MATT WIERBINSKI PORTFOLIO
LOGO ILLUSTRATION BRANDING
NEXNEST Total branding design for a start-up business
in Fredonia, NY. Its mission is to make it easier than ever to find college housing for off-campus students. My client wanted a clean logo that could be used on stickers, shirts, mugs and other merchandise that people would
want to wear and see. After long hours, we came up with this little bird.
SHAWN CASTRO LOGO PACKAGING
Utilizing the negative space just as much as
the positive can give the design another dimension. This logo was for a close friend,
whose initials are SC. He wanted a simple logo
that could be used anywhere. We played base-
ball from little league through high school, and his number was always 2. Strategically forming the SC, the #2 shows in the negative space.
FORT MEYERS ACES The Fort Meyers Aces hockey team came to
LOGO LETTERING
me for a new logo. They wanted an ace shape
with wings and some hand lettered work. Pretty straightforward; it will be used on their jerseys
and other apparel. This is the first jersey design I’ve completed, and it was a great experience.
Plus, the black/gold/white color scheme is one of my favorites to work with!
DANTON PRODUCTIONS This was the first of two logos I designed for
LOGO BRANDING
one client. He’s a filmmaker, and wanted a
simple but effective modern logo. Using the initials, I formed an old projector model. I
thought the idea of using imagery was ben-
eficial and unique, and so did he. The logo is displayed on the next spread, along with the second logo I designed.
A DANTON VISUAL The second logo for the filmmaker client. He
LOGO BRANDING
decided to switch up the name to A Danton Visual. As a result, he asked if I could make
another logo. For this one, I modernized it to a
digital camera on a tripod, since that is the current equipment he uses. Same design concept as the first logo, just visually different. Turn the page to see this and the other logo.
85 LBS As a personal project, I designed a logo for a
potential clothing company called 85 lbs. The
LOGO APPAREL
logo uses the number 85 as the letters B and S. This combines the 85 lbs. into one simple and effective brand. The target audience is males and females ages 18-30 who have a
burning desire to get what they want out of life. 85 lbs. supplies them motivation.
WELLBLENDED315 This is a logo designed for a barber who
reached out to me back in 2014. He wanted
something simple, just something to put up on
LOGO
his Instagram account. I didn’t want to just throw something together, so I took the time and
thought it would be clever to integrate barber
supplies with the letters and numbers. He said I exceeded his expectations.
ANDREA WIERBINSKI My younger sister wanted a logo for her little
LOGO LETTERING
makeup business she has going. She wanted it
to have personality and a fun vibe. Hand lettering makes for any design to have a unique hu-
man feel to it, so it was a perfect design choice to go with. I practice hand lettering often, but
mainly do it as sketches when I start designing to get warmed up. It’s really fun!
TYPOGRAPHY LAYOUT ILLUSTRATION
HAIRSTYLES Hair is a symbolic representation of either culture, attitude, or style during that time period. This is an accordion-style infographic poster
examining hairstyle fads in the United States
from the 1960s – 2000s. Researching the histo-
ry of different haircuts was very interesting, and because I also cut hair, it was neat to see what hair meant to people.
As time went on, when the group evolved their hair to more lengthy styles, the mop top slowly started to fade away. Nevertheless, it will never be disassociated with The Beatles.
The mop top began to take a life of its own. Beatle wigs were sold in stores across the country. Comedians used it for inevitable laughs during their skits. Young adults and children wore it. It was considered “cool because The Beatles have it.”
Enter The Beatles. They came to America with the mop top hairstyle. With clean-cut, short hair being the norm before The Beatles, the longer, more straight style immediately shook America and gave the band an image.
Long hair on American men during the 1960s was worn by a very small group of people, mostly artists of that time. “Longhairs” was a dismissive way of referring to certain classical musicians.
the mop top
1960s
The popularity of the afro hairstyle among African Americans had started to die down by end of the 1970s. As the afro became mainstream to the point where non-African Americans were adopting it, the meaning and purpose of the afro became less impactful.
This hairstyle was a symbolic because of the natural look it had. It didn’t force people to make trips to the barber shop, which were costly and time-consuming.
The afro was embraced by both men and women, because it was easier to take care of compared to hairstyle such as braids or short, tapered hair that needed to be cut every couple of weeks or so.
