The project began with the development of a new identity for the theater.

Once the rough concepts were approved, I produced a complete set of architectural CAD/BIM drawings for construction.

Once the rough concepts were approved, I produced a complete set of architectural CAD/BIM drawings for construction.

Once the rough concepts were approved, I produced a complete set of architectural CAD/BIM drawings for construction.

Once the rough concepts were approved, I produced a complete set of architectural CAD/BIM drawings for construction.

Once the rough concepts were approved, I produced a complete set of architectural CAD/BIM drawings for construction.

Once the rough concepts were approved, I produced a complete set of architectural CAD/BIM drawings for construction. On this page are the door vinyls print-and-cut.

3D modeling view.

3D modeling view

3D modeling view—night

Completed project—exterior signage—day.

Completed project—exterior signage—night.

Completed project—exterior signage—night (tight shot)

Interior shot—digital marketing

After completing the identity, next up was the collateral, signage, labels and marketing materials.

Offshore, a well-recognized brand in the industry sees the brand in a clean, consistent manner in print and product.

OMMS does an excellent job of keeping the brand clean and fresh. From signage, to print, to everyday t-shirts, the OMMS colors are never muddied, misused or mixed with anything else inconsistent with their image.

After designing the identity, next up was the collateral program.

9x12 pocket folder containing marketing DVD

Lawrenceville Assistance Project, a program that repairs the homes of people and families in need at no cost.

A LAP presentation given in the churches multipurpose room from the AV booth. I manage the AV services at the church.

Logo, collateral and signage systems were designed for this project.

Homestead Inn is a franchise operation with locations in Georgia, Alabama and Mississippi.

Corporate identity was applied to forms, collateral, marketing and signage.

A packaging company in Lawrenceville, specializing in interpackaging dividers and separators which was, of course, the inspiration for the logo.

TGS Media is a company that specializes in publication distribution, specifically print media that is open-source and/or free in nature.  Over time, TGS began to design and publish its own magazines, one of which, Builders Resource Magazine was one that I was the designer and producer of digital pre-press materials.

Designing the identity graphics for a credit card service was exciting.  Over fifty different logo designs were proposed before settling upon one of the earlier designs which was, in my mind, a good choice, but I had my heart set on one of the other ideas proposed.  Oh well.

PCDA works closely with private corporations to bring business opportunities and jobs to Pike County. This identity program may be expanded to all of Pike County Government.

First Bank of Pike, founded 1901, needed a fresh, updated look. The logo, symbolic of how the bank with four locations is interwoven into the community in many ways. The two-color identity was applied to signage, ATM systems, print collateral, credit cards, website and more.

The inspiration for this came from some old architectural details at the bank's older location. It seemed perfect because it symbolized the history of the bank in its community. The identity has been applied to collateral, signage and marketing.

The original design for the signs had the logo against a white background.  The decision to reverse it was somewhat last-minute because it was decided that the new corporate color needed to play an equal role in the new design.

A 503(c) non-profit that works with foster children.

It was fun designing a logo for someone 'in the business'.  The entire program uses just two spot colors and the spot varnish coat that targeted just the identity elements really made it pop off the page.

9x12 Pocket (Project) Folder

My own design firm’s collateral program, SDI & Associates. I designed this in 1992 and it essentially remained unchanged to today.

A design agency I worked for before starting my own agency. I designed their logo, up-front collateral systems, marketing and signage.

Signage location plan.

Elevations for Sign Type A

Elevations for Sign Type A.

Elevations for Sign Type B.

Elevations for Sign Type B.

Completed project photo.

General site map detailing locations of signage. A process of wayfinding is shown.

CAD and orthographic elevations—main sign

CAD and orthographic elevations—main sign

CAD and orthographic elevations—traffic directional

CAD and orthographic elevations—tenant directory

Park Identity—used on signage and marketing

ST-A—3D view of main sign

3D night view of main sign showing illuminated elements.

Completed project.

My first task with McIntosh State Bank was to develop an identity program for the bank as well as for the financial services consulting division.  I picked a mid-range blue because blue is often cited as a perceived service color.

The bank had several branches at the time of the image renovation, and an expansion was planned, so I developed a range of sizes that would take into account jurisdictional requirements.

Color rendering of Primary Sign System.

3D Rendering of typical branch to visualize the new identity.

3D rendering Night view of typical branch.

Completed project--this is the Jackson, Georgia branch office.

Signage and facade renovation.  For this assignment, I was tasked with first developing an identity for this theater located in Forsyth, Georgia. 

The marquee and vertical sign are all aluminum fabrication and the graphics are classic exposed neon.

Top view and reflected ceiling plan.  The ceiling is a complex set of channel graphics outlined in rose-color and white-color 13mm neon.

3D street view of signage system.

3D street view of signage, proposed banners and facade.

