Portfolio

WEB DESIGN

GLOBAL

R E S E A R C H G L O B A L

A D M I S S I O N S A C A D E M I C S

C A M P U S L I F E T E C H N O L O GY

E m p l o y e m e n t P o l i c i e s A c c e s i b i l i t y C o p y r i g h t© 2 0 1 3 C o l e m a n R e s e a r c h I n s t i t u t e

S t u d e n t s P a r e n t s A l u m n i F a c u l t y / S t a f f

C A M P A I G N C R If o rt h e f u t u r e o f g r e a t i d e a s

A - Z I n d e x G i v e t o C R I C o n t a c t U s

CCOLEMANr e s e a r c h ins t i tute

N e w s »

The Co leman Resea rch

Ins t i tu te i s ded i ca ted to

the fu r the r ing o f r e sea r ch

i n the a reas o f b iomed i ca l

s c i ence and mathemat i ca l

engeene r ing .

We a re the l ead ing source

fo r improvements i n new

p l a t fo rms o f b iomed i ca l

s c i ence and human hea l th .


GLOBAL

A D M I S S I O N S


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U N D E R G R A D U A T E

G R A D U A T E

I N T E R N A T I O N A L

T R A N S F E R

Y O U R A C C E P T A N C E

I S A B I G D E A L

A t C R I , y o u a r e v a l u e d .

Y o u r f u t u r e a t t h e C o l e m a n

R e s a r c h I n s t i t u e i s f u l l

o f g r e a t o p p u r t u n i t i e s

a n d r e s o u r c e s f o r i m p a c t -

i n g t h e w o r l d f r o m t h e

t i m e y o u s t e p o n c a m p u s .

F I N A N C I A L A I D

WEBSITE DESIGNCOLEMAN RESEARCH INSTITUTE

A website design for the Coleman Research Insitute. This design concept consisted of designs for the main page, and a dig down page.


GLOBAL

A D M I S S I O N S


N e w s »








engeene r ing .






U N D E R G R A D U A T E

G R A D U A T E

I N T E R N A T I O N A L

T R A N S F E R

Y O U R A C C E P T A N C E

I S A B I G D E A L

A t C R I , y o u a r e v a l u e d .

Y o u r f u t u r e a t t h e C o l e m a n

R e s a r c h I n s t i t u e i s f u l l

o f g r e a t o p p u r t u n i t i e s

a n d r e s o u r c e s f o r i m p a c t -

i n g t h e w o r l d f r o m t h e

t i m e y o u s t e p o n c a m p u s .

F I N A N C I A L A I D

GLOBAL

R E S E A R C H G L O B A L

A D M I S S I O N S A C A D E M I C S

C A M P U S L I F E T E C H N O L O GY






N e w s »






engeene r ing .





WEBSITE DESIGNCOLEMAN RESEARCH INSTITUTE

BRANDING

BRAND IDENTITYMERIDIAN APPAREL

Meridian Workapparel1234 Hemmingway LaneSanta Barbra, California 22431

Dear Mr. Teply,

I am writing to you today to inform you about our new identitiy system and

unique selling point (USP). The new identity system is an appealing use of colors

with a modern feel. Our color scheme includes orange, white, and two neutral

grays. These color work very well together to create a unique environment for

our shoppers.

Furthermore, Our new USP involves a new identity system with a brand new

look and color scheme. Meridian Workapparel will now be selling starter kits for

recent college graduates. This kit will remove the worries of a recent graduate in

deciding what they need. Our kit will include a whole outfit including: a blazer,

dress shirts, dress pants, socks, a belt, and shoes for men. For women the kit will

include: a dress shirt, a skirt, a belt, and shoes. Our kit will show recent college

graduates how easy it is to look professional while shopping at Meridian.

Meridian will also be marketing to the parents of these students. Not only is

the kit easy for college students to purchase, but it can be a gift that a recent

graduate will need to enter the workforce. Now parents no longer need to worry

about a gift for their recent graduate. Meridian will take care of these needs for

them. Meridian truly cares about our customers and will continue to improve and

grow in this process.

Sincerely,

Kayleigh Ballard, CEO

Meridian Workapparel

1234 Hemmingway LaneSanta Barbra, California 22431744.653.7865 [email protected]

w o r k a p p a r e lessent ia l s . id .

YourYour

kayleigh ballard | ceo1234 Hemmingway LaneSanta Barbra, California 22431

744.653.7865 [email protected]

w o r k a p p a r e l

A website design for Meridian Work Apparel. This design con-cept was apart of a branding system for a clothing store, including print, advertising, packaging, and web design.



essent ia l s . id .

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I N G R E D I E N T S

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O r g a n i c b l a c k t e a s , f i l t e r e d w a t e r ,

p u r e c a n e s u g a r , d a n d e l i o n r o o t a n d m i n t .

MINT & MUSE WEBSITEDESKTOP VERSION

MINT & MUSE WEBSITEMOBILE VERSION / APP

A website and mobile app design for the Mint & Muse website. The design for the website includes a format that can be viewed at any size; iphone, or ipad.

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8 7 7. 3 5 3. 6 0 0 63 6 0 WA C O U TA ST. S T. PAU L, M N


LOGO DESIGN

EDITORIAL DESIGN

EDITORIAL DESIGNPROMO MAGAZINE

In an interview with WGRD after a show in Grand

Rapids, MI last week, The Black Keys drummer

Patrick Carney, in typical Patrick Carney fashion,

expressed his continued frustration with the popu-

lar music streaming service Spotify.

“If it was fair to the artist, we would be involved in

it,” Carney told the station. “I imagine if Spotify

becomes something that people are willing to pay

for, then I’m sure iTunes will just create their own

service, and they’re actually fair to artists.”

