design portfolio
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John Delane Taylor Graphic Design Portfolio Flagler College St. Augustine, FlTRANSCRIPT
T H E G R A P H I C D E S I G N P O RT F O L I O O F
JOHN DELANE TAYLOR
SOUTHERNMOSTVIDEO ILLUSTRATIONS
MANUFACTURATYPEFACE DESIGN CHALLENGE
SOLOMON’S CYCLESBRANDING,PRINT COLLATERAL, GRAPHICS
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TYCHO - DIVE CD/RECORD ALBUM PACKAGING, POSTER
ANVIL CLOTHINGLOGO, CLOTHING
SKIN AND BONESTYPEFACE DES IGN CHALLENGE
BANDANA SANDWICHLOGO, WEBS ITE , POSTER PROJECT
CEAM | CR ISP -ELLERT ART MUSEUMREBRAND, COLLATERAL
OCCUPYWALLSTREETPOSTER DES IGN
CONTACTCREDITS
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OVERVIEW -
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SOLUTION -
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SOLUTION -
SOLOMON’SCYCLES
OVERVIEW
Solomon’s Cycles is an American motorcycle company
that believes in tradition and travel. Nostalgia is a major
component and influence of Solomon’s Cycles. They are
geared towards rebuilding vintage motorcycles as well as
building their own motorcycles.
CHALLENGE
To create an identity, print collateral, and helmet
graphics for Solomon’s Cycles and give new life to
classic motorcycling while keeping away from stereo-
typical biker ideology.
SOLUTION
Drawing inspiration from motorcycle engines, the logo
was created with a linear look similar to the cylinder
design. The secondary logo is an alternate used for more
simple branding and can be incorporated into metal
stamping on engine components built by Solomon’s
Cycles. Postcards and stamps were created for motorcy-
clists to collect. The helmet graphics were designed for
classic motorcycle helmets to keep the nostalgic theme
together. The color choice is derived from the traditional
American colors: red, white, and blue. However, the
colors were altered to show the affect of aging, loss of pig-
mentation, and to display weather-worn effects usually
found on old, abandoned, or mistreated motorcycles.
8 SOLOMON’S CYCLES / BRANDING, PR INT COLLATERAL , HELMET GRAPHICS
Logo
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Alternate Logo
SOLOMON’S CYCLES / BRANDING, PR INT COLLATERAL , HELMET GRAPHICS
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SOLOMON’S CYCLES / BRANDING, PR INT COLLATERAL , HELMET GRAPHICS
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SOLOMON’S CYCLES / BRANDING, PR INT COLLATERAL , HELMET GRAPHICS
Logo and alternate logo process of creation along with spacing for breathing room when used on print collateral.
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SOLUTION -
SOLOMON’S CYCLES / BRANDING, PR INT COLLATERAL , HELMET GRAPHICS
Solomon’s Cycles main typeface, Helvetica Rounded LT Std and secondary typeface, Helvetica Neue.
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SOLOMON’S CYCLES / BRANDING, PR INT COLLATERAL , HELMET GRAPHICS
16 SOLOMON’S CYCLES / BRANDING, PR INT COLLATERAL , HELMET GRAPHICS
Details of each stamp design.
18 SOLOMON’S CYCLES / BRANDING, PR INT COLLATERAL , HELMET GRAPHICS
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SOLOMON’S CYCLES / BRANDING, PR INT COLLATERAL , HELMET GRAPHICS
20 SOLOMON’S CYCLES / BRANDING, PR INT COLLATERAL , HELMET GRAPHICS
Right view of helmet graphics.
21SOLOMON’S CYCLES / BRANDING, PR INT COLLATERAL , HELMET GRAPHICS
Left view of helmet graphics.
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SOUTHERNMOST
OVERVIEW
Southernmost is a potential documentary about 4 friends
traveling into a vast region of land in South America
called Patagonia. The plan is to survive off of the land for
30 days and to document the environment along with the
challenges of living off of what the land has to offer.
