BriannaJohnson Portfolio

good
design
doog
ngised
good
design
* A.K.A: DESIGN IVE DONE THAT ISNT TOO BAD

THE MFA GRAPHIC DESIGN PORTFOLIO OF BRIANNA JOHNSON
GOOD DESIGN / COPYRIGHT 2010
BRIANNA JOHNSON / EMAIL: MAIL@BRIANNA-JOHNSON.COM WEBSITE: BRIANNA-JOHNSON.COM PHONE: +1 415 283 7696
MFA GRAPHIC DESIGN / ACADEMY OF ART UNIVERSITY
DESIGN & WRITING / BRIANNA JOHNSON PROJECT PHOTOGRAPHY / BRIANNA JOHNSON & NIKLAS PEARCE FONTS / BARUTA & BASKERVILLE
SPECS / 9.5 x 13.5, 128 PAGES TEXT STOCK / 100LB FINCH UNCOATED ENDSHEETS / PURPLE FABRIANO ELLE ERRE 220GSM COVER / BLACK MOROCCO WITH BLACK FOIL HOTSTAMPING
PRINTER / GIANT HORSE PRINTING, INC. BINDER / CARDOZA-JAMES BINDING
All rights reserved. No part of this book may be reproduced in any form by any electronic or mechanical means (including photocopying, photographing or recording for information storage and retrieval) without written permission from the author.
CONTENTS TUBE 10 FREEATL AST 24 HOWTOAVOIDTH EBUMMERLIFE 36 HOTELE XPRESSIONISM 48 HANES 56 VISCERA 72 EPHEMERA 90 SUPERLOVESMILE 104
MFA GRAPHIC DESIGN PORTFOLIO / BRIANNA JOHNSON
06
INTRODUCTION / ARTIST CONCEPT STATEMENT
EXAGGERATED
As a designer, the question I find I constantly ask myself is: What is Good Design? Design today comes across, sometimes, as one exaggerated run-on sentence of visual information. We are constantly bombarded by it. From mundane canned beans and shampoo bottles to huge shiny billboards and television commercials, it permeates every aspect of our lives. As Ive developed and learned, so has my definition of Good Design. Where I once believed Good Design to be just well-structured and nice to look at, I now see it as being design that takes risks, stands out and is able to clearly communicate its purpose through the white noise of our design-saturated world. It is this kind of work that I strive wholeheartedly to create. In my endeavors as a designer, I always aim to create bold and purposeful work. Because, above all, I believe the most important part of a designers job is to make sure the art conveys the message. The concept of the design for this portfolio plays on both the idea of exaggerated amounts of visual information and the importance of being able to relay the core message through it. Throughout, you will see ridiculously long titles with certain words called out. While the long statements do state the information, it is the shorter call-outs that convey the important message. What you really need to know has been designed to stand out.
07
port
work
tfolio
AMERICANS SPEND 22 TO 28 HOURS PER WEEK VIEWING TELEVISION:
ea t
sleep
live t.v.
KAISER FAMILY FOUNDATION

