Brianna Lewis Graphic Design Senior Portfolio by briannalewis235

I DESIGN to create order out of the world around me and point out the beauty in the seemingly ordinary aspects of life. As a kid I was known for being artistic, colorful, inventive, and analytical, and as I grew older I acquired more technical skill and an increased passion for design. For me, design is a way to combine my orderly, detailed, and mathematical side with my creative and inventive side in order to relate ideas and communicate well with people. I love it when design poses a puzzle to solve, and I aspire to be a designer who solves those puzzles for people in a thoughtful, unique, and bold way. As I look towards the future, I want to use my design skills to make a positive difference in the world, to promote what I believe in, and to open peopleâ&#x20AC;&#x2122;s eyes to the art that surrounds us.

BRIANNA LEWIS

T H E D R I F T W OO D

HANDMADE BY HEROES

LV I V O LY M P I C S

TIMKEN MUSEUM

M A D E B Y N AT U R E

R I C H A R D AV E D O N

P L N U I N T E R N AT I O N A L M I N I S T R I E S

P L N U S E N I O R S H OW

PERSONAL BRAND

T H E DR I F T WO O D F O C U S Editor ial P R O D U C T PLNU Publication, 245 pages

The Driftwood is PLNUâ&#x20AC;&#x2122;s annual student-produced creative ar ts journal. It showcases submissions of poetr y, fiction, creative non-fiction, ar t, photography, music, and film from the campus community. As the layout editor, I worked alongside the two editors-in-chief to come up with a fresh visual theme for this year, then to organize and edit all the pieces. This edition was inspired by Celtic and classic book design in an effor t to revive the strong literar y theme of the Driftwood and communicate its content. Thanks to the hard work of all the editors, we finished the book months ahead of schedule and 450 copies were sold in record time to the campus community in Spring 2017.

BRIANNA LEWIS

H AN DM A D E B Y H E RO E S F O C U S Integr ated Br and Identity Progr am P R O D U C T S Logo, Br and Manual, and Promotional Mater ials

Handmade by Heroes employs U.S. veterans to create handmade paracord products. Iâ&#x20AC;&#x2122;ve designed for HBH for over two and a half years and have developed the brand as the company has grown from selling exclusively at booths and kiosks to now selling through a highly trafficked website and being officially licensed by the NFL, NCAA, MLB, and NHL. In 2016 I helped to rebrand the company with a fresh new logo and new promotional materials. The brand as a whole communicates the patriotism and teamwork that characterize how the company works and the values for which it stands.

BRIANNA LEWIS

Target Market

Minimum Size

All marketing productions should be created with the following Handmade by Heroes main target markets in mind.

To ensure the integrity of the Handmade By Heroes emblem, do not reduce the full emblem width to less than 1 inch or 2.5 cm for print, screen, or special usage.

Military Veterans Those who support military veterans Paracord enthusiasts Sports fans Medical community Survivalists Outdoor recreation

Brand Elements

1 inch or 2.5 cm

Empowering Our Nation 's Vetera ns 10

HBH Brand Manual | 11

Unacceptable Uses

Illustrative Element Library

Clothing

The consistent and correct application of the Handmade by Heroes logo is essential. Always follow the standards presented in these guidelines. The examples on this page illustrate some of the unacceptable uses of the logo.

The elements on this page are examples of HBHâ&#x20AC;&#x2122;s illustrative style. The left page contains icons and the HBH cord. The right page contains photo containers and official sports logos that should only be used with consent. Thin red accent lines of any length can also be used. See previous pages for official colors and fonts.

All HBH Ephemera should follow brand guidelines.

Empowering Our Nation's Veterans

Alter the colors

Tilt the logo

Cover the logo

Add elements

Delete elements

Outline the logo or apply effects

Change the font

Place the full color version over photos

Alter the proportions

Because

SALE

HBH Brand Manual | 21

HBH Brand Manual | 29

BRIANNA LEWIS

eroes.com s.com madebyh ebyheroe handmad Website: hand l: support@ General Emai 8889 9 212Mon-Fri. Phone: 719-2pm MST ngs, CO 8091 operates 10am Drive, Colorado Spri Phone line ess: 5074 List Physical Addr ensure so much to . and sacrificed help give back have given we want to of America roes.com, The Heroes . At HandmadebyHe ord products. made Parac our Freedom of our Hand to make all rans who rans Vete US Vete oyemploy We hire US iding empl com is to byHeroes. But apart from prov ty rtuni made Hand n. us the oppo The goal of much for our Natio working for from so the Veterans help them transition have given jobs aim to give h can can find new ment, we also skills and trades whic , where they ian workforce to learn new into the Civil the Military ed skills. work newly learn skills, we also with their training and where our Veterans ide prov we want to had similar environment Not only do ing a safe and stable r Veterans who have itions towards creat e and be around othesuffer from similar cond d. hom ry and may have serve can feel at in the Milita so many who riment experiences & TBI which affect up and expe such as PTSD us to come the public and to work with to those who can then offer of the business and We encourage uct ideas which we part ans to be prod veter our with new s. We want our supporter for it. not just work for the NFL, ts and key fobs wide range of a Our Produc 550 paracord braceletsWe also offer sed teams. rs, and a wide We offer licen approved NCAA hes, dog colla products for and rds and watc MLB, NHL mize our s, such as lanya lets. We can custo sorie ion. acces nizat medical brace any or orga selection of ly or for your comp you individual itary

