Introduction My family always suspected that I would be an artist. Growing up I would get caught drawing murals on the bedroom walls, and always had a sketchbook in hand at family events. As a child I liked to design my own children’s books, determined to tell my own stories. A fan of detective novels, I was intrigued by the ability of the protagonist to find the clues to solve the puzzle. As a young adult, I explored paths to fuse my creativity with problem solving. I studied interior design and worked in architectural lighting, but after years of practice realized I was searching down the wrong road. On the job, I invented my own opportunities to create visual concepts by designing standards manuals or developing logos. My desire to communicate ideas that inspired, informed and captivated consumers led me to graphic design.
PROJECT _ CHICAGO BLUES FESTIVAL
01 02 03 04 05 06 07 08 09
CATEGORY _ BRANDING
DESIGNER _ LINDSAY JONKERS
01 CATEGORY BRANDING INSTRUCTOR SEAN BACON TYPEFACE NEXA RUST SANS
INSTRUCTOR _ SEAN BACON
PAGE _ 3
Chicago Blues Festival OBJECTIVE The annual Chicago Blues Festival is the largest free blues festival in the world, and remains the largest of Chicago’s music festivals. The objective when branding the festival was to create a conceptually strong visual language that could be translated into a poster, wristbands, vip passes and other festival collateral. Festival patrons are typically in the 25 - 45 age bracket, with an interest in blues music. SOLUTION To set the festival’s branding apart from previous ideas, the design for this year’s festival revolved around bold typographic choices, using the Nexa Rust typeface family, and a conceptual visual inspired by Chicago’s architecture. Chicago is known for having an iconic skyline, and one of the buildings that defines this skyline is the John Hancock building. Linking this building’s iconic architecture to a classic blues guitar became the visual connection between blues music and the City of Chicago. The color palette for this design consists of various blues and a contrasting pale yellow.
PROJECT _ CHICAGO BLUES FESTIVAL
01 02 03 04 05 06 07 08 09
CATEGORY _ BRANDING
DESIGNER _ LINDSAY JONKERS
INSTRUCTOR _ SEAN BACON
PAGE _ 5
LOGO
TYPEFACE
Nexa rust sans A B CD EF G H I J K L M N O P Q R S T U V W X Y Z 01 23 4 5 67 8 9
GRAPHIC ELEMENT
COLOR PALETTE
PROJECT _ CHICAGO BLUES FESTIVAL
01 02 03 04 05 06 07 08 09
CATEGORY _ BRANDING
DESIGNER _ LINDSAY JONKERS
INSTRUCTOR _ SEAN BACON
PAGE _ 07
PROJECT _ STOUTHAUS CRAFT BEER
01 02 03 04 05 06 07 08 09
CATEGORY _ BRANDING
DESIGNER _ LINDSAY JONKERS
02 CATEGORY BRANDING INSTRUCTOR SEAN BACON TYPEFACES AW CONQUEROR FRANKLIN GOTHIC
INSTRUCTOR _ SEAN BACON
Stouthaus Craft Beer OBJECTIVE Stouthaus is a craft beer bar featuring local and national craft beers with an emphasis on food pairings. The objective for branding Stouthaus was to design a visual language that could be translated into a menu and various other branded items. Patrons of Stouthaus include men and women between the ages of 21-40 with an interest in craft beer. SOLUTION The beer list and food pairings at Stouthaus rotate monthly, so the menu design needed to be both flexible and affordable. Using heavy card stock and a single, front and back, menu save on printing costs, and add to the rotating beer concept. The branded red used for Stouthaus is a visually exciting color that creates impact through its monochromatic application. AW Conqueror is the display typeface used in the logo, giving it a trendy and contemporary vibe while Franklin Gothic is a larger typeface family that was selected to provide better flexibility when branding the menu and other collateral while still complementing the display type.