Fly-in view of structure.  A new dryvit/EFIS finish was applied to the entire front giving a fresh, new appearance.

Interior view from A/V control booth toward stage.  

Interior view toward main entrance with view of control room above.

3D night view of signage and facade.

Completed project.

Lovely nighttime view of the facade. Local residents’ as well as local businesses’ opinion of the new signage has been overwhelmingly positive and the theater has managed to gain a lot of free press time because of the new image.

When I was drafting out the rough concepts for this sign, I wanted something that played on the distinctive logo I designed.  The red bar at the bottom is illuminated by internal high-output LED lamps.  The sign is standard aluminum sheet and angle fabrication.  The white grid is 2x4 alum tubing which also doubles as the structural support.

3D model of the sign used for both communicating the design to the client as well as the fabricator, Moriah Signs.

3D view.

3D view.

Completed project.

Color view of main sign.

Structural notes for main sign showing internal re-bar elements and tie-in to foundation.

Color view of secondary site sign.

Color view of traffic directional signage.

3D view of main sign and entrance to facility.

3D view, forward facing end of sign.

Expanded 3D view of site and relative position of signage.

Typical traffic directional sign unit.

Fly in view.

Photo of completed project.

Primary Site Identifier with electronic message center.

Primary Site Identifier--fabrication notes.

Traffic Directional Units

Full property showing all signage elements.

3D view of main sign.

3D view of main sign.

Night view of main sign. The initial idea was to route and backlight the logo, however, it was thought that would be weak at night, so we decided to ground light instead. Careful attention was given to not washing out the LED electronic display.

3D view of typical traffic directional sign.

Completed project photograph--Georgia Hwy 42 McDonough Branch

Color view of main sign.

Color view of building-mount signage elements.

Marketing and construction signage.  Not willing to leave to chance, Homestead Inn has pre-designed signage to be used in the pre and during construction phases.  I worked with two approved vendors to ensure adherence to production and corporate identity standards.

Signage and structures.

Building-mount signage.

Completed project--Ballground, Georgia

Color view of main signs.

Color view of secondary main sign.

3D views of signage.

3D view of main sign

Site signature sculpture.  At the intersection corner of the property, the client wished to have something unique.  I came up with this.

Traffic directional signage.

Photos of completed project.

After I completed designing the identity for the bank, signage and print collateral was up next.  It was important to showcase not only the new identity, but the new corporate colors, so the decision was made to reverse out the graphics and utilize custom-printed vinyl allowing for a clean, backlighted design.

3D day view of signage and architecture.

3D night view of signage and architecture.

Completed project photo of Swainsboro Georgia Branch.  Shown are the main sign, building-mount graphics and the ATM canopy structure.

A great deal of focus was placed on the identity first. The logo would take priority on the labels, signage, gift boxes, website, etc. The client was quite pleased with the results.

This assignment began with designing the identity which I always work to make the most prominent element of any packaging project. Other product labels for Toucan Tropical include posterized illustrations of beach scenes.

Again, the use of the identity is prominent just above the product name. The posterized scene is used heavily in marketing and advertising. The reverse label is one color to reduce costs.

This is number one in a series of three labels for Chestnut Mountain Winery. The three colors aided in the delineation of the vintages made. I rendered the watercolor of the building specifically for the labels.

Created by Nature Clean, the Bullet Bob product lines are unified by a consistent use of the camo-orange backgrounds and a bold use of the new logo I designed.  The client gave me an old, blurry photograph to use in order to design the logo. The logo and the name originated from the father of the company's owner who was an avid deer hunter and helped to develop the formulas used in the scent control product line.

Enclosure box for the product line.  To make the digital pre-press production files, the packaging printer sent me a PDF cut-line drawing which I then did my art on top of.  Instead of CMYK, we actually designed the box as a six-color, spot format.

In addition to completing Estrol's new identity, collateral, website, exhibit and marketing, I also designed the new packaging for their product lines.  Their line of synthetic oils, used by formula one racers, is their flagship line.

Developed and marketed by Nature Clean, I first designed the logo. I then designed the packaging to be visually clear through the use of infographics. Identity is designed for the full range of 32oz. dispenser bottles on up to 55 gallon drums, though at first it was only applied to retail bottles.

Working in partnership with Nature Clean, Roush wanted a make-over of its automotive products line that was both bold and fresh.  The use of reds, blacks and greys was a logical extension of the existing corporate identity.  All new packaging and bottle shapes were also used. Nature Clean did the original photo of this grouping. I replaced the background.

Produced, marketed and sold by NHS, the Foaminator line of facial and hand soaps are targeted specifically at either boys or girls.   The name Miss Foaminator was decided upon by the client.  My choice was to use something kids would relate to such as Fabulous Farrah Foaminator.  Transformers were popular with kids when I designed the graphics. When the product is emitted, it automatically expands into a blue or pink foam.  It's actually quite cool.