Who We Are

NFL

NCAA

Our Staff

is Mark R. Lew n Dana Olso Joe Barela

l Justin Koh Karin White

MLB

NHL

NBA

CEO rations VP of Ope ager General Man ment ness Develop VP of Busi ager Service Man Customer

rt Medical Ale

de Custom Ma

NEEDS Y OU

Our Mission

We hire US Veterans to make all of The goal of our Handmade Handmade Paracord produ byHeroes.com Nation. But cts. apart from is providing empl to employ US Veter the opportuni ans who have oyment, we ty given so much also into the Civili to learn new skills and for our an workforce trades which aim to give the Veterans , where they can help them work Not only do can find new transition from ing for us we want to jobs with their provide traini stable envir the Military newly learn onment wher ng and skills, ed skills. e our Veter had similar we also work towa ans can feel experiences rds creating at home and in the Milita which affect a safe and ry and may be around so many who other Veter suffer from have served. We encourage ans who have similar cond itions those such who work which we can as PTSD & with us to TBI then offer to of the busin the public and come up and experimen ess and not t with to our suppo just work for rters. We want new product ideas it. our veterans to be part Par

tner With

There are nume rous ways to join our family Social Med and make a ia difference in We have a the lives of tremendous our veterans: Corporate Facebook follow (handmade Partner byheroesus ing a), so tell your Join our Corp about us and friend post on our orate Partn let us help ership progr on Twitter, page! We also s promote your Instagram, am are and company, while and help to empl Pinte rest. Referrals oy more veter you ans. Fundraisin Tell your friend g s and comp Need a custo we do. Sign any about what up as a refer m paracord ral partner organizatio receive gift product for Mil n, club, or team and card credit your on our webs candy when your ? Tired , popcorn, of buyin ite referral order Thank you Help to empl candles and cookie doug g s. for being part oy our veter h? ans while helpin your team of our Team or organizatio . Please direc n to fundraise. g t all inquiries to

Mark Lewis

at: mark@ha ndmadebyher oes.com 719. 440.4892

s.com madebyheroe mark@hand com adebyheroes. dana@handm s.com madebyheroe hand gm@ s.com madebyheroe justin@hand yheroes.com andmadeb @h vice customerser

BRIANNA LEWIS

LV I V O LY M P I C S F O C U S Integr ated Br and Identity Progr am P R O D U C T S Logo, Br and Manual, Promotional Mater ials, and Motion Gr aphic Rotoscope

LVIV 2026 LETâ&#x20AC;&#x2122;S MAKE HISTORY

Brand Manual

Lviv was a potential host city for the 2026 Winter Olympics. This project, designed for a branding class, is a full branding system and includes everything from a logo with usage rules to environmental graphics to pictograms to a motion graphic rotoscope that can be viewed at briannalewis.mypor tfolio.com. The aesthetic is inspired by the tradition, history, and ar t of Lviv as well as the city’s energy, hospitality, and Olympic Emblem: Full-color festivity. I drew from geometric Ukrainian fabric patterns and the colors of Ukraine’s flag and crafted a It is strongly recommended The full-color of the or festive logo that resembles a version snowflake firework. The rest that of the visual system took off from there… Olympic Emblem is the primary use of the identity system.

this version be used in branded applications whenever possible.

Olympic Em

When reprod prevent the full-color ver Emblem, use

LVI LET’S

LVIV 2026 LET’S MAKE HISTORY

CONTENTS

Minimum Size To ensure the integrity of the Olympic emblem, do not reduce the full emblem width to less

Brand Vision 5 Olympic Mission and Spirit 6 Inspiration and Concepts 9 Brand Essence and Attributes

Unacceptable Uses than 3/4 inch for print, screen, or special usage, and the Lviv mark to less than 1/4 inch.

The consistent and correct application of the Lviv 2026 Olympic logo is essential. Always follow the standards presented

in these guidelines. The examples on this page illustrate some of the unacceptable uses of the logo.