As a result of the Civil Rights Movement of the 1960s, the identity of African American people was altered for the progression of how these people were viewed by the rest of the United States. This change resulted in a different physical image with an appreciation for hairstyles being a predominant symbol. This movement marked a return to more natural, untreated hairstyles.
the afro
1970s
1960s – 2000s
MEN’S HAIRSTYLES
FADS
The style was equally popular among international pop stars and high-schoolers throughout the decade. It was a way for bands to reach a younger generation. Totally different from other men’s hairstyles, it was short lived as the generation of people grew older and did not carry over to other generations.
This hairstyle is achieved by using hair sprays and gels to create spikes. The hair is also dyed lighter to add additional dimension to the look. It could be accomplished with different lengths of hair, from finger-length to more than a couple of inches.
The 2000s saw a popularization of alternative/pop band groups. Along with them, came the frosted tips haircut.
the frosted tips
2000s
The mullet was popular in the 1980s, but began to wear off at the turn of the century. One reason could be that the world was becoming more and more judgemental due to the rise of the fashion and physical appearances, and less people were strong enough to maintain a mullet.
People who had mullets knew they were being stereotyped as unfashionable and unintelligent, but they didn’t care because they knew who they were more than anyone.
Not everyone had the guts to wear a mullet. Predominantly worn by white men, this hairstyle became popular in the 1980s. There was no cultural reason why the mullet became a fad, other than it being a way for people to show their passion, but also have fun.
Business in the front, party in the back. The mullet was a way for people to express themselves freely, without being judged or frowned upon. They were badges of honor and rugged, rebellious individualism.
the mullet
1980s
In hip hop, image is everything. A way to make one’s image noticeable is with the hair. In the early 1990s, the flat top was symbolic because of the effect it had on appearance.
Flat tops were most famously sported by African Americans involved in the hip hop scene. It was a way for rappers to stand out and brand themselves. It was unforgettable to everyone who saw this hairstyle.
The flat top was born. This haircut features the sides trimmed short and the top longer and shaped up, almost resembling a square.
In the late 1980s, the jheri curl began to decrease in popularity; just another fad in men’s hairstyles. To replace this, people wanted to grow their hair in a way that has never been thought of before.
the flat top
1990s
TYPOGRAPHY ILLUSTRATION
2015-2016 REPORT I was tasked to create the annual report for the 2015-2016 Enactus competition. The theme
was “Real Relationships, Real Results, Real Rip-
ples.” I worked with the head of Enactus, Dr. Sue McNamara, and other members to develop the visuals. Fredonia Enactus is the rain drop creat-
ing the ripples, so playing on that, I was able to design a visually appealing bi-fold report.
TYPOGRAPHY ILLUSTRATION
2016-2017 REPORT Fredonia Enactus’ theme is to empower individuals for growth. We symbolically rep-
resented that by using different families of
trees being grown. The challenge for me was to create the annual report using this theme.
From designing the trees to be visually appealing and cohesive, to the layout of the text, this project was very worthwhile.
TYPOGRAPHY LAYOUT
COOKBOOK To test my layout and typography skills, I de-
signed a cookbook for a school project during
my sophomore year. It was a great learning ex-
perience and a perfect way to get more familiar with InDesign. I chose North African cuisine
because the dishes are very cultured and look beautiful. I also learned a bunch of pretty cool information about the culture of North Africa!
DESIGN BY MATT WIERBINSKI
TYPOGRAPHY ADVERTISING
TICKET Ticket design seems to be overlooked; many
are plain and basic, but others have great design. I took advantage of creating a ticket for the Fredonia Club Hockey team’s fundraiser. A band composed of Fredonia alumni per-
formed at a bar in town. It uses an ice rink floor background with careful typography to create something that persuaded people to go.
MARDI CRAWL Designing for an event is always fun. The
APPAREL GEOFILTER
Mardi Crawl was a bar crawl in Fredonia, NY in celebration of Mardi Gras. I wanted to capture
the festive feel by using bright colors, confetti, and a typeface that, for once, makes sense to use. Selling over 300 shirts, it was a big hit! I
also designed a Snapchat geofilter for each of the bars that were involved in the event.
INFOGRAPHIC ILLUSTRATION
CAMEL I found it interesting how camels were critical
for human survival for thousands of years. They were literally the ship of the desert, being the
transportation of humans and goods. I used the
hump to represent the camel and the sand, and the background symbolizes the hot air and the
scarce water in the desert. The hoof marks make it easier to follow along the timeline.
THANK YOU