Number One The current identity was not working. While the current logo might have been hot stuff in 1983, the gradient, colors, running figures (equipped with headbands), and even the name were confusing and outdated. The hierarchy of the current identity was leading potential customers away from the store because they assumed it was some sort of medical supply store.

Number Two Not only did the current identity system confuse customers, but it had no connection to Dan’s description of what Medved Running and Walking Outfitters was all about. During our conversation, he emphasizes the store’s family history and the comfortable, non-intimidating atmosphere the store provides customers through friendly, knowledgeable staff. He insisted that customers of all skill levels of all activities (running, swimming, snowshowing, hiking, etc.) can walk through the doors and find exactly what they need, simply because the staff knew exactly what they needed and pays attention to customers of all skill levels. A marathon runner and a grandmother with arch support problems could be shopping side by side and both feel comfortable in the service, merchandise and overall atmosphere. The current identity is not comfortable. It does not appeal to the marathon runner or the grandmother, and that was a problem.

While sketching, I was keeping a few words in mind – family, active, comfortable, modern – to help establish a new look for Medved right from the beginning.

After sketching my initial ideas, two ideas stood out and I began to develop them further on the computer. The first was the negative space found in a standard uppercase, serif M. I wanted to find a mark, a symbol that could eventually stand alone and eliminate the confusion Medved was bringing to the table. I felt this shape was modern, active and sporty. In otherwords I could see it on shirts replacing the Under Armor and Adidas marks or even the Nike swoosh. I continued to develop it with alternate typefaces and even tried using a texture to fill in the shape.

The second idea I pursued was the bear. After researching the meaning of the name, I discovered that Medved is the Ukranian word for bear, and given the family significance of the business felt it was also appropriate.

Still not sure which direction to go, I continued to develop both concepts with a final typeface selection and color choices.

I even went as far as developing business cards for both concepts.

At the same time I was trying to develop a tagline to support each concepts.

The Short List In the Long Run, Here for You, Here for You in the Long Run, Go Outside, Be Outside, Performance.Endurance.Style, Enjoy the Run, Enjoy the Outdoors, Runs in the Family, For Your Outdoor Lifestyle, Be Active, A Good Fit

Taking my concepts and the list of tagline concepts above, I finally made the decision to commit to the concept of comfort and family and felt that the bear fit Medved’s broad customer base much better. In the end I paired it with the tagline Runs in the Family. I also decided that shortening the name from Medved Running and Walking Outfitters to just Medved Outfitters was appropriate. Having made the right decision, I knew it was time to refine the bear because frankly I was tired of people confusing it for a wolf! The end result is the final mark and concept I presented to Dan Medved.

See the Whole System>> Download the Presentation>>

First up, Raw Material, a project inspired by my own interests in textile and pattern design, which specifically showcases how I became interested in that area of design.

For this project, I was partnered with photographer Amy Perazzo and it was our second project together. While brainstorming and concepting with Amy, we originally decided to work a story about digital books and what made reading a real book (complete with paper, glue, and hardcover). We both feel passionately that digital e-readers will never replace the original and wanted to showcase the book in a romantic way, but not an overly obvious way. We wanted to capture the essence of a book without actually photographing one. I don’t know if it was a mid-quarter slump, if we were over-thinking the project, or if we were trying to do the impossible, but we couldn’t translate what we wanted to an actual image, and eventually scrapped the idea all together.

Earlier in our partnership Amy expressed interest in using my own transition from traditional graphic design to textile design as inspiration for an editorial spread. I was hesitant to become the subject matter for my own assignment, but with a deadline fast approaching, we agreed we could make it work without seeming like an ego trip.

So we went to work. First things first, the shot. We wanted to make sure we were portraying sewing, quilting and fabric in a more modern light. We were thinking hipster, DIY-revolution look, instead of your grandmother’s, country interior quilting. We drove to my Mom’s fabric store and settled on the back entrance as a more appropriate setting. It was really cold! Central New York cold! And we had to shovel, or as Amy would put it, style the shot.

And here is a brief version of a contact sheet. To emphasize the hipster vibe we were going for, I even borrowed Amy’s glasses for a few shots.

We chose the bottom right image as our final image, but decided to alter the coloring to portray an old Polaroid, again, steering away from the Grandma version of quilting. Here’s the final image.

Next, I went to work on establishing a design that achieved our goal. There were multiple versions of these first two spreads, some included actual Polaroids, others used typefaces that just didn’t fit.

However, the first milestone in the design process was the way typography was implemented. I just couldn’t find an appropriate typeface that fit what Amy and I were trying to do with this story. So I decided I had to start from scratch, literally create the typeface myself.

Going along with the the theme of sewing, I decided to physically sew the typeface and used the established grid of the magazine as my inspiration. So I printed the grid out to size and taped it to the back of a printed out version of our selected image and used it as the measurement of the face.

The results were awesome! We were both satisfied with the way it turned out, unfortunately my first design did not muster the same sort of enthusiasm during out working critique. In retrospect, I’m embarrassed I put this up on the wall! The spreads did not work together and did not speak together to achieve what we were hoping. You can see for yourself, not a very successful solution.

Back to the drawing board, and this time I was able to let loose and really capture the scrappy, histper, new version of quilting we were hoping for, and the spread ended up being published in Positive Negative.