LVIV 2026

Brand Elements 12 13 14 17 18 19 20 21

Olympic Mark Olympic Rings Olympic Slogan Secondary Marks Olympic Emblem: Full-color Olympic Emblem: One-color Minimum Size Unacceptable Uses

LET’S MAKE HISTORY

Alter the proportions

Alter the colors

6 202 L V I VMAK E HISTO RY LET’S

Brand Aspects 24 25 26 29 30 32

Primary Color Palette Secondary Color Palette

LET’S MAKE HISTORY

Typography Image Library

3/4 inch

Illustrative Element Library

Welcome

LVIV 2026 LET’S MAKE HISTORY

Pictograms

Brand Applications 37 39 40 43 44 46

Tilt the logo

LVIV 2026

Business Stationery Environmental Signage

1/4 inch

Ephemera and Packaging

Athletes LVIV 2026

LVIV 2026

LET’S MAKE HISTORY

Cover the logo

Add or delete elements

Print Website Contact Information

Rearrange the elements

LVIV 2026 / Olympic Brand Manual 21

Image Library A carefully managed approach to selecting photography will distinguish the Lviv Olympic brand and create a lasting impression. There are two general photographic categories for image selection: environments and people.

Illustrative Element Library Illustrative elements are drawn from the Lviv 2026 Olympic emblem to create a consistent aesthetic for the brand and all of its applications. The main illustrative element is the yellow diamond, which can also be

cut in half as a yellow triangle. Elements should remain either in their original colors or in white in special cases, such as when placed over photographic images. Elements should not be distorted in any way.

LVIV 2026 / Olympic Brand Manual 31

Using images from these categories can help support the Olympic brand story. It is important to select imagery that is light, colorful, vibrant, celebratory, friendly, and welcoming.

LVIV 2026 / Olympic Brand Manual 29

Olympic Primary Brand Identity Elements | Ph. I Your Name

LVIV 2026 LVIV 2026 LVIV 2026 LVIV 2026 LVIV 2026

| date

Typographic Studies

Lviv 2026 Lviv 2026 LVIV 2026 LVIV 2026 LVIV 2026 LVIV 2026 Lviv 2026 Lviv 2026 LVIV 2026 LVIV 2026 LVIV 2026 Lviv 2026

Lviv 2026

Lviv 2026 LVIV 2026

Lviv 2026 LVIV 2026 LVIV 2026 LVIV 2026

PROC DES I

LVIV

2026

HISTORY

3, LVIV, UKRAINE, 79000

SIT WWW.LVIV2026.COM

LVIV 2026 Halytska square , 3, lviv , ukraine , 79000

www . lviv 2026. com

LVIV 2026

LVIV 2026 H alytska square , 3, lviv , ukraine , 79000

2026

www . lviv 2026. com

HISTORY

3, LVIV, UKRAINE, 79000

SIT WWW.LVIV2026.COM

VIV 2026

LVIV 2026

L V I V

2 0 2 6

LVIV 2026 LVIV 2026 H alytska square , 3, lviv , ukraine , 79000

LVIV 2026

H alytska square , 3, lviv , ukraine , 79000

www . lviv 2026. com

LVIV 2026

LVIV 2026 LVIV 2026 H alytska square , 3, lviv , ukraine , 79000

H alytska square , 3, lviv , ukraine , 79000

LVIV 2026

Lviv 2026 LVIV 2026

www . lviv 2026. com

LVIV 2026 Let’s make history.

LVIV 2026

Lviv 20

Lviv 2026

LVIV 202

Lviv 202

LVIV 202

LV I V 2 0 2 6

Lviv 2026

CESS GNS

Lviv 2026

LVIV 2026

LVIV 2026 LVIV 2026

LVIV 2026 Brianna Lewis | Olympic Brand Identity Program | Ph. II

Lviv 2026

| Date 11/2/2015

Art 333 | Branding/Identity Programs

Logo

Logotype

Signature

Photographic Style Elements

LV I V 2 0 2 6 LVIV 2026

LV I V 2 0 2 6

LVIV 2026

LET’S MAKE HISTORY

Variations

LV IV 2026

LVIV 2026

H alytska s quare , 3 , lviv , ukraine , 79000 www . lviv 2026 . com info @ lviv 2026 . com

Environmental Signage

Typography

LVIV 2026

Century Gothic Bold

ABCDEFGHIJKLMNOPQRSTUVWXYZ 1234567890

Century Gothic Regular

abcdefghijklmnopqrstuvwxyz 1234567890 .,?!-$

Let’s make history.

LET’S MAKE HISTORY.