The Bact-o-Ban deodorant product line is a true deviation from the traditional antiperspirant deodorants that use a wide range of chemicals. I designed Bact-o-Ban's packaging to show how, at the microbial level, treats the bacteria that actually cause odor.  It uses a mix of natural ingredients instead of aluminum salts which other deodorants use which are deemed harmful.

Produced and marketed under the Estrol Brand, all of the Cody Bison products, with the exception of the power drinks, use buffalo meat in their ingredient lists.  When I developed the graphics, I went for a bold, liberal use of hot colors contrasted with a stark black gave the punch the client was seeking.  The tattoo-style graphics have a reach with the suggested demographics

Exterior: four-color gate-fold. Master Rental Guide for all parks facilities in Gwinnett County.

Interior: Four-color match-up of Gwinnett County Parks facilities rental guide.

Hand-out Folder--various applications and uses.  Four-color process on #10 matte finish card stock with a matte varnish over.

Exterior side, four-color, gate-fold brochure for Gwinnett Country Courthouse.  The intent of the brochure is to provide anyone inquiring about the facilities a full overview of what is available.  And while that same information is available online at the county's website, it is felt that a hand-out physical handout actually communicates more effectively.  The handout also directs visitors to the online information.
 

Interior spread, four-color gate-fold brochure.  The old courthouse hosts a large number of wedding receptions every year.  The floorplans and overall site plan are useful toward the planning process.

Front/Back exterior spread. After designing both the LAP logo as well as the logo for the church, I designed a general brochure. LAP is a youth-oriented community assistance program that aids people with yard and home maintenance projects.

Each year, a new ‘year event logo’ is created along with a marketing brochure and sign-up form.

11”x22” tri-fold brochure with tear-off for rolodex card and mail-in. The cover photo was done using the product on red and blue gels backlighted. The sign on the back is my design.

11”x22” tri-fold brochure. All photographs were done in-house. The idea was to show actual products shown on top of the dividers. Overall, we wanted a design that was vibrant and energetic.

Series of quarter page advertisements for Packaging World Magazine. For effect, and in keeping with the company's image, I decided to use duotone images paired with black backgrounds and reversed text.

Parallel folding brochure. Multicell Packaging is a client I did everything for--from signage, to print, to advertising--even exhibits.  This is the exterior side of a four-color CMYK gate-fold brochure.  The exterior is the playful side that references the die-cut nature of their interpackaging product lines.

Parallel folding brochure. When the brochure is opened, the first two panels seen is this.  The die-cut nature of their product lines lent itself well to the play on meanings and metaphors.  The two panels then open out to reveal what Multicell is and does.

The red half-circles are a clear reference to the company logo.

Parallel folding brochure---interior panels. The full spread interior shows both the chipboard and the corrugated product lines and an exploration of the ordering process.  References to the website and the online ordering methods are made throughout the brochure.

An invitation mailer for Multicell’s 10 year anniversary. Designed as a tri-fold to be inserted into envelope and combined with RSVP and map. The 10 year logo was included with the design and was used on other fulfillment items.

Tri-fold targeted direct mailer for IBP Internet Seminars—part of a series of similar design mailer pieces that coordinated with online email marketing and on-location signage.

After designing their logo and collateral systems, I then crafted a marketing brochure.  The final trim size is 8x10, single score and fold.  It is designed as a handout (leave-behind) for the sales staff and as an insert into a 9x12 envelope and paired with transient pricing sheets and customized cover letter.

After designing their logo and collateral systems, I then crafted a marketing brochure.  The final trim size is 8x10, single score and fold.  It is designed as a handout (leave-behind) for the sales staff and as an insert into a 9x12 envelope and paired with transient pricing sheets and customized cover letter.

I also designed a series of custom graphics that were oversized printed as hanging signage inside the plant which would be familiar guideposts for visitors.

Some might say that billboard, or out-of-house, is not print.  My opinion differs.  When I worked at Turner Outdoor, the process of designing, production art and final implementation exactly matched that of print processes.

This 14x48 rotational billboard for Chestnut Mountain first did rotational on I-85.  I designed this after completing their logo, collateral, print, signage and packaging.

This has to be one of my most favorite billboards.  This 14x48 rotational has cut-outs (or extensions) on all three sides.  I came up with a series of billboards using their parrot mascot.  The other designs use early 1920s motifs because that is used heavily at the restaurant.

Exterior front and back of invitation - 3-spot color format..

Interior spread of invitation - 3-spot color format

One of a series of grayscale ads promoting the publication Gwinnett LIFE to potential advertisers. This ad layout was also used in direct mailers and website.

