I loved every moment of this project.
During the time I designed for Struck, Nickelodeon asked us to create a style guide for the Teenage Mutant Ninja Turtles Franchise. Nickelodeon’s goal was to redesign the characters, fine-tune the storyline and revitalize the adolescent ninjas for a modern audience.
Specifically, the new Turtles needed to feel urban, Asian inspired, skater-punk and appeal to children and teenagers.
Altogether, the project took almost two years! The final product was a massive book containing hundreds of illustrations, logos, icons, textures, backgrounds and product applications.
To this day, I love visiting Walmart and seeing a king size bed sheet covered by the same illustrated sewage monsters I helped design (I’m still looking for an excuse to buy the children’s Splinter portable potty—maybe one day).
Each year, overly excited Xango enthusiasts from all over the world visit Salt Lake City, Utah and locations throughout Europe to participate in the Xango Annual Convention. Though I contributed to the design and production of three of these events, I contributed the most work to the event I’m showcasing here in my portfolio.
Back in 2008, the sprawling Salt Palace in downtown Salt Lake was covered with these colorful banners, wraps and adhesive graphics. I created the various versions of the logo and program booklets as well as hundreds of other pieces used throughout the convention.
Imagine you’re twenty-three years old; your roommates are out, and you’re all alone at home on a Friday night.
No plans. No dates.
Your phone is the only friend you’ve got.
What do you do? You use Spodit to discover local happenings all over the city. Are you at a party? Take photos, geo tag them and show everyone your fearsome inner party animal.
This app streamlines the complex process of getting legal help after an injury. It adds privacy and security to the process of communicating with your lawyer.
Seth Taylor and I worked collaboratively on this logo. He acted as creative director while I provided most of the project explorations, and we worked closely together on the final typeface.
At first I experimented with the school building, a beautiful example of seventies architecture. Designed by Fetzer & Fetzer (the same architects who designed the original Provo and Ogden LDS temples), the JRCB was dedicated in the summer of 1975 and stands today as one of the most iconic and historically significant structures in the BYU Provo campus. To me, it looked like a big stack of books, and that was the cool, relevant connection I initially explored.
I drew the building from a number of perspectives until I arrived at a final, simplified version of the symbol. (Rodrigo Suárez, a designer friend from Mexico created a concept that we transformed into the symbol that was finally chosen.)
At the end of the process, after the logo was initially approved, an unknown (to us) executive at the BYU branding office ordered that we use the BYU typeface, specifically the dark blue one that appears in the main university logo. I personally disagreed with the decision; I felt the typeface was too heavy and didn’t have the same neo-art deco feeling as the building itself. The blue was just too dark. We pushed back, but the branding office was committed to their decision.
The final logo feels OK, but it didn’t turn out as balanced as I’d envisioned. It looks like a logo designed by a bureaucratic committee.
Since its inception in 1960, Central Utah Clinic had grown significantly. The name and brand no longer represented the organization. EKR was brought on to take the client through our proprietary Brand Effect process to identify and establish a new name and brand for the organization. The engagement included research, analysis and identification of the conceptual brand, as well as design of the visual brand. The result was the complete rebrand of more than 100 clinics in Utah, Nevada and Arizona as Revere Health.
Jared hahne, Matt Millette and I worked on the Visual Identity. I was named the lead designer on the project and I was in charge of polishing and developing the brand assets
I’ve loved this character since I was a kid, and I know I’m not the only one who’s fantasized about crawling up walls and over ceilings (especially when crazy town shows up turns my world inside out). I was thrilled when I found out I was going to work on this project with the guys at Struck in Salt Lake City.
Sony gave me access to raw high resolution images of the character from the movie on a black, flat background. I used those original pictures to create these illustrations and designed them to show the main character in action.
This was . . . so much fun!
Luxury homes. Luxury website. Magleby Construction enlisted EKR to build an engaging website and enhance its online presence. Magleby Construction, recognized by the National Association of Home Builders as Custom Builder of the Year in 2007, is a leading custom home builder. EKR was hired for UX/UI expertise and custom website design and development.
Richard Kimball worked on the UX/ Wireframing stage and I was the lead and main UI designer on the project.
“HZO is an innovative and rapidly growing nanotechnology company offering next-generation solutions that protect electronic devices and components from damage caused by water, other corrosive liquids, humidity, sweat, dust and debris. Learn more about what makes HZO the world leader in liquid protection.” http://www.hazo.com
I created this logo while working at RedOlive. Christopher Grayson, Brad Hoen and I did many explorations. One of my ideas was chosen.
I wanted the logo to feel strong, heavy and safe. The obvious connection with H20 was initially visually challenging, but it was also a very powerful concept. The final logo has a very strong Z letterform created using the negative space between the H and the O that act as a protective device of sorts.
