I loved every moment of this project. 

During the time I designed for Struck, Nickelodeon asked us to create a style guide for the Teenage Mutant Ninja Turtles Franchise. Nickelodeon’s goal was to redesign the characters, fine-tune the storyline and revitalize the adolescent ninjas for a modern audience.
 
Specifically, the new Turtles needed to feel urban, Asian inspired, skater-punk and appeal to children and teenagers.

Altogether, the project took almost two years! The final product was a massive book containing hundreds of illustrations, logos, icons, textures, backgrounds and product applications.

To this day, I love visiting Walmart and seeing a king size bed sheet covered by the same illustrated sewage monsters I helped design (I’m still looking for an excuse to buy the children’s Splinter portable potty—maybe one day).

Seth Taylor and I worked collaboratively on this logo. He acted as creative director while I provided most of the project explorations, and we worked closely together on the final typeface. 
 
At first I experimented with the school building, a beautiful example of seventies architecture. Designed by Fetzer & Fetzer (the same architects who designed the original Provo and Ogden LDS temples), the JRCB was dedicated in the summer of 1975 and stands today as one of the most iconic and historically significant structures in the BYU Provo campus. To me, it looked like a big stack of books, and that was the cool, relevant connection I initially explored.
 
I drew the building from a number of perspectives until I arrived at a final, simplified version of the symbol. (Rodrigo Suárez, a designer friend from Mexico created a concept that we transformed into the symbol that was finally chosen.)

 
At the end of the process, after the logo was initially approved, an unknown (to us) executive at the BYU branding office ordered that we use the BYU typeface, specifically the dark blue one that appears in the main university logo. I personally disagreed with the decision; I felt the typeface was too heavy and didn’t have the same neo-art deco feeling as the building itself. The blue was just too dark. We pushed back, but the branding office was committed to their decision.
 
The final logo feels OK, but it didn’t turn out as balanced as I’d envisioned. It looks like a logo designed by a bureaucratic committee.
 
 

Since its inception in 1960, Central Utah Clinic had grown significantly. The name and brand no longer represented the organization. EKR was brought on to take the client through our proprietary Brand Effect process to identify and establish a new name and brand for the organization. The engagement included research, analysis and identification of the conceptual brand, as well as design of the visual brand. The result was the complete rebrand of more than 100 clinics in Utah, Nevada and Arizona as Revere Health.

Jared hahne, Matt Millette and I worked on the Visual Identity. I was named the lead designer on the project and I was in charge of polishing and developing the brand assets

Each year, overly excited Xango enthusiasts from all over the world visit Salt Lake City, Utah and locations throughout Europe to participate in the Xango Annual Convention. Though I contributed to the design and production of three of these events, I contributed the most work to the event I’m showcasing here in my portfolio.
 
Back in 2008, the sprawling Salt Palace in downtown Salt Lake was covered with these colorful banners, wraps and adhesive graphics. I created the various versions of the logo and program booklets as well as hundreds of other pieces used throughout the convention.

“HZO is an innovative and rapidly growing nanotechnology company offering next-generation solutions that protect electronic devices and components from damage caused by water, other corrosive liquids, humidity, sweat, dust and debris. Learn more about what makes HZO the world leader in liquid protection.” http://www.hazo.com
 
I created this logo while working at RedOlive. Christopher Grayson, Brad Hoen and I did many explorations. One of my ideas was chosen.

I wanted the logo to feel strong, heavy and safe. The obvious connection with H20 was initially visually challenging, but it was also a very powerful concept. The final logo has a very strong Z letterform created using the negative space between the H and the O that act as a protective device of sorts.
 
It makes me happy to watch the company grow and use the logo to represent their brand.
 
It is, in a word, awesome.

Brahma Group, Inc. and Hunt Electric, Inc. are pleased to announce Brahma Hunt, LLC, a joint venture for the engineering, procurement, construction and maintenance (EPCM) of clean, renewable energy projects in the United States.

I’ve loved this character since I was a kid, and I know I’m not the only one who’s fantasized about crawling up walls and over ceilings (especially when crazy town shows up turns my world inside out). I was thrilled when I found out I was going to work on this project with the guys at Struck in Salt Lake City.

Sony gave me access to raw high resolution images of the character from the movie on a black, flat background. I used those original pictures to create these illustrations and designed them to show the main character in action.

This was . . . so much fun!

Xango created an employee reward program, designed to make the already ultra fanatic X-people even more excited about the brand? Dangerous. 

These are meant to look like low budget rock posters. (Sure hand drawn-hand brushed type is a little bit 1995, but it's fun to do, so I did)

To get into the holiday spirits (way back in 2012), I designed this poster for the Eli Kirkians, displaying their most infamous secrets for the whole world to see, before, you know, we all die a horrible death on December 21, 2012. 

We are all still here. Awkward. 

“The original luxuries of life, like fire and shoes, were all discovered in a prehistoric age by some guy. No really, his name was Guy. In DreamWorks’ latest animated feature we meet the Croods. This is a family journey of Grug, an overprotective father and Guy, a particularly clever caveboy. With new inventions and a new outlook on life, Earth’s first modern family must overcome uncertainty, danger and doubt to reach a better tomorrow.” (www.struck.com)
 
The Struck design team was tapped to provide a style guide that looked back on cave illustrations with a limited palette while embracing the adventure of moving from a primitive world to a new one. From rare creatures and rough textures for our boys to bright colors and curious patterns for the girls, the Croods style guide makes a fashion-forward statement out of looking like a Neanderthal.
 
I created several character illustrations for the DreamWorks The Croods film. The illustrations were based on their original CGI illustrations but made to feel rougher and more energetic. I did this while working at Struck in downtown Salt Lake City.
 
The illustrations were used on promotional materials for the movie.