

The design of Kabel was the result of another ex-periment

of sorts. An odd experi-ment for Koch, who prided himself on his calligraphic abil-ity. In his words, The task of creating a type with a pair of compasses and a straight edge, has always attracted me...

In addition to Kochs desire for experimentation, Kabel was created for pragmatic reasons. In this design, Dr. Klingspor played more the role of businessman than art patron.

In the late 1920s every other major German type foundry had either released, or was actively working on, a new kind of sans serif design based on geometric shapes. Ludwig

Virtually no one at the Klingspor

type foundry was in favor of his

new design.

Sing sweetnessto the last palpitation

of the eveningand the breeze.

A magazine spread was required for the magazine U&lc. An existing article from the magazine was chosen to redesign.

A full spread and feature spread were required for the magazine layout. Typesetting was a key component to the design.

PUBLISHINGU&cl Magazine

All proceeds will be going to the Pink

Ribbon Girls!

OCTOBER 27, 2014 ~11 AM - 10 PM6520 Glenway Ave. Cincinnati, Ohio

Join us for $30 breast cancer ribbon tattoos, as well as a raffle and silent auction.

LIVELOUDTATTOO.COM513.574.8287

ADVERTISINGLive Loud Studio

Live Loud Studio holds an annual Breast Cancer Awareness Day, where their clients can come in to get specific tattoos related to breast cancer. All proceeds go towards the Pink Ribbon Girls.

The original poster was bland and outdated. I was approached to give the design a more mature appearance to capture the attention of a broader target audience.

CORPORATE IDENTITYOHIO CONTAINER SERVICES LOGO PRIMARY LOGO

MINIMUM SIZE

PADDING

1 in.The minimum size for the primary logo should never drop below 1 inch in height. The ratio of the secondary logo

should never be changed under any circumstances.

.25 inches

The padding around the primary logo should consist of at least a .25 inch span on all four sides.

FULL COLOR LOGO

BLACK AND WHITE LOGO

The full color, primary logo should be used where possible on all light-colored backgrounds.

LOGO PRIMARY LOGO

The black and white, primary logo should be used on light-colored backgrounds where color is not

necessary or available.

LOGOTYPOGRAPHY

ARIAL REGULAR

Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz

0 1 2 3 4 5 6 7 8 9

ARIAL BOLD

Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz

0 1 2 3 4 5 6 7 8 9

LOGOCOLOR PALETTE

R: 37G: 64B: 143

C: 100%M: 90%Y: 10%K: 0%

R: 255B: 242G: 0

C: 0%M: 0%Y: 100%K: 0%

Ohio Container Services is a brand new company located in Avon Lake that approached me about their branding.

I designed their primary logo, accompanied by a secondary logo for their identity. Specifications were all listed out for the company in an extensive style guide in regards to sizing, padding, color, and typography.

Karl GuentherOwner

1165 Center Rd.Avon Lake, OH 44011

440-343-0131

Karl GuentherOwner

440-343-01311165 Center Rd.

Avon Lake, OH 44011

CORPORATE IDENTITYOHIO CONTAINER SERVICES

The branding also included letterheads, business cards and envelopes for Ohio Container Services.

Soon before opening, the company applied their logos to apparell such as tshirts, sweatshirts and protective gear.

PROCESS PIECE Type Design

Idesigned a full typeface through the process of graph paper and sketches. I started with different variations such as sans serif versus serif and square edges versus round edges.

After deciding on the style, I refined each letter over a multitude of sketches. I then took the sketches to the computer and designed them in Illustrator. At this point, I made words out of the typeface to ensure they coexisted well together.

Freakonomics:A Rogue Economist Explores the Hidden

Side of EverythingStephen J. Dubner and Steven D. Levitt

Harper Perennial

16

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FREAKONOMICS

15

SCHOOLTEACHERS AND SUMO WRESTLERS

CHAPTER ONE What Do Schoolteachers and Sumo

Wrestlers Have in Common?

PUBLISHING Freakonomics

A full chapter spread, chapter open, table of contents, title page, half title page and copyright page were required for the redesign of the book and radio series, Freakonomics.

Typesetting, character styles and paragraph styles were focused on with the use of InDesign.

Monday2 medium, 1 topping pizzas, 5 breadsticks, 5 cinnamon sticks............................$22.00

Tuesday1 large, 2 topping pizza, family tuscani pasta, 5 cinnamon sticks.............................$22.00

Wednesday24 wings, nacho fries, ultimate chocolate cookie.......................................$21.00

Thursday1 large, 2 topping stuffed crust pizza, any single order of flavor sticks, ultimate chocolate chip cookie..................$21.00

Friday1 large specialty pizza, 16 wings, 5 cheese sticks, hot apple pies................................$30.00

Saturday1 large new recipe pizza, ultimate chocolate chip cookie, 2 (1) trip salads................$22.98

SundayAdd 16 wings (any of our 8 bold flavors) to any meal for only....................................$10.00

DINE-IN SPECIALS

A Pizza Hut franchise in Elyria, Ohio has weekly dine-in specials. Their previous dine-in specials menu was a simple piece of computer paper incorporating clip-art into the mix.

The company wanted to incorporate the old style of Pizza Hut into a more modernistic world by using the infamous Pizza Pete. These menus are meant to be used as table tents, so that customers see them immediately after sitting down.

