3D logo

I tried making a 3D logo in illustrator, but had time making it fit into the look of my 2D ads. I ended up going with a simplified 2D logo instead.

Ad revised

design ad

illustration ad

Target Billboard

This Times Square billboard is an ad, art installation, innovative marketing strategy, gimmick, and social statement at all once. It was designed by 4 NY artists (Laurie Rosenwald, Michael Anderson, Josh Goldstein and Charles Wilkin), and will eventually be recycled into tote bags. The distinct sections are all pulled together by their bold use of colors and collage, reference to iconic NYC symbols, and--most importantly--the bullseye logo that has become so instantly recognizable that it renders the word "Target" unnecessary in this context.
Clockwise from left: 1) asymmetric design with figures looking past the edge of the frame to the city. 2) repeating pattern of NYC signs in a triptych format, overlaid with huge spiral logo that ties them together and creates a sense of movement. 3) NYC icons (statue, apple) in a diptych format, silhouetted against undulating blue background. Though the designs are balanced, the repeating logo motif creates a dynamic pattern. 4) use of hand lettering, arrows, and loosely drawn illustrations references graffiti culture, contributes to a more casual, quirky feel.

Fluevog shoes print ad

This ad demonstrates several design themes layered on top of one another. The green background uses a formal gridded structure of repeating silhouettes, spaced at equal frequencies to create visual rhythm. A loosely-illustrated “figure” is layered on top, limbs positioned at angles to create a sense of movement. The shoe itself, positioned carefully to align with the contours of the figure, begins to resemble a torso or dress. The url slashes across the bottom, again adding to the dynamism of the composition and drawing attention to the figure’s foot.

YSL print ad

Playing off the idea of depth and 3 dimensionality, this ad intentionally confuses figure with ground. In most fashion advertisements, the designer’s logo is incorporated into the design at the layout stage. This ad breaks with that convention by photographing the model with a 3D cutout of the logo. The model’s pose subtly mirrors the angles and curves of the YSL letterforms. The photo itself is presented simply, with a white border of equal proportions on each side, in essence creating a window within a window.

Prius online ad

A striking feature of this ad is the stark contrast between the lush greenery of the background and the clean, luminous white of the minimal foreground and figure (the car). The asymmetry creates a dynamic composition that draws the eye from the header to the tree to car, visually connecting these elements. The white, non-serif font contributes to the overall message: friendly, contemporary, natural without being earthy.

New York Taste print ad

This typographic ad succeeds in conveying a lot of information in a limited space without looking too cluttered. The “call to action” information is grouped together on the upper left, clearly called out in high-contrast white and orange font (serif) set against a dark background. The participating restaurants are listed in another font (non-serif) that emulates hand-lettering. The colors and fonts work together to reference the idea of a chalkboard sign. The horizontal and vertical dotted lines draw the whole composition together and create subtly rhythmic visual patterns of varying frequency.