Gwinnett LIFE is a quarterly, 60-page, publication and is distributed to all residents of Gwinnett County.  The primary purpose of the publication is to inform citizens about the availability of educational classes such as computer training, tennis programs, etc.  The publication is printed on a 4 over 2 web press and is printed on high-white opacity newsprint.

The reason for the upside down side for the community schools is simply tradition.  The final 20 or so pages are given over to the specialized classes offered within the public school system, and to differentiate that section, the county came up with the upside down idea.

Sample page from the publication.  The entire publication is assembled in QuarkXpress. The primary body font is Rotis Demi and Rotis Bold. I've used Rotis for years and I love how it looks on the printed page. Helvetica is primarily used as the headline 1 and headline 2 font.

Sample page from the publication.

Sample page from the publication.

Sample page from the publication.

Sample page from the publication.

Exterior for the 2-color tri-fold brochure for the Gwinnett Corporate Challenge which is a multi-sport county-wide competition.  Entrants (corporations) can sign up for one or multiple sporting events and winners are awarded medals similar to the ones shown on the brochure.

Interior spread for the 2-color marketing sign-up brochure.

Cover design for the handbook outlining the procedures and rules for the challenge.
 

2-color silk-screen t-shirt design.

Oversized gate-fold marketing brochure--final trim size, 11" x 34".  On the exterior, the company's services are explained.  On the interior spread is shown sample photos of projects Chalmers has done.  The cover photo is a photoshop composite of several photographs I shot while at their manufacturing plant in Hapeville, Georgia.

Oversized gate-fold marketing brochure--final trim size: 11" x 34".  On the exterior, the company's services are explained.  On the interior spread is shown sample photos of projects Chalmers has done.

Chalmers, in addition to manufacturing signage, also designs, manufactures and installs ATM systems.  This is the front side of a letter-sized brochure that emphasizes maintenance of ATM programs. It is routinely mailed out in a 9x12 marketing envelope with a cover letter and pricing sheets.

Reverse side of ATM Focus Sheet which highlights the "Chalmers Building"--a construct for a freestanding ATM program.
 

Exterior elevations for structure and logo applied.  Designed for Turnkey Properties, I designed the full concept which included full orthographic plans for structure, electrical, plumbing, kitchen fixtures and front end.  Final CAD plans included all signage, site and site lighting plan.

Full exterior 3D view of building, signage and site.  Designed for Turnkey Properties, I designed the full concept which included full plans for structure, electrical, plumbing, kitchen fixtures and front end.  Final CAD plans included all signage, site and site lighting plan.

3D views, East and South views of structure and site.

Night view of site and structure.

Plan Section View at canopy line.

East Elevation Sectional View--longitudinal array showing both front and kitchen prep.

Interior view of customer counter and menu system.

Interior view of customer service counter and menu system.

Interior view from kitchen toward front customer area.

Interior view of kitchen and prep.  The entire facility was planned out in 3D mode which permitted good visualization of all elements and areas.

Completed prototype location.

For Chalmers, I designed their new location in Canton, Georgia.  From the initial plan meetings, to rough sketches on to CAD drawings that included framing notes, HVAC systems, electrical, plumbing, and computer network wiring, the program was thorough and complete.

Enlargement of the offices, designation floorplans.

Electrical, plumbing, data and HVAC plans.

Once the basic CAD drawings were complete, it was time to translate them into full 3D environments.  Pictured here is the structure with site, parking, signage, etc.

Plan Section View--interior and site.
 

Plan Section View--close in of reception and meeting section of floor plan.

Elevation Sectional View--west toward reception and meeting room.

Front reception area.

Conference and client presentation room.

After completing Master Kleen's new identity program, I launched into the design retrofit application of new signage and front customer service bay.  Plans included all finish details, counters, interior signage and exterior signage.  The rollout for all 14 locations was completed in 6 weeks.

Plan Section View with focus on customer service bay.
 

Full view of structure and site--night.

Expanded rendering.

Dominos Pizza has been interested in developing a full-scale dine-in restaurant which would offer a greatly expanded menu.  I was provided a criteria list that included the recommended footprint and square footage planned for each part of the facility.  The plans provided needed to be complete--structural, engineering, electrical, data, plumbing.

Color page from CAD and engineering package.

Eye-level customer experience angle.

Eye-level rendering of facility.

Street front view.

Plan Sectional View showing ceiling treatments in dining area.  The geodesic approach gave the space an unusual visual treatment not seen in a fast food environment.  At first, it was suggested that lighting be incorporated into the truss-work, but I suggested that it would be cozier to have drop-down pendants instead.

Plan Sectional View of the dining room and all fixtures.  The two circular buffet bars with colored glass sneeze guards and ceiling treatments.  The first bar is for pizza and pasta.  The second bar is for salad.