PUBLISHING Pizza Hut

Back CoverFront Cover

TroutMarch 7. . . . . . . . . . . . . . . . . . . . . . . . . 750 lbsMarch 14. . . . . . . . . . . . . . . . . . . . . . . .500 lbsMarch 21. . . . . . . . . . . . . . . . . . . . . . . .500 lbsMarch 28. . . . . . . . . . . . . . . . . . . . . . . .500 lbsOctober 24. . . . . . . . . . . . . . . . . . . . . .500 lbsOctober 31. . . . . . . . . . . . . . . . . . . . . .250 lbsNovember 7. . . . . . . . . . . . . . . . . . . . .250 lbs

Yellow PerchOctober 3. . . . . . . . . . . . . . . . . . . . . . . 300 lbsOctober 10. . . . . . . . . . . . . . . . . . . . . .300 lbsOctober 17. . . . . . . . . . . . . . . . . . . . . .300 lbs

April 11. . . . . . . . . . . . . . . . . . . . . . . . . 500 lbsApril 18. . . . . . . . . . . . . . . . . . . . . . . . . 500 lbsApril 25. . . . . . . . . . . . . . . . . . . . . . . . . 500 lbsMay 2. . . . . . . . . . . . . . . . . . . . . . . . . . . 500 lbsMay 9. . . . . . . . . . . . . . . . . . . . . . . . . . . 500 lbsMay 23. . . . . . . . . . . . . . . . . . . . . . . . . .500 lbsMay 30. . . . . . . . . . . . . . . . . . . . . . . . . .500 lbsJune 6. . . . . . . . . . . . . . . . . . . . . . . . . . .500 lbsJune 13. . . . . . . . . . . . . . . . . . . . . . . . . 500 lbsJune 20. . . . . . . . . . . . . . . . . . . . . . . . . 500 lbsJune 27. . . . . . . . . . . . . . . . . . . . . . . . . 500 lbsJuly 4. . . . . . . . . . . . . . . . . . . . . . . . . . . 500 lbsJuly 11. . . . . . . . . . . . . . . . . . . . . . . . . . 500 lbsJuly 25. . . . . . . . . . . . . . . . . . . . . . . . . . 400 lbsAugust 1. . . . . . . . . . . . . . . . . . . . . . . . 300 lbsAugust 8. . . . . . . . . . . . . . . . . . . . . . . . 300 lbsAugust 15. . . . . . . . . . . . . . . . . . . . . . . 300 lbsAugust 22. . . . . . . . . . . . . . . . . . . . . . . 300 lbsAugust 29. . . . . . . . . . . . . . . . . . . . . . . 500 lbs

LakeIsabella A Great Place

Great Parksof Hamilton County

Plan your family outing today!

Great Parksof Hamilton County

Winton Woods

Lake Isabella

Fernbank Park

Campbell Lakes Preserve

Shawnee Lookout

Sharon Woods

Glenwood Gardens

Mitchell Memorial Forest

Conservation Areas

Miami Whitewater Forest

Otto Armleder Memorial Park & Recreation Complex

Triple Creek

Withrow Nature Preserve

Woodland Mound

Little Miami Golf Center

Farbach-Werner Nature Preserve

Francis RecreAcres

2015 Fish Stocking Schedule

Behind Inside

Lake IsabellaA Great Place

Lake Isabella is a former rock quarry featuring

lake vary depending on the time of year. Lake Isa-

from rental boats that are available on the propery. There is also access to the Little Miami River from the lake.

Electric trolling motors are permitted. Personal watercrafts, such as kayaks and canoes, are not permitted. A full-service boathouse is available.

Interested in getting together for a birthday? Retirement party? Com-pany outing? Beautiful Lake Isabella also pro-vides a reservable Chart Room, Riverside Lodge, and Shady Elm shelter for any group outing.

Picnic areas and play-grounds are available for the little ones and family get togethers.

With something to do for everyone of all ages, why not plan your day trip out to Lake Isabella today?

Pricing:Adults: $10/12 hrs or $16.50/24 hrs

Seniors: $2.50/12 hrs or $25/annual

Children: $1.00/12 hrs or $10/annual

Hamilton County Park District Motor Vehicle Permit: $10/yr or $3.00 daily

*Motor Vehicle Permit required to enter lake

Hours:Open daily; dusk to dawn

A wide selection of bait, tackle, and

Boathouse: 513-791-1663

Address:10174 Loveland-Madeira Road Symmes Township, OH 45140

Take I-275 to the Loveland-Indian Hill exit.

Road about 1,000 feet south of I-275.

For more information please visit our web site at:

www.greatparks.org/parks/lake-isabella

COLLATERAL Lake Isabella

Lake Isabella is located in Hamilton County. It is a site for people of all ages to go and fish, have picnics and enjoy the outdoors.

To start the new year, a brochure was created to advertise what the lake is all about. The brochure comes equipped with information about the pricing, hours, location and even the schedule of fish stocking for the lake.

- Honda Motor Co., LTD. -

FINANCIAL SECTION : FINANCIAL REVIEW Operating and Financial Review

Net Sales and Other Operating Revenue

-

Operating Costs and Expenses

--

4,000

8,000

12,000

Net Sales and Other Operating RevenueYen (billions)

200

400

600

800

Operating IncomeYen (billions)

2012

2013

2014

Net Sales in Comparison from 2013 to 2014 (Yen : Millions)

- Financial Section -

13

Operating Income

--

--

Income before Income Taxes and Equity in Income

Income Tax Expense

-

ANNUAL REPORT Honda Motor Co.

I created a complete annual report for Honda Motor Co., LTD. The annual report includes a front and back cover, table of contents, and all informational pages and sections.

Another element included in the annual report is the use of informational graphics that were designed to illustrate important facts and statistics in a way that fit the theme of the report.

PACKAGE DESIGN The Simpsons

A full DVD design was created, including the outer packaging case and the disk designs.

The Simpsons was the client we designed for. The goal was to create a design for the Complete Ninth Season as well as showcasing that the 200th episode was in the collection.