NON-PROFIT HEALTH CARE ORGANIZATION
12
PROJECT: TUBE / INTRODUCTION
TUBE
CATEGORY / BOOK COURSE / EXPERIMENTAL TYPOGRAPHY INSTRUCTORS / CHRIS RO & JIMMY SOAT SPECS / 10 x 13, 32 PAGES IMAGES / PHOTOGRAPHY BY BRIANNA JOHNSON FONTS / UNIVERS
We watch far too much television here in the United States. In fact, the notion that more people would honestly rather zone out in front of the T.V. than read a good book is staggering. Tube was a conceptual project about this phenomenon. An exploration of typography and experimental design, I wanted this book to satirize Americas addiction to television. And since I knew people usually opt to watch television rather than read, I wanted to really call out and play up this disinclination by creating a book that informed but did so with very little actual written content. With a combination of statistical information graphics, abstracted photography of television screens and cliched promotional T.V. quotes, such as the books subtitle, Stay Tuned, my goal was to communicate the idea that we, as a people, are turning into a nation of television zombies. Beyond the titling and the quotes, Tubes typographic style is also very abstracted, both visually and in meaning. Much in the same way that television ads always have huge, in-your-face messages combined with that ever-present fine print that no one ever reads, I chose to juxtapose very large type with extremely tiny type. Sometimes I would relay the ideas on a huge scale, and other times, Id hide it in the fine print. And while it might look like there is nothing to get out of some of the pages, there is always an underlying message coming from each spread. Surprisingly (and rather ironically), as a result of my experimentation between the balance of literal content and the meaning behind that content, I ended up creating a piece about televisions degradation of intelligence that was really for an intelligent reader.
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14
PROJECT: TUBE / BOOK COVER
15
16
PROJECT: TUBE / COVER DETAILS
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18
PROJECT: TUBE / BOOK INTRODUCTION SPREAD
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PROJECT: TUBE / BOOK PAGE DETAIL & SPREADS
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PROJECT: TUBE / BOOK PAGE DETAIL & SPREADS
23
I AM HAPPY TO JOIN WITH YOU TODAY:
to g e t freedom
DR. MARTIN LUTHER KING, JR.

HUMAN RIGHTS ACTIVIST
FRE E AT LAST
CATEGORY / POSTER INSERT & NEWSPAPER PACKAGING COURSE / PUBLICATION NARRATIVES INSTRUCTOR / MICHAEL SAINATO SPECS / 14.5 x 24.5, 1 PAGE (2 SIDES) & 1 CUSTOM PLASTIC BAG IMAGES / HISTORICAL STOCK PHOTOGRAPHY FONTS / AMERICAN TYPEWRITER, AVANT GARDE, BIFURK, BODONI POSTER ITALIC, BRAGGADOCIO, COOPER BLACK, CLARENDON, EAGLE BOLD, HELVETICA NEUE & STROKES
Re-creating Martin Luther King, Jr.s I Have a Dream speech through design was the goal in this project. The result I came up with was this Free at Last special edition Martin Luther King Jr. Day newspaper poster insert. My concept was black and white, which may seem like a rather obvious concept, considering the topic of the speech. But, my spin on it was the idea that while the message of the speech is simple, straightforward and very black and white in its morality, the concept was anything but. There are many shades and colors in the spectrum between black and white and its when they shift and blend that they are most interesting. It is both these concepts that I wished to explore in my piece. I chose to go with newspaper because it was a media that worked both strictly in black and white as well as in full-color. The front side of my poster insert was the black and white side and it contained the bulk of the speechs content. I