Lateral Plan View of dining room showing relative positions of all ceiling treatments.

Interior view toward ordering counter.  Hanging pendant lighting is used in conjunction with directed track lighting.

Interior view from side entry toward dining room.  Even with the overhead skylights, the interior is warm and not overly bright.  The use of darker neutrals on the walls helps with this. The pendant lighting adds a sense of privacy to the space.  Similar to Pizza Hut, real plates and silverware are used, so there are no waste disposal bins.

This project, after refinement of their identity, included full site development, build-out of the structure (full set of CAD construction documents), signage and pneumatic systems.  This is the full view of site, structure and signage.

This project, after refinement of their identity, included full site development, build-out of the structure (full set of CAD construction documents), signage and pneumatic systems.  This view of a Longitudinal Section View looking west through the structure.

Interior view showing teller line and equipment distribution.

A few months ago, I went looking for information about a job I had while I was still in college.  The job was at Turner Outdoor Advertising which Ted Turner inherited from his father who started the business.  After much searching, I turned up very little which depressed me.  Even Google Maps (732 Ashby Street) showed the building as no longer being there.  My heart sank.

I decided to re-create the plant in every detail and mostly from memory.  Turner Outdoor was an important part of the Atlanta landscape.  From the excellent creative work that happened on a daily basis, to the yearly Halloween Extravaganza parties, Turner was a special place to stretch my own fledgling creative abilities.  I miss that place.

A tighter shot of the front entrance.

The front lobby looking toward the windows.

A cut-away plan view of the entire plant.

Production area--the pattern-making department.  After the design was completed by the art department and approved by the customer, the design then found its way to this room. 

In the pattern department, the design was scaled up to full size using overhead projectors that transmitted the image to an electrified metal board covered with 60" paper.  Electric pounce pencils then traced the design on to the paper, while at the same time, burning small holes through the paper.  The papers were rolled up and sent to the paint department where the pattern was transferred to the billboard using powdered charcoal dust which penetrated through the tiny holes leaving light grey lines behind.  It was a primitive, but very cool process.

Plan cutaway view showing the paint department.  Up to eight 14'x48' and two 20'x60' billboards could be painted at the same time.  Once completed and dry, the individual section panels (36" wide) would be taken down, loaded on to a crane truck and driven to the rotational location.

Plan section view showing the first floor of the front offices including Ted's old office in the bottom, right corner.

A shot of Ted's office.  Ted was around a lot and anyone working was welcome to drop in and say hi.  I did many times.  Ted, in today's public sphere, is brash and bigger-than-life, but when he ran Turner Outdoor, he was just one of the guys and very approachable.

The art department on the second floor front offices where I interned.  The Turner in-house department consisted of the Creative Director, Fred Adams, and two assistants.  

In the back corner office was a space for the commercial sign designer. Before Turner sold off the commercial sign division, the sign designer was Patty Hudson.  When the sign division moved out, she made it clear she wanted to be in sales, not design.  That opened an opportunity for me to become their designer.  Heady times.

I did a lot of cutting-edge photography for SBT that was used to promote their troop and their performances.  This public-relations image was for "Gershwin With a Side of Grits".

Poster design for Grits With a Side of Gershwin.  I came up with a simple neon styled graphic.  The real weight of the design is carried by the photograph.

I just love the colors of the costumes in this shot.  This grouping represented one of the dances in a particular performance.

Promotional and marketing shot for their Alice in Wonderland performance.

Promotional shot for Alice in Wonderland.

Group/Company shot for marketing and promotions for Alice in Wonderland performance.
 

Classroom group shot.  I did a lot of these group shots which were always used inside the program handouts during the show.  Copies were, of course, made available for sale.

Class pose in costume for performance.

Promotional shot for Little Match Girl performance.

Full poster for Little Match Girl.

Shot during actual performance.  In addition to video-taping the performances, I often took still shots during key moments during a show.

Dress rehearsal shots.

Dress rehearsal shots

Marketing poster of Wizard of Oz. It was a wonderfully done performance which included some on-stage video-work by me. To make the wizard scene more dramatic, I 3D modeled a frightening head and made a video of it complete with flames to be back-projected on stage. It was quite exciting. You can see this under my videos portfolio.

Interior shoot for Summerfield Homes edition.

Interior shoot for Summerfield Homes edition.

Interior shoot for Summerfield Homes edition.

Interior shoot for Summerfield Homes edition.

Interior shoot for Summerfield Homes edition.

Interior shoot for Summerfield Homes edition.

Wedding and event photography is usually a mix of planned and impromptu. The secret to doing this well is to be in tune with the emotions of the moment and to capture those with sincerity.

Cover shot for marketing brochure.  Multicell manufactures the dividers that go inside the box and keep products from shifting around.  When I was developing concepts for the brochure, I thought it would be fun to emphasize the "cells" of their product by shining lights through it.  I put blue and red gels under a sheet of black paper I cut a hole in.  I then put lights under the gels.  It turned out pretty cool.