LVIV 2026

Color Secondary

Primary Halytska square, 3 lviv, ukraine, 79000

LVIV 2026

CMYK 85-43-6-0

1-19-99-0

CMYK 85-43-6-0

1-19-99-0

0-0-0-100

82-3-98-0

1-99-89-0

www.lviv2026.com info@lviv2026.com

Pictograms

LVIV 2026 LVIV 2026

Ephemera/Packaging

Illustrative Style Elements

Environmental Sig

Signage helps peop navigate, and unde environments. All sig utilize the Olympic e

Ephemera and Packaging Ephemera helps people identify and experience the Lviv Olympic brand story. All ephemera will utilize the Olympic emblem or secondary

marks, as well as supporting photographic and illustrative imagery. Any text used should be in Century Gothic typeface.

L U G E

marks typefa photo image of pro sporti

Print communications inform and identify the Lviv Olympic brand story in a clear and engaging way. All print communications will utilize the Olympic emblem, secondary

B I A T H L O N

Print Print communications inform and identify the Lviv Olympic brand story in a clear and engaging way. All print S P E E D communications S K A T I will N utilize G the Olympic emblem, secondary

S N O W B O A R D I N G LV I V 2 0 2 6

LV I V 2 0 2 6

L E T ’S M A K E H I S TO RY

marks, and titles Cen typeface, as well as su photographic and illu imagery. Below are ex of program covers for L U G sporting events.

L E T ’S M A K E H I S TO RY

LVIV 2026 / Olympic Brand Manual 43

S N O W B O A R D I N G

S P E E D

S K A T I N G

LV I V 2 0 2 6

V 2026

L U G E LV I V 2 0 2 6

L E T ’S MA K E H I S TO RY

MA K E H I S TO RY

L E T ’S MA K E H I S TO RY

S K I

Print communications inform and identify the Lviv Olympic brand story in a clear and engaging way. All print communications will utilize the J U M P I N G Olympic emblem, secondary LV I V 2 0 2 6 L E T ’S MA K E H I S TO RY

P E E D

S K A T I N G LV I V 2 0 2 6

marks, and titles Century Gothic typeface, as well as supporting photographic and illustrative imagery. Below are examples for R various S of N program O W Bcovers O A D I N G sporting events.

S P E E D

S K A

LV I V 2 0 2 6

L U G E

LV I V 2 0 2 6 L E T ’S MA K E H I S TO RY

L E T ’S MA K E H I S TO RY

LV I V 2 0 L E T ’S MA K E H

L E T ’S MA K E H I S TO RY

B I A T H L O N

LV I V 2 0 2 6 L E T ’S MA K E H I S TO RY

LV I V 2 0 2 6 L E T ’S M A K E H I S TO RY

s, and titles Century Gothic ace, as well as supporting ographic and illustrative ery. Below are examples ogram covers for various ing events.

ntury Gothic upporting ustrative xamples r various E

B I A T H L O N

Print Print communications inform and identify the Lviv Olympic brand story in a clear and engaging way. All print communications willButilize I A the T Olympic emblem, secondary LV I V 2 0 2 6 L E T ’S MA K E H I S TO RY

H L

marks, and titles Century Gothic typeface, as well as supporting photographic and illustrative imagery. Below are examples OofNprogram covers for various sporting events. LV I V 2 0 2 6 L E T ’S MA K E H I S TO RY

LVIV 2026 / Olympic Brand Manual 43

T I N G

026

L U G E

B I A T H L O N

LV I V 2 0 2 6

I S TO RY

L E T ’S MA K E H I S TO RY

LVIV 2026 / Olympic Brand Manual 43

LV I V 2 0 2 6 L E T ’S MA K E H I S TO RY

LV I V 2 0 2 6 L E T ’S M A K E H I S TO RY

LVIV 2026 / Olympic Brand Manual 43

T IMK EN M U S E U M F O C U S Editor ial P R O D U C T Museum Catalog, 24 pages

The Timken Museum of Ar t is a fine art museum in Balboa Park. Known as San Diego’s “jewel box” of fine ar t, it houses a small collection of European, American, and Russian masterpieces. This publication is a potential visitor catalog for the museum, designed in a typography class at PLNU. My process involved visiting the museum to photograph the environment (all photos in the catalog are my own except the photos of the ar twork pieces on the collection pages), then creating a cohesive publication that presents the information clearly and takes the reader on a journey through the museum and its various collections.

BRIANNA LEWIS

M AD E B Y NAT U R E F O C U S Photogr aphy P R O D U C T Image Collection, 12 photos

I studied abroad in Florence, Italy in the spring of my junior year. While there, I took a photography class that greatly enriched my experience of the cityâ&#x20AC;&#x2122;s breathtaking architecture, ar t, and culture. For my final project, I was inspired by the beauty of the fresh vegetables I bought regularly at the local market, as well as by the work of food photographer Francesco Tonelli. My goal was to capture the spectacular intricacy of these seemingly simple products of nature and to celebrate the details that often go unnoticed.