CHALLENGE
Illustrate a visual representation to describe the goals of
the Southernmost trip. This should include easily identi-
fiable and recognizable graphics consisting of imagery as
described throughout the Southernmost teaser.
SOLUTION
By using key words from the video script, imagery was
produced to convey easy identification of what the
narrator speaks of in the Southernmost teaser. Vector
illustrations were created and textured to allow the video
to show through and become part of the graphics. The
graphics are presented in one color with texture to allow
the video to become an extra layer to the graphics.
24 SOUTHERNMOST / V IDEO I L LUSTRAT IONS
Use your mobile device’s QR Code reader to link to the video or visit vimeo.com/32829566
25SOUTHERNMOST / V IDEO I L LUSTRAT IONS
Kickstarter page
26 SOUTHERNMOST / V IDEO I L LUSTRAT IONS
27SOUTHERNMOST / V IDEO I L LUSTRAT IONS
28 SOUTHERNMOST / V IDEO I L LUSTRAT IONS
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30 SOUTHERNMOST / V IDEO I L LUSTRAT IONS
31SOUTHERNMOST / V IDEO I L LUSTRAT IONS
32 SOUTHERNMOST / V IDEO I L LUSTRAT IONS
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34 SOUTHERNMOST / V IDEO I L LUSTRAT IONS
35SOUTHERNMOST / V IDEO I L LUSTRAT IONS
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MANUFACTURATYPEFACE
OVERVIEW -
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OVERVIEW
Manufactura is a modular font that has 3 interchangeable
parts that can be used as stand alone typeface or stacked
together to give variation to the typeface.
CHALLENGE
Design a fully functioning 3 part modular typeface that
can be utilized in several different ways: stacked, high-
lighted, shadowed or framed.
SOLUTION
Starting with inspiration from manufacturing processes
of building structures using a frame, interior, and exterior
pieces, this project presented the challenge of creating a
typeface that can be comparable to similar modular type-
face designs. Color tones derive from iron, steel, wood,
and drywall, all building materials in construction.
38 MANUFACTURA / TYPEFACE DES IGN CHALLENGE
39MANUFACTURA / TYPEFACE DES IGN CHALLENGE
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TYCHO-
D IVE
OVERVIEW
This project includes an original and a remixed album
of Tycho’s newest album, Dive, in both record and cd
format along with a limited edition poster which is
available with the first 1000 copies sold.
CHALLENGE
To create a collectible two piece album and poster set;
one being the newely recorded full length album and the
second, a remixed version of that same album.
SOLUTION
By taking the challenge and executing it literally the
answer was to create an original design combining
water imagery, cool tones, and a sans serif typeface,
Tungsten. The remixed album design is comprised of
similar design aesthetics but also incorporates image
glitching through the use of a hex editor program and
further fine-tuning in Adobe Photoshop.
44 TYCHO - D IVE /CD/RECORD ALBUM PACKAGING, POSTER
Record Packaging Original release of Tycho - Dive.
45TYCHO - D IVE /CD/RECORD ALBUM PACKAGING, POSTER
CD Packaging Original release of Tycho - Dive.
46 TYCHO - D IVE /CD/RECORD ALBUM PACKAGING, POSTER
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How does this work?
When opening an image in a photo program it shows colors
and pixels. When opening that same image in a hex editor
program it shows what the computer reads as the image,
which are numbers and letters. Changing these numbers in
the program results in the actual image changing.
Process
This series of images shows the steps in creating the art-
work on the Tycho - Dive remixed album. After finalizing
the design on the original record and cd releases the image
files were then brought into a hex editor program where
the images’ underlying code was rearranged and edited.
This caused the images to glitch from their original form,
creating an offset and corrupted image which was then
used as a solution for the remixed album artwork.
TYCHO - D IVE /CD/RECORD ALBUM PACKAGING, POSTER
48 TYCHO - D IVE /CD/RECORD ALBUM PACKAGING, POSTER
Record Packaging Remixed release of Tycho - Dive.