Shoot for primary marketing brochure.
 

Shoot for primary marketing brochure.

Shoot for primary marketing brochure.

Shoot for primary marketing brochure.

Shoot for primary marketing brochure.  The purpose of this shot was to convey the space-saving design of chipboard versus corrugated dividers, allowing for more product to be shipped in the same container.

This is one of those images I referred to as "not real".  The owl is from a shot I took at a Renaissance Festival a few years ago.  I then went to my back yard and took a shot of a random tree branch.  I combined them and then edited the coloration in Photoshop to achieve this result.  Fake or real?  We live in an age where we cannot tell any more.

I was at a farm in North Carolina and when I walked by this window, I was struck by the look of the table through the window.

This stone bridge is in a small park in North Carolina.  I managed to capture this shot before large groups of people began to cross.  The lighting was warm-shifted, but I increased the look using a color filter.

I caught this image of our cat Mee Moo as she enjoyed the early morning sunlight streaming in. I love the chiaroscuro effect of strong directed lighting and powerful background blacks. Going back to the days of Leonardo da Vinci, chiaroscuro has always been a popular way of directing the viewer’s eye—da Vinci made the best use of it in his day.

How many times do we see a fantastic sunset and wish we could do justice capturing it?  We were driving back from a dinner engagement when this opened up before us.  This has been one of my favorite photographs for a long time--something about the colors that gets me.

This was shot while on a hike in North Georgia. To enhance, I used a half-line blue filter to layer in a feeling of dusk that is almost rain forest in feel.

Some might say that a 10x10 space is not much to work with, and they are right, it is not.  In fact, with this design, I made that even smaller.  The entire space reflects the business of signage.  The backwall and the counter are both grinder-finish aluminum and polished wood.  The sign cube at the top is internally illuminated just as any sign would be.

After I completed designing USA's logo, collateral, signage and vehicles, trade show marketing came next.  The unique aspect of this booth is, USA built all the components for the display themselves from materials typically used for manufacturing signs.  That's a good talking point for the folks working the booth.

Perhaps the most important aspect of this design is, it dis-assembles into two carry cases meaning the display can be run with two persons, or even just one person if need be. Another important aspect is, the booth can be illuminated or non-illuminated.

The wood floor is not there strictly for appearance.  It contains the fastening hardware for the front desk and back wall.

20x20 exhibit for Estrol using truss system with overhead illuminated sign band.  The logos on the vertical supports are also back-lighted.

Back side of booth.

Top-down view showing truss system and lighting.

Full rendering showing illumination attributes in 3D exhibit hall.

TGS Media, a client for whom I also designed their identity, collateral, website and entire third-party magazines, said 'money is no object' when it came to their involvement in tradeshow marketing.

Their goal with the booth was to have spaces to interface with passers-by as well as a more intimate space for more serious inquirers.  And, as you can see, they wanted a booth that was truly unique.

The centerpiece overhead globe states the obvious--TGS's philosophy and reach is global.  The globe is inflatable by the way and is a part of their logo.  The center arch with its negative openings creates space while also allowing the penetration of light into the conference area.

The two magazine stands in front display magazines that TGS distributes, but that goes further.  They are also magazines TGS both designs and publishes.  Incidentally, they are magazines I designed--notably Builders Resource Magazine.

This view more clearly shows the geometry of the center arch.  A well-designed tradeshow booth should look good from all sides and this one certainly does.

In addition to designing Multicell's logo, collateral, brochures and advertising, they graciously gave me the opportunity to design their 20x20 tradeshow booth. 

While the display appears complicated, it breaks down into 4 roll-about carry cases and includes some nice internal illumination with the logos and the duratrans photos.  Sometimes I get to include flooring, as in this case with the two red circles against the grey carpet.  It is a nice play on the logo while defining the spaces.

The nice thing about this design is it allows for semi-private meetings at the table while still allowing for sales at the front walkway.

The multiple shelves allow for full exposure of a wide variety of product which can be taken down and shown to visitors to the booth.

The organization flow chart is where it begins. From this, all pages, be they CSS and/or HTML5 are assembled. The site takes shape from this basic road map.

This corporate site is a full e-commerce site and is packed with useful information about the products and company.

Site is SEO with meta-tags and keywords.

The RSS feed and interactive forum allows for full "Web 2.0" functionality.

This corporate site is a full e-commerce site and is packed with useful information about the products and company.

Site is SEO with meta-tags and keywords.

The RSS feed and interactive forum allows for full "Web 2.0" functionality.

The organization flow chart is where it begins. From this, all pages, be they CSS and/or HTML5 are assembled. The site takes shape from this basic road map.