R IC H A R D AVE D O N F O C U S Typogr aphy P R O D U C T S Poster Ser ies and Motion Gr aphic

Richard Avedon is one of America’s most celebrated fashion and por trait photographers. He played a huge role in defining American culture and style during the second half of the twentieth century, and his work is still exhibited in many museums today. One of these museums is the Museum of Modern Ar t, which is the “client” that these posters were designed for in a typography class at Point Loma. Since Avedon is known for his photography, these designs are photo-based but also use typography as a strong visual and creative element. In addition, while taking a web design class I brought one of the posters to life as a motion graphic that can be viewed at briannalewis.mypor tfolio.com.

BRIANNA LEWIS

N R

E R

E T

Richard Avedon Retrospective

During his six-decade career, Richard Avedon was arguably the most important American fashion photographer and portraitist. Whether photographing politicians, artists, writers, fashion models, or movie stars, Richard Avedon revolutionized the genre of portraiture. He rejected conventional stiff-andstaid poses and instead captured both motion and emotion in the faces of his subjects, often encapsulating their intrigue in a single charged moment. Richard Avedon: Retrospective traces Avedon’s interest in and fascination with American politics through 200 portraits created from the 1950s until the photographer’s death in 2004. Avedon mastered his craft while serving in the Merchant Marines during World War II, and he found employment after the war with Harper’s Bazaar and Theater Arts. He quickly rose to prominence in his field, invigorating fashion photography of the time by staging fictional tableaux and developing an unprecedented theatrical style. He moved to Vogue in 1966 and to The New Yorker in 1992, and he continued to be an innovator in fashion photography and portraiture, as well as print and television advertising, until his death in 2004.

MoMA July 06, 2015 through November 06, 2015

MOMA is proud to be the only U.S. venue for this retrospective that spans the artist’s remarkable career. Featuring nearly 200 photographs along with a selection of vintage magazines, the exhibition presents work ranging from Avedon’s earliest street scenes to his breakthrough 1950s Paris fashion pictures and the iconic celebrity portraits that brought him world renown. This in-depth retrospective reveals Avedon’s singular ability to blur the lines between photojournalism, fashion photography, and fine art.

www.moma.org 11 West 53 Street, New York, NY 10019

Organized by the Corcoran Gallery of Art, Washington, D.C., with the cooperation of the Richard Avedon Foundation, New York, and the Fraenkel Gallery, San Francisco, Richard Avedon: Retrospective contains many rarely seen photographs drawn from the collection of the Richard Avedon Foundation, including works that have never before been exhibited or published.

Richard Avedon: Retrospective MoMA: July 06, 2015 through November 06, 2015 1 1 W e s t 5 3 S t r e e t , N e w Yo r k , N Y 1 0 0 1 9

MoMA

Richard Avedon: Retrospective

11 West 53 Street, New York, NY 10019

July 06, 2015 through November 06, 2015 11 West 53 Street, New York, NY 10019

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Avedon mastered his craft while serving in the Merchant Marines during World War II, and he found employment after the war with Harper’s Bazaar and Theater Arts. He quickly rose to prominence in his field, invigorating fashion photography of the time by staging fictional tableaux and developing an unprecedented theatrical style. He moved to Vogue in 1966 and to The New Yorker in 1992, and he continued to be an innovator in fashion photography and portraiture, as well as print and television advertising, until his death in 2004.

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MoMA July 06, 2015 through November 06, 2015 11 West 53 Street, New York, NY 10019

During his six-decade career, Richard Avedon was arguably the most important American fashion photographer and portraitist. Avedon mastered his craft while serving in the Merchant Marines during World War II, and he found employment after the war with Harper’s Bazaar and Theater Arts. He quickly rose to prominence in his field, invigorating fashion photography of the time by staging fictional tableaux and developing an unprecedented theatrical style. He moved to Vogue in 1966 and to The New Yorker in 1992, and he continued to be an innovator in fashion photography and portraiture, as well as print and television advertising, until his death in 2004. Whether photographing politicians, artists, writers, fashion models, or movie stars, Richard Avedon revolutionized the genre of portraiture. He rejected conventional stiff-and-staid poses and instead captured both motion and emotion in the faces of his subjects, often encapsulating their intrigue in a single charged moment. MOMA is proud to be the only U.S. venue for this retrospective that spans the artist’s remarkable career. Featuring nearly 200 photographs along with a selection of vintage magazines, the exhibition presents work ranging from Avedon’s earliest street scenes to his breakthrough 1950s Paris fashion pictures and the iconic celebrity portraits that brought him world renown. This in-depth retrospective reveals Avedon’s singular ability to blur the lines between photojournalism, fashion photography, and fine art. July 06, 2015 through November 06, 2015 | 11 West 53 Street, New York, NY 10019