PAGE _ 11
PROJECT _ STOUTHAUS CRAFT BEER
01 02 03 04 05 06 07 08 09
CATEGORY _ BRANDING
DESIGNER _ LINDSAY JONKERS
INSTRUCTOR _ SEAN BACON
LOGO
ICONS
PATTERN
TYPEFACE
AW CONQUEROR CARVED A B C D E F G H I J K LM N O P Q RS T U V W X Y Z 012345 6789 FRANKLIN GOTHIC A B C D E F G H I J K L M N O P Q RS T U V W X Y Z 01 2 3 4 5 678 9
COLOR PALETTE
PAGE _ 13
PROJECT _ STOUTHAUS CRAFT BEER
01 02 03 04 05 06 07 08 09
CATEGORY _ BRANDING
DESIGNER _ LINDSAY JONKERS
INSTRUCTOR _ SEAN BACON
PAGE _ 15
PROJECT _ FILSON GROOMING
01 02 03 04 05 06 07 08 09
CATEGORY _ PACKAGING
DESIGNER _ LINDSAY JONKERS
03 CATEGORY PACKAGING INSTRUCTOR SEAN BACON TYPEFACES HOEFLER TEXT
INSTRUCTOR _ SEAN BACON
PAGE _ 19
Filson Grooming OBJECTIVE Filson is a well-established lifestyle brand of outdoor clothing and accessories specializing in fishing and hunting apparel. Extending the legacy brand into a line of mens grooming and skin care was a natural transition. The brand consists of shaving products and multipurpose cleansing bars. Filson attracts economically stable men between the ages of 30-55, who are typically outdoor enthusiasts. SOLUTION Creating a large product line did not seem appropriate for the brand extension. Instead, keeping the product line smaller with only the essentials was the approach taken for this product offering to better fit the philosophy of the Filson brand which promotes good quality and durable products. The multi-purpose cleansing bar is a great example of this since it doubles as a shampoo. Traditional brand colors such as dark green and pops of bright orange are incorporated into the design to maintain the connection to the legacy brand. To complement the existing logotype, Hoefler was the typeface family selected for this project.
PROJECT _ FILSON GROOMING
01 02 03 04 05 06 07 08 09
CATEGORY _ PACKAGING
DESIGNER _ LINDSAY JONKERS
INSTRUCTOR _ SEAN BACON
PAGE _ 21
PROJECT _ BRDR MAGAZINE
01 02 03 04 05 06 07 08 09
CATEGORY _ PUBLICATION
DESIGNER _ LINDSAY JONKERS
04 CATEGORY PUBLICATION INSTRUCTORS SEAN BACON CANDICE LOPEZ TYPEFACES FIDEL CUBANO
INSTRUCTORS _ SEAN BACON + CANDICE LOPEZ
BRDR Magazine OBJECTIVE BRDR is a new publication, based out of San Diego, focused on living in the border region of Southern California. Striving to build a loyal and dedicated niche of readers with passion for living in the Southern California region where a cross border culture has emerged. BRDR hopes to capture the interest of an educated and adventurous crowd of border residents looking to explore food, culture and activities. SOLUTION Differentiating itself from other San Diego based magazines because of its focus on border living and activities. The magazine layout is designed using a 12-column grid that allows both flexibility and consistency. The overall aesthetic of the magazine is inspired by the edgy and colorful vibe of neighborhoods like Barrio Logan and local border towns such as Tijuana. Feature articles are driven by utilizing bold typography and photography. Each feature article is visually crafted around the subject matter of that particular article, and the magazine also features quick reads about local events.
PAGE _ 25
PROJECT _ BRDR MAGAZINE
01 02 03 04 05 06 07 08 09
CATEGORY _ PUBLICATION
DESIGNER _ LINDSAY JONKERS
INSTRUCTORS _ SEAN BACON + CANDICE LOPEZ
LOGO / MASTHEAD
TYPEFACE
ANTARTIDA ROUNDED ABCDEFGHIJKLMNOPQRSTUV W X YZ 0123456789
COLOR PALETTE
PAGE _ 27
PROJECT _ BRDR MAGAZINE
01 02 03 04 05 06 07 08 09
CATEGORY _ PUBLICATION
DESIGNER _ LINDSAY JONKERS
INSTRUCTORS _ SEAN BACON + CANDICE LOPEZ
PAGE _ 29
PROJECT _ BUNDUL BABY CO
01 02 03 04 05 06 07 08 09
CATEGORY _ BRANDING
DESIGNER _ LINDSAY JONKERS
05 CATEGORY BRANDING INSTRUCTORS SEAN BACON CANDICE LOPEZ TYPEFACES SOURCE SANS PRO
INSTRUCTORS _ SEAN BACON + CANDICE LOPEZ
Bundul Baby Co. OBJECTIVE Bundul is an east coast based company selling easy, time saving baby products such as swaddle blankets, baby carriers and gentle laundry care products. These products help to make it easier for modern mothers to balance home-life and work. Tapping into the emerging demographic of older, upper income breadwinning mothers over 40. Bundul makes mothers lives easier by creating useful and versatile products for babies that are also stylish. SOLUTION Illustrated Arctic characters combined with a fresh color palette appeal to aesthetically conscious mothers who are looking for upscale products for their babies. The custom logotype was based off of the typeface Source Sans Pro which is the preferred typeface for the Bundul brand. Shortening the ascenders and rounding the edges of the type gives the logo an approachable and friendly feeling. The gender neutral color palette of green, yellow, and grey works in conjunction with the illustrated arctic characters on the packaging and products.