wanted there to be an ebb and flow, a palpible momentum to its pacing, much like the speech. So, I chose to build the structure of the typography around the spiral of the Golden Mean, working out from the upper middle-right to the bottom and used varying fonts, sizes and weights as I visually called out some of the more impactful parts of the speech. It all builds to the back side which contains the last line of the speech: Free at last! and expresses, through misaligned 4-color printing, the beauty of not being all the same color and the freedom of what happens when everything isnt made to be neatly placed.
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PROJECT: FREE AT LAST / INTRODUCTION
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PROJECT: FREE AT LAST / NEWSPAPER BAG DETAIL
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PROJECT: FREE AT LAST / POSTER DETAILS
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PROJECT: FREE AT LAST / POSTER FRONT SIDE
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PROJECT: FREE AT LAST / POSTER BACK SIDE
35
IF PACKED INTO A NUTSHELL, ALL THIS COMMUNICATION REALLY CONSISTS OF IS:
BIKE m a d n
STEVE STEVIL KENEIVEL
CYCLING LIFESTYLE BLOGGER
ss
38
PROJECT: HOW TO AVOID THE BUMMER LIFE / INTRODUCTION
how to avoid th e bummer life
CATEGORY / BOOK COURSE / PUBLICATION NARRATIVES INSTRUCTOR / MICHAEL SAINATO SPECS / 4.5 x 4.5, 144 PAGES (72 CARDS) IMAGES / COURTESY OF HOWTOAVOIDTHEBUMMERLIFE.COM FONTS / DIGITALLY-CAPTURED & HELVETICA NEUE
How To Avoid The Bummer Life was an exercise in converting a purely digital media (namely a cycling and lifestyle weblog) into a print artifact. As I went into the problem, my focus was to maintain the essence of what the blog is and how it works without imposing my own point of view too heavily upon it. I felt that the writers and readers of the blog had already created something so unique and fun and special to their niche that it would be inappropriate for me to completely remove the material from the source content just for the purpose of making it mine. So, as I approached the design, I resolved that in order to maintain the purity of the blogs voice and structure, I would literally grab from the sources digital material and make it print. By taking countless screenshots, I chose a collection of iconic words, images and stories to exemplify just what How To Avoid The Bummer Life is and whom it represents. As to the form of the book, that too was inspired directly by the blog. Since a weblog is both an interactive and ephemeral experience, I wanted the book to be these things as well. So, book the pages became removable cards. The cards were made to be torn out and used at the readers discretion. In fact, the only place my voice made itself overtly apparent in the book (outside of the colophon and end remarks) was in the various practical and humorous uses these cards could take. Whether as beer coasters, wall art, dog toys or spoke cards, I tried to mirror the fun and wacky spirit of the blog when writing the suggestions. Ultimately, I wanted the How To Avoid The Bummer Life book to be something that could be used, abused, shared and enjoyed.
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PROJECT: HOW TO AVOID THE BUMMER LIFE / BOOK SCALE
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PROJECT: HOW TO AVOID THE BUMMER LIFE / BOOK SPREADS
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PROJECT: HOW TO AVOID THE BUMMER LIFE / PAGE DETAIL & BOOK SPREADS
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PROJECT: HOW TO AVOID THE BUMMER LIFE / SPREAD DETAIL
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ILL TELL YOU, ILL TELL YOU STRAIGHT:
ITS ART
MIKE THE STREETS SKINNER