Corporate website for realty firm showcasing up-to-date information on homes for sale from Prudential.

Site is SEO with meta-tags and keywords.

Customers can interact with the online forum and can also get weather information from the RSS weather feed.

Corporate website for realty firm showcasing up-to-date information on homes for sale from Prudential.

Site is SEO with meta-tags and keywords.

Customers can interact with the online forum and can also get weather information from the RSS weather feed.

The organization flow chart is where it begins. From this, all pages, be they CSS and/or HTML5 are assembled. The site takes shape from this basic road map.

Corporate website for non-profit showcasing up-to-date information on the organization, participating artists and events.

Site is SEO with meta-tags and keywords.

Customers can interact with the online forum and can also get showcase artist galleries and even purchase artwork through the website.

Corporate website for non-profit showcasing up-to-date information on the organization, participating artists and events.

Site is SEO with meta-tags and keywords.

Customers can interact with the online forum and can also get showcase artist galleries and even purchase artwork through the website.

The organization flow chart is where it begins. From this, all pages, be they CSS and/or HTML5 are assembled. The site takes shape from this basic road map.

Corporate website for events planning company. Visitors can learn about services, check the company schedule, view slide shows of previous shows. They can also check on company calendar for availability.

Site is SEO with meta-tags and keywords.

Customers can interact with the online forum and post their comments.

Corporate website for events planning company. Visitors can learn about services, check the company schedule, view slide shows of previous shows. They can also check on company calendar for availability.

Site is SEO with meta-tags and keywords.

Customers can interact with the online forum and post their comments.

The organization flow chart is where it begins. From this, all pages, be they CSS and/or HTML5 are assembled. The site takes shape from this basic road map.

This site is a companion resource to the print version of the magazine. Advertisers can get press kit and rates information online and in PDF. Each month is also archived in full PDF format.

Site is SEO with meta-tags and keywords.

Readers can interact with the online forum and post their comments about the magazine and various articles.

This site is a companion resource to the print version of the magazine. Advertisers can get press kit and rates information online and in PDF. Each month is also archived in full PDF format.

Site is SEO with meta-tags and keywords.

Readers can interact with the online forum and post their comments about the magazine and various articles.

The organization flow chart is where it begins. From this, all pages, be they CSS and/or HTML5 are assembled. The site takes shape from this basic road map.

The Village is a non-profit organization for the health and benefits of orphaned children. The site is packed with useful material and allows for visitors to make tax-deductable donations.

Site is SEO with meta-tags andkeywords.

There are two RSS feeds and an online interactive forum for

guests to learn more and share stories.

The Village is a non-profit organization for the health and benefits of orphaned children. The site is packed with useful material and allows for visitors to make tax-deductable donations.

Site is SEO with meta-tags and keywords.

There are two RSS feeds and an online interactive forum for

guests to learn more and share stories.

I had it in mind to create a scene of a small deer in a watery setting.  It's based on a painting my father did when I was very young.  Along the years, that painting he did disappeared, but I never forgot it.   For some reason, I decided to add in a grouping of turkeys.  The figures are all DAZ3D, the trees and setting are Cararra 8.0.  I finished up the scene in PhotoShop CS6.0.
 

The Temple of Kreivo is something I worked on back in 2016 to somehow be a part of my portfolio website and then I forgot about it. Near the temple is a brain / globe surrounded by light-emitting pens into the evening sky. An indigenous group has just completed their offerings to the creative brain god.

I set this 3D model of a ship I built into a stormy seascape.  The single light can symbolize hope, defiance.  I used a fractal algorithm on the model of the ocean waves in order to get the level of detail (LOD) I wanted.

An illustration based on the Lord of the Rings scene in Book 3 where Bilbo and Gandalf depart the Grey Havens.  I built the structures in Cararra 8.0, assembled the trees in Particle Illusion and wrapped everything up in PhotoShop CS6.

What happens when you do your job properly? Sometimes bad things happen. I have good memories of local and state fairs, and I wanted to make an ode to that. I have wonderful models of carnival rides, so I decided to put them to work. I plan on doing a few more scenes using those models. The soft, subtle evening light with the early twinkling lights of distant stars contrasted with the yellow and red lights just works for me.
 

 Take curious note that the dress the woman is wearing is the same as the woman in the "Evening Lighthouse" rendering I made. It's a nice dress, so why not recycle?

 This entire scene was created in DAZ3D and final color corrected in Photoshop CS6. DAZ has a fine rendering engine, although, if you've read some of my comments, you'll know that I also find those rendering engines lacking. Photoshop tucks in all the loose ends.

This illustration was created in Cararra for the columns, the capital building and the lions. The homeless person was created in DAZ3D and supplemented with some Photoshop elements. The business shoes were also created in DAZ3D and Photoshop connected to the columns.