PAGE _ 33
PROJECT _ BUNDUL BABY CO
01 02 03 04 05 06 07 08 09
CATEGORY _ BRANDING
DESIGNER _ LINDSAY JONKERS
INSTRUCTORS _ SEAN BACON + CANDICE LOPEZ
LOGO + MARK
ICONS
TYPEFACE
SOURCE SANS PRO A B C D EF G H I J K L M N O P Q R S T U V W X Y Z 01 2 3 4 5 6 78 9
COLOR PALETTE
PAGE _ 35
PROJECT _ BUNDUL BABY CO
01 02 03 04 05 06 07 08 09
CATEGORY _ BRANDING
DESIGNER _ LINDSAY JONKERS
INSTRUCTORS _ SEAN BACON + CANDICE LOPEZ
PAGE _ 37
PROJECT _ BUNDUL BABY CO
01 02 03 04 05 06 07 08 09
CATEGORY _ BRANDING
DESIGNER _ LINDSAY JONKERS
INSTRUCTORS _ SEAN BACON + CANDICE LOPEZ
PAGE _ 39
PROJECT _ NORDIC AIRLINES
01 02 03 04 05 06 07 08 09
CATEGORY _ BRANDING
DESIGNER _ LINDSAY JONKERS
06 CATEGORY BRANDING INSTRUCTORS SEAN BACON MIN CHOI TYPEFACES STOCKHOLM GILL SANS
INSTRUCTORS _ SEAN BACON + MIN CHOI
Nordic Airlines OBJECTIVE Nordic is a mid-range, international airline based out of Iceland. The concept for this airline was to create a brand that would celebrate the friendly, folklore inspired, culture of Iceland, while still providing the safe and reliable message that travelers expect from an airline. Nordic caters to typical travelers visiting Iceland, as well as anyone taking overseas flights from the United States across the Atlantic looking to make a stop near the midpoint of their trip. SOLUTION Scandinavian aesthetic combined with a friendly visual language set Nordic apart from more corporate competitors. The brand uses plenty of white space with contrasting pops of color and pattern which inject playful undertones to an otherwise contemporary design. The logo uses a modified Stockholm typeface, and features a special character from the Icelandic alphabet. The brand color for Iceland references the colors found in glaciers which frequent the coast of Iceland.