I learned a lot from this project. Don’t waste time on an idea if it’s not coming together, if you can’t find a typeface that works for you than simply design your own and to let loose a little bit and have fun with what you’ve got!

Sounds like I’ve got the stuff… I just have to find my unique style. I’m still hopeful.

Ps. Lloyd Dobbler is in the corner of the above photo. It’s not just an obscure reference to a fabulous movie.

Typography is a designer’s most valuable tool. We are taught to admire it, notice the details, have a reason for it and most importantly follow the rules. As a recent graduate, I know that typography errors in my work are unacceptable; I will not be hired if I don’t turn my ligatures on, or leave my copy hanging with widows and orphans. Then again, when you do break the rules amazing things can happen!

When I think about graphic design and typography I am reminded of my goals as a graphic designer, communicate the message in a clear interesting way and eliminate visual clutter which does not strengthen the concept or message. But how do I achieve my goals when grammatically correct typography is visual clutter? For example, the colon.

Over the past two years I have come to despise this simple mark of punctuation because often, I feel that typography, along with visual hierarchy, eliminate the need for a colon.

According to Wikipedia the correct usage of a colon “informs the reader that what follows proves and explains, or simply provides elements of, what is referred to before.” A title of a list, for example, would have a colon following it to indicate to a reader that the items underneath belong together under a common goal or subject, ie. Things To Do Today: go to post office, pick up dry cleaning, feed neighbors cat, etc. All of the items following the colon are all things that need to get done today.

BUT since every designer should be equipped with a working knowledge of both typography and the principles of visual hierarchy, then why do colons still appear in headlines of brochures, magazines and other publications? Why not use weights of a typeface to establish visual hierarchy? Or color? Or line breaks? Or indentations? Granted, when colons are used in body copy as a way to establish a short list, or break up the sentence in a grammatically correct way, I have no issue, the headlines and headers with colons are my biggest pet peeves.

Establishing hierarchy through typography was one of my very first lessons in Intro to Typography. The  exercises included establishing hierarchy with line spaces, weight and thresholds.

As I consider my goals as a designer, and one of the very first typographical exercises I completed at RIT, I often wonder why I still see colons in headers and headlines. Yes, most of the time their usage is grammatically correct, but can’t we as designers, break those rules in favor of visual aesthetics and simplicity?

I offer a comparison. Are they necessary? Do they make the message more clear? Doesn’t the typography and hierarchy of the layout replace the need for a colon?

Most recently, my biggest typography pet peeve was placed in my hand at RIT. A promotional item for the new Vignelli Center of Design at RIT.

Why was this chosen as the final design? The interaction between the colon and the tittle of the lowercase i are a visual distraction!

What are your typography pet peeves?

Step 1 Buy a fabulous white dress

Step 2-5 Pick a color, any color… How about Green? Boil water on stove, add dye and dress. Boil for 45 minutes.

Step 6 Drain, rinse and wash in washing machine.

Step 6 Marvel at the results!

AND THEN… GRADUATION. I am no longer a student. I am officially a real person with real responsibility, real bills and some very new future plans.

I am moving to Boston! I am pursuing my first job in a design firm, ad agency or publishing firm. But I am not giving up the dreams of becoming a textile designer! It’s just those “real bills” are keeping me up at night!

The concept behind the series rests on my inability to define myself as a person and as a designer without contradicting myself. Usually a contradiction means opposites, one positive and one negative thing. But I found that I contradict myself in positive ways. The poster itself as an object represents my job search, which has become a search for two very different jobs, both reflected in each poster, a graphic designer and a textile designer.

You can visit the posters in person if you come to the Graphic Design Portfolio Walkthrough on May 13th at RIT in building 7A-3310. You’ll see amazing work from this year’s graduating seniors. Hope to see you there!

When I woke up yesterday morning I knew I was going to be stuck, so I went for a run. It was a beautiful morning to be outside! I focused on breathing and enjoyed the fresh air and sunshine. The 30-minutes I spent outside motivated me for several hours and I crossed something off my list.

The next item on the list was to finish a series of self-promotional pieces. In order to achieve the self-gratifying pleasure of yet another single line through another task accomplished I had two things to do: 1. Design a pattern and 2. Re-write the copy.

I didn’t have time to go for another run; It was late and I was making excuses. Instead of calling it quits, I decided to look in every folder and look at every file on my hard drive. Yikes! That’s a lot of stuff. A lot of bad stuff.

But I did find this: A photo assignment I completed at the University of Rochester, before I knew RIT was my future.

Several things jumped out at me upon rediscovering this forgotten assignment. First and foremost, I saw sewing with paper! I remember making Rolling Stones purses in high school, and I remember the tedious sewing lessons on lined paper, but I had forgotten this moment, when I was using the sewing machine creatively.

I was also looking at patterns and textures, two things I have been focusing on since September and that are inherent to my self promotion concept.

And, perhaps, and yes, I think this is a bit of a stretch… but the Brick? RIT? Brick City? Umm… yeah I just went there.

It is so interesting how ideas from the past, ideas that were not even fully thought out, can become inspiration for the future.

And inspiration isn’t even the right word anymore…

Seeing this image didn’t inspire me, it reassured me. It reminded me that even though the ideas were flowing slowly in that moment, that at least I was in the right place and doing the right thing.

And I was able to go to sleep and sleep peacefully, even without crossing those last two things off my list.