GARAGE RAPPER & MUSIC PRODUCER
HOTEL EXPRESSION ISM
CATEGORY / POSTER COURSE / EXPERIMENTAL TYPOGRAPHY INSTRUCTORS / CHRIS RO & JIMMY SOAT SPECS / 24 x 18 IMAGES / PHOTOGRAPHY BY BRIANNA JOHNSON FONTS / NEWS GOTHIC & HELVETICA COMPRESSED
Hotel Expressionism was an interesting exploration in non-standard typographic layout. In this project, I was told to select a song and create a poster that represented the music visually. And, I was asked to do so with minimal the use of a computer. As a class, we were allowed to create the basic type digitally, but were required to then capture both the quality and layout in a purely analog manner. The song I chose for the project was Hotel Expressionism by the UK-based artist and producer who calls himself The Streets. It is a short, humorous, satirical song about the art of trashing hotel rooms that fuses garage, electronic and hip hop musical elements and has a snarky straight-from-the-London-streets feel about it. And, I had to express all of those elements within the layout of this poster. The truly fun part of this project was getting to explore the many varying ways one can still create design without the use of a computer. Different light, different materials, different environmental settings, the options were surprising. The method I ended up using to capture the musical essence of the song was to print the copy onto transparent acetate and position the pieces of acetate in a back alleyway with some graffiti elements and then use gritty black and white photography to capture the composition. As the song itself is pretty much the audible equivalent of getting the middle-finger from a sarcastic street youth, I feel like the resulting poster is a competent visual parallel.
50
PROJECT: HOTEL EXPRESSIONISM / INTRODUCTION
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PROJECT: HOTEL EXPRESSIONISM / POSTER DETAILS
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54
PROJECT: HOTEL EXPRESSIONISM / POSTER
55
WELCOME TO THE NEW HANES BRAND, WE JUST WANT TO SAY:
WEAR US
OU T
THE RE-BRANDED HANES