Crystal Visions 1

What can be seen when gazing into the reflective surfaces?  The crystal shapes were rendered in CararraPro v.8.0 and the cat and doormice were created in DAZ3D.  Final lighting effects were done in Photoshop CS6.

I initially developed the idea a few years ago.  I did some pencil sketches of it, then moved on without flushing the idea out a bit more.  I revisited it recently and came up with this.  It's the blending of theatrical lighting and crystal.  Something is happening here, but I'm not sure what.

This is a watercolor illustration I made for an Alternet article about the regulatory processes of coal-burning power plants, or rather, in this case, the planned dismantling of regulations.

I do a lot of work in Sketchup, and this rendering is straight out of that 3D program using the Twilight 2.5 rendering engine.  That makes this rendering a first for me.  In the past, I always used Cararra and/or DAZ for 3D renderings.  I brought the final render into Photoshop CS6 and did a little post touch-up, but not much.  I added some glare and light rays streaming in through the glass.

The play of light was crucial to this, as it is with all my illustrations. I always spend most of my time working on lighting.  Building the sets, building the characters, framing the composition all takes about 25% of the time.  The other 75% is lighting.  For "The Hero Shot", it took me over two hours to get the lighting right.  In the end, I had to turn everything off including 'sun' (set to 0) and then use a single point light to shine through the windows.  I then did some color adjustments to tighten up the image.

This is a set from the Supernatural television program.  The building and other elements were created in Sketchup 2016.  The landscape is a mix of Sketchup, Cararra and Vue.  The final composition was color corrected in Photoshop CS6.

After building 3D models of the Enterprise NX-01 and one of the shuttle pods, I created this illustration.  I like the color contrast between the blue of the engines and the orange-red of the space they are in.

Using the 3D model of the Enterprise NX-01, I created this illustration of the spacecraft in orbit, approaching the sunrise of an alien world.

Every once in a while, I like to break out the prisma-color pencils and do a doodle or two.
 

Prismacolor pencil sketch of a faun in the undergrowth.

A scene from a nearby park.  Prismacolor pencil on acid free paper.

I saw this lower part of a tree and the small purple flowers and just had to capture it.  Prismacolor pencil on acid free paper.

The central character, a six-year-old named David gets to go to school in his PJs and imagines all sorts of adventures along the way.  I did a total of fourteen illustrations for this.  I also did the digital pre-press files for the publisher.

In this cover illustration, David is holding a cookie and one of his favorite toys, a zebra, which references the last page in the book.  The pillows on the bed are meant to look mysterious, almost like the eyes of some beast.

The first of fourteen illustrations I did for a children's book called PJs at School.  The central character, a six-year-old named David gets to go to school in his PJs and imagines all sorts of adventures along the way.

David is dropped off at school and imagines he's a pirate. 

David gets to play on the playground and is greeted by a terrible dragon.

The classroom becomes a jungle and David meets the tall giraffe.

In 2010, I began work on a novel.  The working title for it is called THREE: 2020.  I designed over a dozen different covers, and this is the current one.  Everything is built in Cararra 8.0PRO and finished up in Photoshop CS6.  I plan on adding a section to this website devoted exclusively to the novel which is now in editing.  The second novel in the series, THREE: 2028 is well underway.

In 2015, Two Sharks Media introduced an 'opportunity' (actually the oldest trick in the book to getting free design work) for fans to submit ideas for the lead and title graphics for their documentary.  I came up with this.  I wanted this piece to look slightly cartoonish or perhaps more specifically Scooby-doo.

What can be better than having a dragon answer the door?

A while back, I did a series called "The Elven Princess", a character set in a variety of locations, including this.  She has command of the environment around her.  Here, she is having a little fun with some kind of illuminated particles.

This was a challenging piece of work because of the lighting and the reflecting pond.  I think it came together pretty well.

This was put together for a DAZ3D contest.  The challenge was to use 3D models on sale that week--a dog, the waitress costume, the car.  I came up with this.  The part I had the most fun with was the windows.  I built up over 10 layers of reflections.  In any illustration, whenever there are reflecting elements, I have a tendency to work on those the longest.

I built a 3D model of the Alien's Nostromo spacecraft.  That meant of course that I needed to do something with it, so I created this illustration of what could happen when someone stays away too long.

Todd is one frustrated raccoon.  He saw his target, but then lost it.  Randy just believes Todd is making it up.

Over time, I've done quite a few illustrations of raccoons. Why?  I have no idea, but I think it's because they look mischievous and rather cool.  In this rendering, the one raccoon is saying to the other, 'he was just right here'.  If you look closely at the wheel-well, you will see who they are looking for.

I have several posable 3D models of raccoons and I use them quite a bit.  I worked on getting the color balance just right in Photoshop CS6.