PAGE _ 43
PROJECT _ NORDIC AIRLINES
01 02 03 04 05 06 07 08 09
CATEGORY _ BRANDING
DESIGNER _ LINDSAY JONKERS
INSTRUCTORS _ SEAN BACON + MIN CHOI
LOGO
PATTERN
TYPEFACE
STOCKHOLM A B C D E FG H IJ K L M N O P Q R ST U V W X Y Z 01 2 3 4 5 678 9 GILL SANS ABCDEFGHIJKLMNOPQRSTUV WXYZ 012 3 4 5 67 8 9
COLOR PALETTE
PAGE _ 45
PROJECT _ NORDIC AIRLINES
01 02 03 04 05 06 07 08 09
CATEGORY _ BRANDING
DESIGNER _ LINDSAY JONKERS
INSTRUCTORS _ SEAN BACON + MIN CHOI
PAGE _ 47
PROJECT _ NORDIC AIRLINES
01 02 03 04 05 06 07 08 09
CATEGORY _ BRANDING
DESIGNER _ LINDSAY JONKERS
INSTRUCTORS _ SEAN BACON + MIN CHOI
PAGE _ 49
PROJECT _ CENTENNIAL SDCC TROLLEY
01 02 03 04 05 06 07 08 09
CATEGORY _ ENVIRONMENTAL
DESIGNER _ LINDSAY JONKERS
07 CATEGORY ENVIRONMENTAL INSTRUCTORS SEAN BACON CANDICE LOPEZ PHOTOGRAPHY STEPHAN SIMPSON
INSTRUCTORS _ SEAN BACON + CANDICE LOPEZ
PAGE _ 53
Centennial SDCC Trolley OBJECTIVE Metropolitan Transit System and San Diego City College partnered to celebrate it’s centennial with a trolley wrap. The design would highlight the on-going partnership of these two institutions. Riders of the MTS system include San Diego city locals, tourists and students who commute to campus from as far away as the Mexican border. A design competition was held and the judges selected the winning design to implement [spoiler alert-they chose mine]. SOLUTION Large-scale portraits of City college students, faculty and staff were artfully cropped onto the façade of the trolley. Striking black and white photographs reflected the rich diversity of the campus and contrast was added with graphics in the red and gold palette of the City College brand. Working with a professional photographer I art directed the shots to highlight different backgrounds and age demographics. Using existing brand language the tagline “Agents of Change” became a driving force for this design. The dimensional design was christened at a ceremony held at the main station.
PROJECT _ CENTENNIAL SDCC TROLLEY
01 02 03 04 05 06 07 08 09
CATEGORY _ ENVIRONMENTAL
DESIGNER _ LINDSAY JONKERS
INSTRUCTORS _ SEAN BACON + CANDICE LOPEZ
LOGO_MIRESBALL
PHOTOGRAPHY_STEVE SIMPSON
TYPEFACE
WHITNEY ABCDEFGHIJKLMNOPQRSTUV WXYZ abcdefghijklmnopqrstuvwxyz 0 12 3 4 5 678 9
COLOR PALETTE
PAGE _ 55
PROJECT _ CENTENNIAL SDCC TROLLEY
01 02 03 04 05 06 07 08 09
CATEGORY _ ENVIRONMENTAL
80'-0"
DESIGNER _ LINDSAY JONKERS
INSTRUCTORS _ SEAN BACON + CANDICE LOPEZ
PAGE _ 57
PROJECT _ CENTENNIAL SDCC TROLLEY
01 02 03 04 05 06 07 08 09
CATEGORY _ ENVIRONMENTAL
DESIGNER _ LINDSAY JONKERS
INSTRUCTORS _ SEAN BACON + CANDICE LOPEZ
PAGE _ 59
PROJECT _ RADICONDOLI ANQUA WINE
01 02 03 04 05 06 07 08 09
CATEGORY _ PACKAGING
DESIGNER _ LINDSAY JONKERS
08 CATEGORY PACKAGING INSTRUCTORS SEAN BACON CANDICE LOPEZ TYPEFACES MR EAVES SANS
INSTRUCTORS _ SEAN BACON + CANDICE LOPEZ
Radicondoli Anqua Wines OBJECTIVE Anqua is a family owned villa located in the Italian town of Radicondoli. Local San Diego design leaders spearheaded a collaboration between City College graphic design students and the town of Radicondoli to design various products that would help in building a community identity, and to stimulate economic prospects. The family at Villa Anqua has a winery on their grounds, and wanted to have their wine labels redesigned. Located near the center of Anqua stands an iconic tree that the family expressed interest in having incorporated into the design. SOLUTION A contemporary feel was established by taking an abstract approach to the iconic tree, using simple line work and a clean typographic treatment. Mr Eaves was the typeface selected for its exaggerated upper case letter “Q”. Fresh colors were selected to push the packaging away from the traditional Italian aesthetic. The label on the front is meant to be applied directly to the glass, while the back of the bottle uses a paper label to help save on production costs.