APPAREL MANUFACTURER
hanes
CATEGORY / IDENTITY & BRAND STANDARDS BOOK COURSE / NATURE OF IDENTITY INSTRUCTOR / HUNTER WIMMER SPECS / 8 x 9.5, 54 PAGES IMAGES / STOCK PHOTOGRAPHY & ADDITIONAL PHOTOGRAPHY AND ILLUSTRATIONS BY BRIANNA JOHNSON FONTS / UNIVERS & CLARENDON
This was a project in which I chose a company that I believed was in need of an aesthetic overhaul and completely re-envisioned it as an entirely new brand. I chose the undergarment and leisure-wear company, Hanes. Hanes had firmly placed itself in that familiar realm of All-American comfort. My goal was to take it out of its comfort-zone and make it a desired brand rather than just an old standard. I wanted it to be something that was cool while still being classic. Something that would have its own store rather than something that was sold in cheap plastic baggies at the local convenience mart. Something that still called out to the long history of the Hanes brand, but also struck a cord with those who follow the current fashion trends. So, I developed a logo that was at once both classic and contemporary. Blocky and solid with elements (such as the lowercase letters in the logotype) that kept it fresh and fun, I wanted the logo to embody the new direction I was taking the brand. In keeping with the concept, I also created a color palette that was both bold and unusual and a type style that combined a modern typeface with one that had an air of quaintness. With these basic building blocks, I was able to create a whole range of brand elements and extensions, including a store, packaging, website and promotions that were fun and desirable rather than boring and forgettable. Essentially, my ultimate goal in re-inventing Hanes was to be make it a brand people would actively seek out as a favorite fashion basic.
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PROJECT: HANES / INTRODUCTION
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60
PROJECT: HANES / NEW LOGO
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PROJECT: HANES / IDENTITY: STATIONERY & LOGO SPECS
4X
4X
X 4X 13 X
1.333 X 2.667 X
4X
4X
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PROJECT: HANES / BRAND STANDARDS BOOK SPREADS & COVER
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PROJECT: HANES / ONLINE STORE
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PROJECT: HANES / FLAGSHIP STORE
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PROJECT: HANES / FLAGSHIP STORE CHECK-OUT & SHOPPING BAGS
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AN ALMOST AVANT GARDE EXPLORATION OF CINEMATIC VIOLENCE:
TA
OO
JAMES MUDGE
INTERNET FILM CRITIC
74
PROJECT: VISCERA / INTRODUCTION
VISCERA
CATEGORY / IDENTITY, CATALOGUE BOOK, PRINT, PACKAGING, ETC. COURSE / INTEGRATED COMMUNICATIONS INSTRUCTOR / HUNTER WIMMER SPECS / VARIOUS DIMENSIONS IMAGES / PHOTOGRAPHY BY NIKLAS PEARCE & BRIANNA JOHNSON FONTS / HELVETICA COMPRESSED & TRADE GOTHIC
Viscera was a project that challenged me to design the identity and collateral for an entire fictional film festival. I was expected not only to come up with a name, logo, poster and tickets, but also a festival catalog, employee uniforms, a website and collectibles, including a DVD set and souvenirs. And all the items within the project were expected to adhere to the identity I developed for the festival. In the class, we were given carte blanche when it came to deciding which film director we wanted our festivals to revolve around. Wanting to make the challenge of designing a festival even more interesting for myself, I chose to go with a director that was not only a horror-genre director, but also a foreign filmmaker. I went with Japanese writer / director / producer, Takashi Miike. Though I was personally unfamiliar with his work at the time I began the project, I knew that Miike-san had quite a fan following here in the United States. In fact, it was this that became the basis for my design. As a result, my festival became a combination of fan convention and film festival, catering to the cult film fans who have a taste for camp, horror, black comedy and ultra-violence. And from this came the name of the festival. I chose Viscera as the title because, not only were Miikes films gratuitously violent, but they also took chances. It was based on the idea that it took guts to not only make a film in which a person splatters someone elses guts across the room, but it also took guts to watch it. Once Id chosen the name, it was just a matter of sticking some needles and splattering a little blood to develop and implement the design throughout the collateral for this project.
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FEAR THE UNSPEAKABLE
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PROJECT: VISCERA / FESTIVAL LOGO & TICKETS
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PROJECT: VISCERA / FESTIVAL POSTER
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PROJECT: VISCERA / FESTIVAL CATALOGUE
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PROJECT: VISCERA / CATALOGUE SPREADS
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PROJECT: VISCERA / SOUVENIR TORTURE KIT
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PROJECT: HANES / ICHI THE KILLER MANGA & ANIME BOXSET
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88
PROJECT: VISCERA / FESTIVAL EMPLOYEE UNIFORMS
89
THE WORD EPHEMERA IS DEFINED AS:
T R A SH
OXFORD AMERICAN DICTIONARY

