Jason Charles Price

BROADCAST

DREAMCYCLE

HERBIVO

RE

DAMAGE

FUTUREON

OLWEN

CONNECT

BRANDENBERRY

OBSCURO

LOGOS

5 11 17 23 29 37 41 49 55 63

3INTRO

As a child I would sit for hours in my room and draw complex spacecrafts and buildings. I loved planning and making lists of what would be necessary for the construction of these objects. As a teenager I began building model aircraft and then entire landscapes around them with other vehicles and structures. I went on to study fine arts focusing on furniture design and construction. I am obsessed with process: welding, woodworking, ceramics, print making, painting and photography. I love to solve design problems and work a project through to completion. This is what I have found so fascinating about graphic design. To be a successful designer you have to envelop yourself in the process and be able to orchestrate multiple tasks and techniques. A designer has to be current and able to think creatively within specific constructs. They need to be able to communicate ideas efficiently and effectively. Furthermore a designer must thoroughly enjoy learning and discovery. This is why I love design and that is what I have tried to achieve with this book.

broadcast

Broadcast is a re–packaging of the albums from one of my favorite bands into a re–mastered box set. What made Broadcast unique, apart from the lead vocalist and her intelligent lyricism, was the 60’s Mod musical stylings fused with more contemporary electronic noise. Their music came together in a flawless choreography of psychedelia and digital abstraction. The covers I created are directly inspired from the music of Broadcast and the album art of Reid Miles. The logo I designed for the covers is closely related to some of their own original album typography and is intended to represent the often abstract nature within their music. The color palettes, photography and patterns were further intended to convey the mid century modernism and electro–experimental musing that made Broadcast so special.

5BROADCAST

Packaging

Multipage

Collateral

Branding

Typographic

Album Repackag

ing

and

Col

lateral

Box Set | Companion Booklet

7BROADCAST

Individual Digipak Cases, Sleeves and CDs

9BROADCAST

Bicycle Shop Identity and Collateral

Environmental

Branding

Collateral

Stationery

Interactive

I love bicycles and have dreamed about owning a bike shop, hence the name Dreamcycle. A pun is also being made of f the creamy orange popsicle which oddly reminds me of riding my bike as a kid. The target consumer for Dreamcycle would be 25 to 40, upper–middle income men and women. A vintage, retro style was employed for its popularity in customized bike culture. I created multiple logo options for the shop that would be used for different applications. The logo type is meant to resemble a Dreamsicle in color with a vintage feel. The rest of the color palette as well as the patterns and ornate elements are intended to further cultivate this particular style. I designed the winged gear symbol to represent this idea of being carried away by ones dreams or in this case that perfect bicycle.

11DREAMCYCLE

dreamcycle

13DREAMCYCLE

Store Advertising | Shop Apron | Messenger Bag | Website

15DREAMCYCLE

Stationery, Envelope, Business Card, Repair and Sales Forms, Sales Tag

herbivore

Herbivore is a self–initiated project and my vision was to create a vegan restaurant with modern elegance. The demographic for this restaurant would be upper–middle income men and women ages 35 to 50 who enjoy vegan cuisine. The distinctive element of Herbivores’ identity are close up abstractions of oranges, green caulif lower and other produce. My focus was always to find the most appealing images to exhibit the intricate beauty of fruits and vegetables. I used colors that emphasized healthiness while the layouts always remained modern and clean. The logo for Herbivore is a modified Caslon Graphique, with an exuberant yet elegant quality. Gotham was used as body copy for its clean refined sensibility.

17HERBIVORE

Re

staur

ant I

dent

ity a

nd Collateral

Envi

ronm

enta

l

Col

late

ral

Bran

ding

Pack

agin

g

Stat

ione

ry

Inte

ract

ive

Restaurant Entrance | Bus Stop Poster | iPhone App | To Go Items

Sundried tomato hummus with flatbread...........4.95

Soups

Appetizers

Sandwiches & Wraps

creamy oregano-thyme tofu dip with crostini

.....................................................................................5.95

All Soups: Cup 3.95 / Bowl 4.95

light Japanese seaweed soup w/ avocado & cilantro

A simple brew of coconut, cilantro, lime & lemongrass Herb soup

Raw Cold Carrot Ginger soup

Fresh kale cooked on a seasoned flat until it is

crispy around the edges. served with orange slices

and lemon wedges.................................................. 5.95

Cashew cheese toasted, battered and served with

mixed greens and grapes.......................................6.95

Whole shell edamame served with tamari and

lemon wedges...........................................................5.95

Double layer rolls of wheat tortilla, spicy black

beans, nori, daikon sprout, jicama, carrot and red

bell pepper with a side of lime tamari..................9.95

Tempeh Reuben grilled reuben served on rye with

layers of cashew cheese, tempeh, sauerkraut, tofu

cheese and 1000 island dressing. served with

choice of potato salad, side salad or fruit...........9.95Club Sandwich battered baked tofu, tempeh