It makes me happy to watch the company grow and use the logo to represent their brand.
It is, in a word, awesome.
“The original luxuries of life, like fire and shoes, were all discovered in a prehistoric age by some guy. No really, his name was Guy. In DreamWorks’ latest animated feature we meet the Croods. This is a family journey of Grug, an overprotective father and Guy, a particularly clever caveboy. With new inventions and a new outlook on life, Earth’s first modern family must overcome uncertainty, danger and doubt to reach a better tomorrow.” (www.struck.com)
The Struck design team was tapped to provide a style guide that looked back on cave illustrations with a limited palette while embracing the adventure of moving from a primitive world to a new one. From rare creatures and rough textures for our boys to bright colors and curious patterns for the girls, the Croods style guide makes a fashion-forward statement out of looking like a Neanderthal.
I created several character illustrations for the DreamWorks The Croods film. The illustrations were based on their original CGI illustrations but made to feel rougher and more energetic. I did this while working at Struck in downtown Salt Lake City.
The illustrations were used on promotional materials for the movie.
Brahma Group, Inc. and Hunt Electric, Inc. are pleased to announce Brahma Hunt, LLC, a joint venture for the engineering, procurement, construction and maintenance (EPCM) of clean, renewable energy projects in the United States.
“Let us not seek the Republican answer or the Democratic answer, but the right answer. Let us not seek to fix the blame for the past – Let us accept our own responsibility for the future.”
Statesmen Pac is a national, nonpartisan organization that finds and supports local leaders willing to represent their respective communities. In 2013, they asked Eli Kirk to create the logo that would represent the mission of the organization.
I experimented with the idea of representing “the people” as “colonies” of ants and bees because, while tiny, they can achieve great things when they work together—the idea turned out fairly well. I also experimented with a map of the USA I shaped to look like a speech bubble (a little cliché, but hey, sometimes clichés work.)
In the end, we went with a simple, flag shaped icon that served as the letterform “E.” The front is strong and militant, giving the brand a local grassroots feel without coming off as too “occupy wall street.” I particularly liked the shorthand of the logo with only the “S PAC” and flag icon.
We discussed color at length because in politics color communicates a lot of meaning. I addressed this concern by creating a color palette that represented the brand without connecting it to any mainstream parties.
Our idea was to design a site that made Craig and his practice feel more approachable. Being injured in a car accident is extremely stressful, and dealing with the insanity of the aftermath (in particular, the insurance companies) is often nightmarish.
All of the site’s photography was retaken—we decided against any retouching. We worked to capture images that communicated a big brother, ready-to-help ambience. The site’s been since redesigned, and I feel that since the redesign it’s lost some of the elegance we created for it. But what can you do?
The leaders in tech support for medium and small size companies, Digity, formerly known as iTok, needed a logo and a brand structure for their re launch.
I designed this logo when I was a senior designer at RedOlive in South Jordan, Utah.
The objectives were to elevate the external brand and marketing materials to align with the current customer experience. The client wanted to be a capable relocation partner who can be a trusted company with exceptional employees and culture.
While working at Struck, I created this book for The Utah Film Commission, (part of the Utah Governor’s Ofﬁce of Economic Development) with the purpose of promoting Utah as a world class location for ﬁlming. Utah has been the backdrop for hundreds of ﬁlms, such as Butch Cassidy and the Sundance Kid, Thelma & Louis, High School Musical, 127 Hours and John Carter. This photo book essay contains beautiful photography of some of the most breath-taking locations where famous movies have been created.
Xango created an employee reward program, designed to make the already ultra fanatic X-people even more excited about the brand? Dangerous.
These are meant to look like low budget rock posters. (Sure hand drawn-hand brushed type is a little bit 1995, but it's fun to do, so I did)
To get into the holiday spirits (way back in 2012), I designed this poster for the Eli Kirkians, displaying their most infamous secrets for the whole world to see, before, you know, we all die a horrible death on December 21, 2012.
We are all still here. Awkward.
Working for Larsen design in Minnesota I created the ﬁrst version of this website (it has changed since). Well, I don't wanna show it, don't ask. This however is the illustration that served as place holder before the website was done. At 15 was a program developed by Best Buy nation wide, to help teenagers get involved in their communities.
Intermountain Health Care in Utah does a big event every summer to promote female health. Sort of a convention about motherhood, health, fashion, speeches from local leaders, etc.
While working at Eli Kirk, I created this brand architecture that is meant to feel early night-summer fun, friendly and very girly.
So, what if you are a high performance athlete (or would like to think you are) and need ultra fast delivery of nutrients to every cell of your body? Easy, you eat one of these Sci Fi/space looking gels. The packaging was created with that concept in mind, ultra fast delivery of the goodies that your system needs.