ENGLISH LANGUAGE LEXICOGRAPHER
92
PROJECT: EPHEMERA / INTRODUCTION
EPHEMERA
CATEGORY / BOOK COURSE / SILKSCREEN INSTRUCTOR / CARRIE-ANN PLANK SPECS / 7 x 7, 20 PAGES (ALL PAGES & COVER HAND-SILKSCREENED) IMAGES / ILLUSTRATIONS BY BRIANNA JOHNSON FONTS / POESIE NOIRE & POPLAR
Ephemera was probably the most fine art piece Ive done as a designer. Not only was it a project that got me away from my printer and almost entirely off my computer, as a silkscreen project, it was a chance to work with my hands, let go of the need for clinical perfection in my design and get a little messy. Starting at the computer, I developed the basic design and pacing of the pages. From there, I added hand-drawn elements and used all of that to create the separations necessary for the silkscreen printing process. This piece was very much conceptually driven. My goal was always to create something visually intriguing out of something that was, essentially, considered trash. The concept behind the book is the same as the title: Ephemera. And I applied this concept not only to the content of the book, but also, to the form. It was made entirely of perishable, reused materials. I silkscreened each page by hand onto found newspaper pages I had discovered one day sitting in a stack near my apartment. And then, I finished it off with a piece of old chipboard cover as the material for the book cover. I knew going into the process that this book was not going to be a lasting piece. The pages werent on archival quality, acidfree paper and the book would eventually rot and fall apart. But, even that unfortunate fact fit into my concept. I liked the idea that I had created something beautiful on something transitory and knew that even if a viewer enjoyed it, at some point, they would have to throw it away.
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PROJECT; EPHEMERA / BOOK SPREAD DETAIL
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PROJECT: EPHEMERA / PAGE DETAIL & BOOK SPREADS
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PROJECT: EPHEMERA / PAGE DETAIL
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PROJECT: EPHEMERA / SIGNED COVER, EDITION VARIE 3 OF 3
101
THE
THESIS
IT IS ASSUMED THAT NOTHING GOOD CAN COME FROM POPULAR CULTURE:
BUT
FANDOM R UL E S
HENRY JENKINS
AUTHOR & POP CULTURE FAN
106
THESIS PROJECT: SUPERLOVESMILE / INTRODUCTION
SUPER LOVE
SMILE
CATEGORY / IDENTITY, EXHIBITION, PRINT, PACKAGING, ETC. COURSE / MFA GRAPHIC DESIGN THESIS INSTRUCTORS / MANY, MANY, MANY BRILLIANT PEOPLE SPECS / VARIOUS DIMENSIONS IMAGES / PHOTOGRAPHY & VIDEO BY ANGELA DEVILLE & BRIANNA JOHNSON, ILLUSTRATIONS BY BRIANNA JOHNSON & 3D COMPUTER MODELLING BY ARTURO LINDBERGH FONTS / BERTOLD AKZIDENZ GROTESQUE & BARUTA
What is this so-called fandom thing all about? That was the core question I asked myself when I first began working on Superlovesmile. Fandom (or fan culture) is a phenomenon that, even as its popularity grows and becomes more mainstream, is still rather misunderstood. It is most predominantly viewed as being a just bunch of freaks and geeks. But, I found the entire notion to be absolutely fascinating. The cultural implications of a group of people wholly devoting themselves to subjects that were neither political nor religious was incredibly compelling. In fact, as I immersed myself in this world and really researched and observed the people, I began to see a direct correlation between the growing saturation of media in our society and the growing rate of fandom. As a result, the project became one specifically about Pop Culture media fans. These are the people most individuals think of when the words fan culture are brought up. Indeed, they are the comic nerds and the cult film geeks and the dorky toy collectors. But, what most people dont recognize is that they are also the hip fashionistas and the music officionados and the common brand lovers. This is the point I wanted to communicate with my project, that Pop Culture fans are a broad spectrum of people and we all, even those of us who dont consider ourselves fans, share one common denominator: the influence of our popular media. Consequently, I wanted to develop an experience that encouraged viewers to identify with fandom. In the end, I did so by creating a uniquely interactive and immersive contemporary anthropological exhibition that invites the viewer to explore the fantasy, fascination and sheer spectacle that is pop culture fandom.
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THESIS PROJECT: SUPERLOVESMILE / INTERACTIVE BUSINESS CARDS
109
110
THESIS PROJECT: SUPERLOVESMILE / LOGOTYPE & LOGO ICON
111
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THESIS PROJECT: SUPERLOVESMILE / EXHIBITION OVERVIEW
113
B1
47.5
A1
47.5
A2
43
A3
47.5
114
THESIS PROJECT: SUPERLOVESMILE / EXHIBITION WALL DETAILS & FLOORPLAN
25
47.5
25
A3
43
A2
A4
43
7 3
A1 B1
20.4 6.6
2.5 4.5 2.5
25
20.4
12.7
25
115
A4
43
116
THESIS PROJECT: SUPERLOVESMILE / EXHIBITION WALL DETAIL & SCALE
25
117
14
118
THESIS PROJECT: SUPERLOVESMILE / EXHIBITION FAN STATION DETAILS & SCALE
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120
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THESIS PROJECT: SUPERLOVESMILE / EXHIBITION WALK-THROUGH
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125
126
THESIS PROJECT: SUPERLOVESMILE / EXHIBITION TICKETS
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THESIS PROJECT: SUPERLOVESMILE / EXHIBITION LOCATION SIGNAGE
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THESIS PROJECT: SUPERLOVESMILE / EXHIBITION PROMOTIONAL MINIPOSTERS
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THESIS PROJECT: SUPERLOVESMILE / GIFT SHOP COLLECTIBLE FAN BUTTONS
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THESIS PROJECT: SUPERLOVESMILE / GIFT SHOP COLLECTIBLE T-SHIRTS & PACKAGING
135
136
THESIS PROJECT: SUPERLOVESMILE / GIFT SHOP COLLECTIBLE SHOPPING BAGS
137
tomyfamily
FRIENDS
TEACHERSBOSS ESANDCOLLEGUES
THANKYOU