49TYCHO - D IVE /CD/RECORD ALBUM PACKAGING, POSTER
CD Packaging Remixed release of Tycho - Dive.
50 TYCHO - D IVE /CD/RECORD ALBUM PACKAGING, POSTER
51TYCHO - D IVE /CD/RECORD ALBUM PACKAGING, POSTER
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ANVILCLOTHING
OVERVIEW
Anvil clothing is a venture company that produces clothing
that pays tribute to the traditional working class in modern
America. A portion of clothing sales are donated to the Artist
Blacksmith’s Association of North America.
CHALLENGE
To create a logo and brand that represents metalsmithing
and its traditional ways. The brand should pay tribute to
traditional handmade products by also hand making the
clothing that it produces and sales.
SOLUTION
Drawing inspiration from traditional metalsmithing,
a common tool of the trade, the anvil, was chosen to
represent the strong, handmade ways that are lost to
mass production clothing companies. The designs
were chosen to represent smiths and their tiresome
repetition, strength, and invested practice of creating.
54 ANVIL CLOTHING / LOGO, CLOTHING
Logo
55ANVIL CLOTHING / LOGO, CLOTHING
Icon
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ANVIL CLOTHING / LOGO, CLOTHING
57ANVIL CLOTHING / LOGO, CLOTHING
58 ANVIL CLOTHING / LOGO, CLOTHING
All clothing and accessories are handmade to ensure that the highest quality possible is upheld and maintains attention to detail down to each and every stitch.
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SKIN & BONES TYPEFACE
OVERVIEW
Skin and bones is a sans serif typeface that includes 4
weight choices that can be used as display text.
CHALLENGE
Design a sans serif font that contains 4 different weights
that takes inspiration from the human body.
SOLUTION
The typeface’s title, Skin and Bones, came simply from
the components of the body. Each weight was named
after body types: Skinny, Thin, Lean, and Bony were
all appropriate choices as the thickness of each weight
increased. Color was derived from skin, bones, veins and
nature.
62 SKIN AND BONES / TYPEFACE DES IGN CHALLENGE
63SKIN AND BONES / TYPEFACE DES IGN CHALLENGE
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BANDANASANDWICH
OVERVIEW
Bandana Sandwich is a venture poster project that was
started in January 2011 with Micheal Howard, a friend
and graphic designer. The concept is that designers sub-
mit designs and if approved the designs are offered for sale
through the Bandana Sandwich store. Bandana Sandwich
poster prints are screen printed by hand and are available
until limited print runs are sold out. Bandana Sandwich
aims at giving back to the design community and allows
designers the option to design, sell, and support other
designers.
CHALLENGE
To build a website that offers a great user-friendly
interface that can easily be updated through a content
management system. The website should facilitate a way
for designers to get involved in the design community.
SOLUTION
The inspiration for this project was drawn from
Threadless.com, a well-known t-shirt company that
receives submitted designs and if approved, prints and
sells those designs. The name is derived from a conver-
sation during an Illustration class at Flagler College. The
home page offers a preview of current available poster
prints. The process page gives step by step instructions
of how you can submit to Bandana Sandwich. The store
page offers posters through a standard 3-column con-
tinuous grid. An external blog is hosted by Tumblr to
present followers with artist interviews, recent print runs,
and inspiration.
68 BANDANA SANDWICH / LOGO, WEBS ITE , POSTER PROJECT
Homepage typographic headline.
69BANDANA SANDWICH / LOGO, WEBS ITE , POSTER PROJECT
Logo
70 BANDANA SANDWICH / LOGO, WEBS ITE , POSTER PROJECT
Home Page
71BANDANA SANDWICH / LOGO, WEBS ITE , POSTER PROJECT
Process Page
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Store Page
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Blog Page
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PROJECTTITLE
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CEAM
OVERVIEW
The Crisp-Ellert Art Museum, more commonly known as
CEAM, is a local museum that showcases artists’ work
from both Flagler College students in addition to well-
known artists from around the world.