PAGE _ 61
PROJECT _ RADICONDOLI ANQUA WINE
01 02 03 04 05 06 07 08 09
CATEGORY _ PACKAGING
DESIGNER _ LINDSAY JONKERS
INSTRUCTORS _ SEAN BACON + CANDICE LOPEZ
LOGO
GRAPHIC ELEMENT
TYPEFACE
MR EAVES SANS A B C D EFG H I J K L M N O P Q R S T U V W X Y Z a b c d e f g h i j k l m n o p q r s tu v w x y z 0 123 45 678 9
COLOR PALETTE
PAGE _ 63
PROJECT _ RADICONDOLI ANQUA WINE
01 02 03 04 05 06 07 08 09
CATEGORY _ PACKAGING
DESIGNER _ LINDSAY JONKERS
INSTRUCTORS _ SEAN BACON + CANDICE LOPEZ
PAGE _ 65
PROJECT _ THE EAMES COLLECTION
01 02 03 04 05 06 07 08 09
CATEGORY _ BRANDING
DESIGNER _ LINDSAY JONKERS
09 CATEGORY BRANDING INSTRUCTORS SEAN BACON ANDREA SINGER TYPEFACES UNIVERS EAMES CENTURY
INSTRUCTORS _ SEAN BACON + ANDREA SINGER
The Eames Collection OBJECTIVE The Eames Collection is an exhibit featuring the playful work of Charles and Ray Eames at the Getty Center in Los Angeles, CA. The scope of this exhibit includes an exhibition wall, banners, gift bags and a limited edition House of Cards deck to be sold in the gift shop. The Getty Center attracts educators, grade-school children, college students and young adults with an interest in art and culture. In addition, the work of the Eames Collection would attract designers of all disciplines, as well as anyone with a passion for mid-century modern design. SOLUTION The limited edition House of Cards deck celebrates the life’s work of the Eames by featuring select designs, quotes and patterns in the format of their original House of Cards product. These stackable cards are extra large and create a powerful visual display when all 52 are stacked together. The typeface Eames Century Modern was selected for its playful and friendly attributes, and in contrast to that, Univers was selected for its clean San Serifs.
PAGE _ 69
PROJECT _ THE EAMES COLLECTION
01 02 03 04 05 06 07 08 09
CATEGORY _ BRANDING
DESIGNER _ LINDSAY JONKERS
INSTRUCTORS _ SEAN BACON + ANDREA SINGER
PAGE _ 71
PROJECT _ THE EAMES COLLECTION
01 02 03 04 05 06 07 08 09
CATEGORY _ BRANDING
DESIGNER _ LINDSAY JONKERS
INSTRUCTORS _ SEAN BACON + ANDREA SINGER
PAGE _ 73
SPECIALTY RETAILER CORPORATE IDENTITY
MANUFACTURER IDENTITY SAN DIEGO COUNTY REGIONAL PARK
CONTEMPORARY MEDITATION CENTER THEATRE PRODUCTION
TRENDY SUPPER CLUB INVESTMENT GROUP IDENTITY
Thank You Graditude goes out to all of my instructors and classmates at City College who I have learned so much from. To my family for their continued support, and my friends for understanding my absence during this time and loving me anyways. Also my dog Pepper, for kindly reminding me when it was time to feed you. SPECIAL THANKS TO THE FOLLOWING: Sean - You go above and beyond as an educator. Thank you for your support during this process, and for providing a learning environment that was so rewarding. Candice - Your enthusiasm and passion for what you do is such a beautiful thing. Thank you for your inspiration, and for going out of your way to help make me a better designer. MaeLin + Amy - Thank you for unknowingly putting me on this path two years ago when you responded to an email I sent asking for advice. You told me City was the place to be, and I’m so grateful you did! Grammie - Your support and confidence in me has been a driving force through all of this. Your creativity inspires me, and I hope that I made you proud. Mom - Thank you for being my sounding board, and for supporting me in all of my endeavors. You always make me feel like I can accomplish anything, and with you in my corner I know anything is within reach. Annette - You significantly changed my life for the better. I continue to be grateful to you, and I will keep my promise to pay it forward.
Colophon Designer _ Lindsay Jonkers Contact _ lindsayjonkers@gmail.com Printer _ Blend Bindery _ International Coil Bindery Typefaces _ Serifa + Univers Photography _ Edward Honaker, Steve Simpson, Eugene Brown, Tila Williams All stock imagery shown is for inspiration only. Some of the photography and icons are from DollarPhotoClub and the Noun Project. Copyright _ Lindsay Jonkers Š 2015 ALL RIGHTS RESERVED