When asked about Napster founder and current Spo-

tify board member Sean Parker’s claim that within

two years Spotify will be generating more revenue

for the music industry than iTunes, Carney put it

bluntly: “He’s an asshole. That guy has $2 billion

that he made from figuring out ways to steal royal-

ties from artists...”

“...and that’s the bottom line. You can’t really trust anybody like that. The idea of a streaming service, like Netflix for music, I’m not totally against it. It’s just we won’t put all of our music on it until there are enough subscribers for it to make sense.” Carney’s statement should come as no surprise to Black Keys fans who looked to streaming services like Spotify, Radio, Rhapsody, and MOG to hear the duo’s latest album, El Camino, and found it missing. It was a planned move by Carney and bandmate Dan Auerbach, who withheld the record from such services for financial reasons, with Carney telling VH1 Spotify is “set up to be a little more fair for the labels than the artists.”

The subscription-based Spotify would have to really churn and burn if it wants to catch iTunes in terms of revenue (iTunes sells individual tracks, and controls roughly 70 percent of the U.S. download market). As Spotify currently operates, it takes about 64 streams to equal one 99-cent iTunes purchase,

according to a recent Billboard study. Even users who pay for the service with unlimited or premium accounts are still only making up for a fraction of the potential revenue an artist could be pull-ing in. “For a band that makes a living selling music, it’s not at a point where it’s feasible for us,” Carney continued.

In the past, the Black Keys famously refused to allow their El Camino album to stream on sites like Spotify. And though the debate over Spotify’s royalty payments to artists continues, Parker has yet to respond to Carney’s barbs. Several other artists have sounded o¡ about streaming services hurting the music industry. Since Spotify launched in the United States in July, Adele, Coldplay, Tom Waits, Kanye West/Jay-Z and a host of other spotlighted artists have kept their latest releases o¡ the service.

Mike Skinner of The Streets applauded this practice, tweeting, “I’m saying that because of Adele, Coldplay, Black Keys, etc going into next year people, are go-ing to think about not allowing streams.”

34 35

STANDBLACK KEYS

A G A I N S T S P O T I F Y

T H E

I imagine if

Spotify becomes

something that

people are

willing to pay

for, then I’m

sure iTunes will

just create their

own service, and

they’re actually

fair to artists.”

“



serious intellectual with a deep sense of the traditions, and latent possibili-ties of the modern musical vernacu-lar.

time following his subjects back to their roots, a fascinating journey into the musical past during which some notable commonalities emerge. Mr. Page, the Edge and Mr. White all honed their art in reaction to what they perceived as the dominant styles of the time.

a peppy, folk-inflected genre that ruled British pop in the 1950s. After a successful stint as a studio session prodigy, he made his way to the Yard-birds and then to Led Zeppelin, where his interest in the blues, Eastern mu-sic and in the nuances of amplifica-tion reached full, thundering fruition. Mr. Page, the Edge and Mr. White all honed their art in reaction to what they perceived as the dominant styles of the time. The Edge, growing up in the downtrodden Dublin of the 1970s, discovered punk as an antidote to the arena rock and shiny pop that satu-rated the airwaves. And Mr. White, in 1980s Detroit, wondered if hip-hop would permanently eclipse the instru-mental sounds he cherished. Mr. Page came up playing ski�e, a, folk genre

that ruled British pop in the 1950s. After a successful stint as a studio session prodigy, he made his way to the Yardbirds and then to Led Zep-pelin, where his interest in the blues reached full fruition.

as distinctive as his guitar playing, is a bit more voluble. As the junior member of this august delegation, he may also have the most to prove. He proves himself to be, along with everything else, a serious intellectual with a deep sense of the traditions, in-fluences and latent possibilities of the modern musical vernacular.

-ship to the musical past, and also to technology. Mr. White, a traditional-ist wary of digital e�ects and innova-tions, is nonetheless as much given to tinkering as the Edge, who finds lyricism in complicated sonic treat-ments and modifications, or Mr. Page, famous for playing a double- necked guitar and recording John Bonham’s drum parts in the echoey atrium of a big, old house in the country.For rock geeks of any age or taste, the lore in this documentary will be cat-nip. But “It Might Get Loud” is more than a narrowly focused fan artifact. It gives those of us with tin ears and clumsy fingers a chance to linger in

68 67

He proves himself to

be, along with every-

thing else, a serious

intellectual with a

deep sense of the tradi-

tions, influences and

latent possibilities of

the modern musical

vernacular.

“

STATIONARY

TYPE STUDY

MIDNIGHT OIL CHALK AD HAND LETTERINGPRELIMINARY WOODCUTMIDNIGHT OIL COFFEEHOUSE

KBA L L A R D

d e s i g nPHOTOGRAPHY

&K A Y L E I G H B A L L A R D

h e l l ok b a l l a r dd e s i g n . c om

@

41 2•2084( )5 0 1

EDUCATION

Screen PrintingLithography

Woodblock printingIntalio

LetterpressOil & Acrylic PaintingFine Rendering Skills

Dry MediumsB & W PhotographyDigital Photography

Illustrator Photoshop

IndesignAfter Effects

Lightroom

DESIGN SKILLS

FINE ART

Graphic Design B.F.A.Harding University

2008-2013 EXPERIENCEFreelanceDesign & Photography2006 -Present

Letterpress & Design InternAustin, TX

Studio SloMo

Midnight Oil Cof feehouse

Art Director 2011-Present2010-PresentBarista

HistorianArt Director

Teller 2008-2010 Little Rock, AR

Zeta P i Zeta

2009-20102010-2011

One Banc & Trust

ACCOMPLISHMENTSLectureship Show Display 2009

Printmaking Show 2010Solo Fine Art Show 2010

Portfolio

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