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Richard Avedon

Whether photographing politicians, artists, writers, fashion models, or movie stars, Richard Avedon revolutionized the genre of portraiture. He rejected conventional stiff-and-staid poses and instead captured both motion and emotion in the faces of his subjects, often encapsulating their intrigue in a single charged moment. MOMA is proud to be the only U.S. venue for this retrospective that spans the artist’s remarkable career. Featuring nearly 200 photographs along with a selection of vintage magazines, the exhibition presents work ranging from Avedon’s earliest street scenes to his breakthrough 1950s Paris fashion pictures and the iconic celebrity portraits that brought him world renown. This in-depth retrospective reveals Avedon’s singular ability to blur the lines between photojournalism, fashion photography, and fine art. Organized by the Corcoran Gallery of Art, Washington, D.C., with the cooperation of the Richard Avedon Foundation, New York, and the Fraenkel Gallery, San Francisco, Richard Avedon: Retrospective contains many rarely seen photographs drawn from the collection of the Richard Avedon Foundation, including works that have never before been exhibited or published. During his six-decade career, Richard Avedon was arguably the most important American fashion photographer and portraitist. Avedon mastered his craft while serving in the Merchant Marines during World War II, and he found employment after the war with Harper’s Bazaar and Theater Arts. He quickly rose to prominence in his field, invigorating fashion photography of the time by staging fictional tableaux and developing an unprecedented theatrical style. He moved to Vogue in 1966 and to The New Yorker in 1992, and he continued to be an innovator in fashion photography and portraiture, as well as print and television advertising, until his death in 2004.

RETROSPECTIVE

July 06, 2015–November 06, 2015 | moma.org 11 West 53 Street, New York, NY 10019

MoMA July 06, 2015 through November 06, 2015 11 West 53 Street, New York, NY 10019

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Whether photographing politicians, artists, writers, fashion models, or movie stars, Richard Avedon revolutionized the genre of portraiture. He rejected conventional stiff-and-staid poses and instead captured both motion and emotion in the faces of his subjects, often encapsulating their intrigue in a single charged moment. MOMA is proud to be the only U.S. venue for this retrospective that spans the artist’s remarkable career. Featuring nearly 200 photographs along with a selection of vintage magazines, the exhibition presents work ranging from Avedon’s earliest street scenes to his breakthrough 1950s Paris fashion pictures and the iconic celebrity portraits that brought him world renown. This in-depth retrospective reveals Avedon’s singular ability to blur the lines between photojournalism, fashion photography, and fine art. During his six-decade career, Richard Avedon was arguably the most important American fashion photographer and portraitist. Avedon mastered his craft while serving in the Merchant Marines during World War II, and he found employment after the war with Harper’s Bazaar and Theater Arts. He quickly rose to prominence in his field, invigorating fashion photography of the time by staging fictional tableaux and developing an unprecedented theatrical style. He moved to Vogue in 1966 and to The New Yorker in 1992, and he continued to be an innovator in fashion photography and portraiture, as well as print and television advertising, until his death in 2004.

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July 06, 2015 through November 06, 2015 11 West 53 Street, New York, NY 10019

Whether photographing politicians, artists, writers, fashion models, or movie stars, Richard Avedon revolutionized the genre of portraiture. He rejected conventional stiff-and-staid poses and instead captured both motion and emotion in the faces of his subjects, often encapsulating their intrigue in a single charged moment. MOMA is proud to be the only U.S. venue for this retrospective that spans the artist’s remarkable career. Featuring nearly 200 photographs along with a selection of vintage magazines, the exhibition presents work ranging from Avedon’s earliest street scenes to his breakthrough 1950s Paris fashion pictures and the iconic celebrity portraits that brought him world renown. This in-depth retrospective reveals Avedon’s singular ability to blur the lines between photojournalism, fashion photography, and fine art. During his six-decade career, Richard Avedon was arguably the most important American fashion photographer and portraitist. Avedon mastered his craft while serving in the Merchant Marines during World War II, and he found employment after the war with Harper’s Bazaar and Theater Arts. He quickly rose to prominence in his field, invigorating fashion photography of the time by staging fictional tableaux and developing an unprecedented theatrical style. He moved to Vogue in 1966 and to The New Yorker in 1992, and he continued to be an innovator in fashion photography and portraiture, as well as print and television advertising, until his death in 2004. Organized by the Corcoran Gallery of Art, Washington, D.C., with the cooperation of the Richard Avedon Foundation, New York, and the Fraenkel Gallery, San Francisco, Richard Avedon: Retrospective contains many rarely seen photographs drawn from the collection of the Richard Avedon Foundation, including works that have never before been exhibited or published. MoMA | 11 West 53 Street, New York,

NY 10019 | www.moma.org

BRIANNA LEWIS

Retrospective July 06, 2015 through November 06, 2015

BRIANNA LEWIS

As a student assistant and designer in PLNUâ&#x20AC;&#x2122;s International Ministries office, I created designs for a variety of applications: bookmarks, mugs, a stamp, a T-shir t, web graphics, posters, etc. All of these items were distributed across campus to promote the depar tment and its programs.They are designed in a simple but bold photographic and typographic style to communicate information quickly and efficiently to students.