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good

* A.K.A: DESIGN IVE DONE THAT ISNT TOO BAD

GOOD DESIGN / COPYRIGHT 2010

MFA GRAPHIC DESIGN / ACADEMY OF ART UNIVERSITY

PRINTER / GIANT HORSE PRINTING, INC. BINDER / CARDOZA-JAMES BINDING

MFA GRAPHIC DESIGN PORTFOLIO / BRIANNA JOHNSON

INTRODUCTION / ARTIST CONCEPT STATEMENT

AMERICANS SPEND 22 TO 28 HOURS PER WEEK VIEWING TELEVISION:

KAISER FAMILY FOUNDATION

MFA GRAPHIC DESIGN PORTFOLIO / BRIANNA JOHNSON

PROJECT: TUBE / INTRODUCTION

MFA GRAPHIC DESIGN PORTFOLIO / BRIANNA JOHNSON

PROJECT: TUBE / BOOK COVER

PROJECT: TUBE / COVER DETAILS

MFA GRAPHIC DESIGN PORTFOLIO / BRIANNA JOHNSON

PROJECT: TUBE / BOOK INTRODUCTION SPREAD

MFA GRAPHIC DESIGN PORTFOLIO / BRIANNA JOHNSON

PROJECT: TUBE / BOOK PAGE DETAIL & SPREADS

MFA GRAPHIC DESIGN PORTFOLIO / BRIANNA JOHNSON

PROJECT: TUBE / BOOK PAGE DETAIL & SPREADS

I AM HAPPY TO JOIN WITH YOU TODAY:

DR. MARTIN LUTHER KING, JR.

MFA GRAPHIC DESIGN PORTFOLIO / BRIANNA JOHNSON

PROJECT: FREE AT LAST / INTRODUCTION

MFA GRAPHIC DESIGN PORTFOLIO / BRIANNA JOHNSON

PROJECT: FREE AT LAST / NEWSPAPER BAG DETAIL

MFA GRAPHIC DESIGN PORTFOLIO / BRIANNA JOHNSON

PROJECT: FREE AT LAST / POSTER DETAILS

MFA GRAPHIC DESIGN PORTFOLIO / BRIANNA JOHNSON

PROJECT: FREE AT LAST / POSTER FRONT SIDE

MFA GRAPHIC DESIGN PORTFOLIO / BRIANNA JOHNSON

PROJECT: FREE AT LAST / POSTER BACK SIDE

IF PACKED INTO A NUTSHELL, ALL THIS COMMUNICATION REALLY CONSISTS OF IS:

MFA GRAPHIC DESIGN PORTFOLIO / BRIANNA JOHNSON

PROJECT: HOW TO AVOID THE BUMMER LIFE / INTRODUCTION

how to avoid th e bummer life

MFA GRAPHIC DESIGN PORTFOLIO / BRIANNA JOHNSON

PROJECT: HOW TO AVOID THE BUMMER LIFE / BOOK SCALE

MFA GRAPHIC DESIGN PORTFOLIO / BRIANNA JOHNSON

PROJECT: HOW TO AVOID THE BUMMER LIFE / BOOK SPREADS

MFA GRAPHIC DESIGN PORTFOLIO / BRIANNA JOHNSON

MFA GRAPHIC DESIGN PORTFOLIO / BRIANNA JOHNSON

PROJECT: HOW TO AVOID THE BUMMER LIFE / SPREAD DETAIL

ILL TELL YOU, ILL TELL YOU STRAIGHT:

MIKE THE STREETS SKINNER

MFA GRAPHIC DESIGN PORTFOLIO / BRIANNA JOHNSON

HOTEL EXPRESSION ISM

PROJECT: HOTEL EXPRESSIONISM / INTRODUCTION

MFA GRAPHIC DESIGN PORTFOLIO / BRIANNA JOHNSON

PROJECT: HOTEL EXPRESSIONISM / POSTER DETAILS

MFA GRAPHIC DESIGN PORTFOLIO / BRIANNA JOHNSON

PROJECT: HOTEL EXPRESSIONISM / POSTER

WELCOME TO THE NEW HANES BRAND, WE JUST WANT TO SAY:

THE RE-BRANDED HANES

MFA GRAPHIC DESIGN PORTFOLIO / BRIANNA JOHNSON

PROJECT: HANES / INTRODUCTION

MFA GRAPHIC DESIGN PORTFOLIO / BRIANNA JOHNSON

PROJECT: HANES / NEW LOGO

MFA GRAPHIC DESIGN PORTFOLIO / BRIANNA JOHNSON

PROJECT: HANES / IDENTITY: STATIONERY & LOGO SPECS

MFA GRAPHIC DESIGN PORTFOLIO / BRIANNA JOHNSON

PROJECT: HANES / BRAND STANDARDS BOOK SPREADS & COVER

MFA GRAPHIC DESIGN PORTFOLIO / BRIANNA JOHNSON