CHALLENGE
A redesign of the museum’s identity meant to covey a
more contemporary feel and an approach of forward
thinking. This project includes a logo redesign and print
collateral.
SOLUTION
To obtain a result comparable to the needs of the CEAM
director. Utilizing a bold typographic solution was the
best direction to take. FF DIN, a well-known German
typeface, was chosen to convey a progressive mindset
similar to that of German design. The homonym, CEAM/
seam, was incorporated into the structure of the typeface
used, with the alteration of the letters’ custom round-
ing. Most notably, the letter E was modified to reinforce
the idea of what a seam is and how it is the connection
between two separate things. This correlates with how
The Crisp-Ellert Art Museum is a place for different
people, artists and art-lovers alike, to gather and relate
to each other.
76 CEAM | CR ISP -ELLERT ART MUSEUM / REBRAND, COLLATERAL
Logo
77CEAM | CR ISP -ELLERT ART MUSEUM / REBRAND, COLLATERAL
Alternate Logo
78 CEAM | CR ISP -ELLERT ART MUSEUM / REBRAND, COLLATERAL
The gridded structure surrounding the typeface is to show the spacing that should be given when placing this logo in any context.
FF DIN was the chosen typeface to start from due to the similar ideals presented by the museum.
79CEAM | CR ISP -ELLERT ART MUSEUM / REBRAND, COLLATERAL
Color choice was achieved through participation with Flagler College branding along with the addition of some neutral tones to bring out the subtle space that the CEAM walls offer.
The typeface was chosen because its forward thinking impact is similar to that of the museum director.
80 CEAM | CR ISP -ELLERT ART MUSEUM / REBRAND, COLLATERAL
81CEAM | CR ISP -ELLERT ART MUSEUM / REBRAND, COLLATERAL
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Color variations of the rebrand for the CEAM. The CMYK values can be found on page 11.
CEAM | CR ISP -ELLERT ART MUSEUM / REBRAND, COLLATERAL
83CEAM | CR ISP -ELLERT ART MUSEUM / REBRAND, COLLATERAL
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OCCUPY WALL
STREET
OVERVIEW
OCCUPYWALLSTREET is a recent protest that started
September 17th at Liberty Plaza in Manhattan. Protesters
are against corporate greed, misuse of laws, and govern-
ment monetary decisions along with other issues that
impact today’s society.
CHALLENGE
Develop and distribute a series of posters that create
awareness of the protests that have grown worldwide.
SOLUTION
Three posters were designed using similar design
aesthetics but containing 3 different slogans that are
commonly used during protest marches around New
York City. The poster designs are released through
Creative Commons, which releases copyright laws on
the reproduction of the work. The posters are meant
to be downloaded, printed, and shared from person to
person at OCCUPYWALLSTREET. After designing the
posters I, along with 5 friends, traveled to New York,
New York to learn more about OCCUPYWALLSTREET,
document the event, and contribute our artwork to the
movement.
87OCCUPYWALLSTREET / POSTER DES IGN
89OCCUPYWALLSTREET / POSTER DES IGN
91OCCUPYWALLSTREET / POSTER DES IGN
92 OCCUPYWALLSTREET / POSTER DES IGN
93OCCUPYWALLSTREET / POSTER DES IGN
CREDITS
Photos: John Taylor
Video: Ben Sasso
Copy: John Taylor, Michelle McCallister
Print: PIP Printing, Mimeo
SPECIAL THANKS
Family and friends for the great support.
Luciana Gassett, Russell Maycumber, Diana Lodi, Laura
Mongiovi, Sara Pedigo, Leslie Robison, Chris Smith and
Matt Whitehead for the great time investment in the
Flagler College Art Department.
CONTACT
John Delane Taylor
Graphic Design / Illustration
386 /365/2321
Johndelanetaylor.com
98 PROJECT T I T LE / DESCR IPT ION