PLNU INTERNATIONAL MINISTRIES F O C U S Adver tising P R O D U C T S Poster Ser ies and Promotional Mater ials

BRIANNA LEWIS

SERVE WITH

Interested in children, construction, Spanish, leadership development, & cross-cultural experiences? Have a heart for ministry?

APPLY NOW

to lead one of our monthly trips to Tijuana, MĂŠxico next year.

Apply online today! pointloma.edu/mwm For more info contact: Esteban Trujillo etrujil @pointloma.edu

LOVEME March 17-18 $50

Join Ministry with M Engage in worship,

www.pointloma.edu/LOVETJ

FALL BREAK

October 21-22 $99

LOVETJ

eat tacos attend a soccer game serve our neighbors discover another culture

EXICALI

Mexico to serve with a local Nazarene church in Mexicali. , fellowship, and compassionate ministry with a youth mission program.

.pointloma.edu/lovemexicali.

BRIANNA LEWIS

P L N U S E N I O R S H OW F O C U S Adver tising P R O D U C T S Poster and Postcard

Each year PLNUâ&#x20AC;&#x2122;s Art + Design Department puts on a Senior Show that highlights the work of graduating Visual Art and Graphic Design students. This poster and postcard for the event tell the story of how far weâ&#x20AC;&#x2122;ve come and point back to the simple doodles that started our artistic journeys. The letter forms emerge from the simple lines of the design to form a visual puzzle and communicate a simple, artistic message.

BRIANNA LEWIS

46 #

BRIANNA LEWIS

PERSONAL BRAND F O C U S Br and Identity Progr am P R O D U C T S Business Stationar y and Website

My personal brand is a visual expression of my own personality and design style. I am thoughtful, resourceful, active yet calm, and very detailed. My top five StrengthsFinder strengths are Relator, Analytical, Individualization, Intellection, and Activator, and this brand has been designed to match my strengths in the way that the geometric lines relate to each other and form visual puzzles in an active, colorful, and interesting way. The colors of my brand are bright and peaceful and the typography is simple in order to balance out the playful patterns that are unique to each piece.

BRIANNA LEWIS

Brianna Lewis

BRIANNA LEWIS Faith. Culture. Health. Language. Design.

IOWAN OLD STYLE BLACK FOR TITLES AND HEADERS *ESTABLISHED, PROFESSIONAL, AND STABLE

SignPainter-House Script for sub-titles *Fun and ﬂowy contrast. Minion Pro for smaller body texts *Versatile and goes along with the professional look of the titles

Brianna Lewis - Graphic Design This concept stems from the idea of combining 5 integral parts of myself: faith, culture, health, language, and design. I’m not solely looking for a design job so I thought this would be a little more versatile and express who I am more fully. The transparent colors express that all of those parts overlap and integrate with each other. I chose the flower and the bright pastel colors because I’ve drawn flowers like this since I was little, and I love nature and bright/colorful things.

BRIANNA LEWIS

designer

Body Mind Spirit

PROC DES I

Language Faith Culture Health Design

BRIANNA LEWIS Faith. Culture. Health. Language. Design.

BRIANNA LEWIS Business Card Ideas

235bcl@gmail.com 235bcl@gmail.com | | (719) (719) 235-2844 235-2844 | | briannalewis.space briannalewis.space

Brianna Brianna Lewis Lewis

BRI

Brianna Brianna Lewis Lewis -- Gra Gra I’m I’m an an editorial editorial desi des magazine magazine or or literary literary with with typography typography an an my my brand brand identity identity w w

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Business Business Card Card Idea Idea

Brianna Lewis

GRAPHIC DESIGN

CESS GNS

GRAPHIC DESIGN

FONT: Kefa Regular The quick brown fox jumped over the lazy dog. THE QUICK BRO WN FOX JUMPED O VER THE LAZY DOG.

Brianna Lewis - Graphic Design The overall message behind this design is that I’m a detailed designer with a positive outlook on life. This design is symetrical and balanced but still fun and intricate. The flower expresses who I am and what my interests are because if I’d love to get a design job somewhere that’s working for good and promotes well-being.

Brianna Lewis GRAPHIC DESIGN 719-235-2844 235bcl@gmail.com

Brianna Lewis

Business Card Ideas

GRAPHIC DESIGN

faith. health. culture. design.

aphic aphic Design Design sign ign concentration concentration so so I’m I’m interested interested in in layout layout design design -- such such as as for for aa yy publication. publication. I’m I’m not not super super illustrative illustrative but instead instead II prefer prefer to to work work faith. health. culture. design.but nd nd images. images. II think think the the heavy heavy use use of of typographic typographic and and linear linear forms forms in in would would communicate communicate this this and and appeal appeal to to employers employers in in that that area. area. 235bcl@gmail.com 719-235-2844 briannalewis.space

faith. health. culture. design. 235bcl@gmail.com

faith. health. culture. design.

719-235-2844 briannalewis.space

235bcl@gmail.com 719-235-2844 briannalewis.space

faith. health. culture. design.

235bcl@gmail.com | (719) 235-2844 | briannalewis.space 235bcl@gmail.com | (719) 235-2844 | briannalewis.space

faith. health. culture. design.

235bcl@gmail.com | (719) 235-2844 | briannalewis.space 235bcl@gmail.com | (719) 235-2844 | briannalewis.space

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EDUCATION Point Loma Nazarene University San Diego, CA

Florence University of the Arts Florence, Italy

Graduated May 2017

Spring 2016

- Studied language, photography, and art history - Participated in a language exchange program - Learned independence, responsibility, and international travel and relational skills

Bachelor of Arts in Graphic Design Minor in French 3.97 GPA Phi Delta Lambda Honor Society Member Discipleship Group leader (3 years), International Club member, and participant in mission trips to Armenia and Mexico

Point Loma Nazarene University San Diego, CA

Handmade By Heroes Colorado Springs, CO

DRIFTWOOD LITERARY MAGAZINE LAYOUT EDITOR

HEAD GRAPHIC DESIGNER

August 2014–Present

.m is R E ew al A N L A nn I A TO ia I N D L Y R r N I T b

August 2016–Present

- Collaborated with company leadership on creating the company brand - Designed logos and promotional materials - Corresponded directly with customers about customized artwork - Trained co-workers on design and computer operations

Point Loma Nazarene University San Diego, CA

Morning Glory Face and Body Colorado Springs, CO

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- Designed the school’s 245-page creative arts journal from start to finish - Aided in organizing and editing nearly 150 written pieces and images from 76 contributors - Worked entirely in Adobe Indesign and Illustrator to create inner pages and cover - Completed layout design in 15 weeks (8 weeks earlier than previous publications’ completion)

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PROFESSIONAL EXPERIENCE

INTERNATIONAL MINISTRIES STUDENT ASSISTANT

RECEPTIONIST AND DESIGNER

August 2016–Present

May 2013–August 2015

- Created graphics and advertising materials that were distributed across campus - Edited website and updated data sheets - Aided in the organization of international trips

- Aided in the daily operations of the business and worked to improve the customer experience - Handled inventory and product orders - Created design materials such as signs, flyers, and coupons

SKILLS -

Adobe InDesign, Illustrator, and Photoshop Microsoft Office Suite Intermediate French Customer Service Magazine Layout Design and Editing

Problem Solving Strong Verbal and Written Communication Organization Attention to Detail Creativity

BRIANNA LEWIS 719.235.2844

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235bcl@gmail.com

briannalewis.myportfolio.com

T H A N K YO U . and D A D for always supporting me and my pursuit of design. Thanks for your patience and for the endless hours of phone calls. Also thanks to my siblings C A S S I E , J O S H , and H E AT H E R for all you are.

MOM

All of my F R I E N D S at Point Loma who kept me sane and made my college years so fun and full of growth. I love you all so incredibly much. All of my art and design P R O F E S S O R S , especially C O U R T N E Y M AY E R , for encouraging me and pushing me to be a better designer. H A N D M A D E B Y H E R O E S , M A I R A L O P E S (and the entire PLNU Office of Spiritual Development), R I C K H I L L , and the D R I F T W O O D S TA F F . Thanks for the employment and design opportunities you gave me. YO U

for taking the time to view this portfolio. Youâ&#x20AC;&#x2122;re pretty awesome.

Written, photographed, and designed by Brianna Lewis P U B L I S H E D April 2017 by Clearstory, San Diego C O V E R Eurobond Sedona Grain #7684 White PA P E R Flexbind Layflat Matte 110Cv F O N T Gill Sans S O F T WA R E Adobe Creative Cloud and LifeSurface Context No portion of this book may be used or reproduced without permission from the author.

BRIANNA LEWIS 235bcl@gmail.com

719.235.2844

briannalewis.myportfolio.com