bacon, tomato, avocado, lettuce, daikon sprout

1

2

19HERBIVORE

Breakfast

Lunch

Dinner

Mobile Menu

Menu, Napkin, Stationery System, Sandwich Wrap

21HERBIVORE

Multipage

Typographic

Environmental

Collateral

Stationery

Theat

er P

rodu

ctio

n Stationery and C

ollateral

Damage is a series of three plays that would run throughout a single season at the La Jolla Playhouse. For this project the design was meant to attract those who didn’t visit the theater regularly, perhaps a new generation of theater–goers. Therefore, the demographic I targeted were 20 to 35 year old men and women who may have an interest in the arts but required a little push. I chose three plays that had also been produced as films, each with a dark, twisted plot line. All three focus on individuals whose lives are disintegrating in part from some deeply guarded secret. The over–all design was driven by this sense of tattered, fraying memories. I created the brochure and mailer to resemble an old photo album and steamer trunk respectively. The individual logo typefaces and collages of imagery relate directly to the content of each play. The overall color palette is muted to further emphasize deterioration.

23DAMAGE

damage

25DAMAGE

Tickets | Street Light Banner | Response Cards

Mailer, Response Envelope, Mailing Envelope and Sticker

27DAMAGE

The objective was to develop and brand a unique Las Vegas hotel targeting upper income men and women ages 30 to 45. The Futureon Hotel would embody the mid century view of futuristic space travel reminiscent of the Kubrick film 2001, A Space Odyssey. The aesthetic is clean, modern, and represents an age of prosperity and genuine excitement about innovation. I tried to convey a space-aged optimism with the hotels branded materials. The logo depicts a 50’s era spacecraft blasting upward from a geodesic planet. The color palette is bright and suggestive of the era while the pattern work is elegant and contemporary. Clean layouts feature typefaces with a futuristic quality including the streamlined confidence of Univers and Gembira. The toiletries kit is indicative of space t ravel and features aluminum bottles within a custom bag.

Hotel logo

and

Pack

agin

g

29FUTUREON

31FUTUREON

Hotel Guide Book | Business Card | Hotel Lobby | Hotel Toiletries with Bag

33FUTUREON

Door Hanger, Key Card and Guest Stationery

35FUTUREON

Whiskey Logo and Packaging

Collateral

Bran

ding

Packaging

Typographic

This packaging project is for Olwen, a Welsh single malt whiskey intended for upper–middle to upper income level professional women ages 35 to 50. After a long day in the office, many business women prefer to relax with friends and sip whiskey, yet a product targeting this growing demographic currently does not exist. My intent was to bring a contemporary sophistication with a hint of Welsh folk art to create a lush, pleasurable design. The logo and accompanying swashes are reminiscent of traditional Celtic calligraphy. The splashes of Victorian flora set in vibrant colors against rich darker patterns and hues brings the design into a more contemporary aesthetic. The unique feminine shape of the bottle placed in a cylindrical carton further emphasizes the luxuriant nature of the product. Included with the brand is an elegant set of chilling stones and glasses for the whiskey connoisseur.

37OLWEN

olwen

Whiskey Stones with Packaging | Signature Glass | Bottle Top | Bottles with Packaging

39OLWEN

Connect is a multimedia Language learning program. There were several objectives with this project including a series of book covers that would both appeal to children ages 9–14 and their teachers. They needed to convey learning from the connections made through technology. The idea was that the children would use a book, computer program and the internet in tandem to become immersed in language. The logo is a modified typeface called Arista, which I used because it has such a friendly yet electronic sensibility to it. Eurostile was used as a secondary font as it is easy to read and also has a technological feel. I designed the gridded pattern to be interesting both to students and teachers while also serving to color code the levels. The imagery on the covers is meant to invoke curiosity and this sense of connection within the world.

connect

41CONNECT

Collateral

Interactive

Learni

ng M

ater

ials

Branding and Collateral

Branding

43CONNECT

Website | Digipak Cases | CD | Sales Brochure

45CONNECT

Textbook Covers

47CONNECT

Grocery Store Identity and Collateral

Envir

onmen

talBra

nding

Collate

ral

Pack

aging

49BRANDENBERRY

brandenberry

Brandenberry is a grocery store that would serve as a cooperative for local organic farms. Brandenber r y would be an advocate fo r healthier eating, sustainability, environmental ethics and support for local farmers. They would sell various reusable containers in an effort to cut down on waste and reliance on petroleum as well as sustaining the business. The target demographic would be socially conscious men and women ages 25 to 40 and perhaps middle to upper income levels. I wanted the design to be soft and comfortable as if you were sitting in your grandmothers kitchen. The typefaces and ornamental elements are inspired by Victorian packaging while the monotone color palettes and imagery interacting with silhouet ted environments are intended to be more fresh and contemporary. Each image relates to the origin of that particular product thus bringing the farm to the consumer.

51BRANDENBERRY

Reusable Produce Box | Grocery Clerk Apron | Store Facade Mock up

Reusable Olive Oil ,Sesame Oil and Milk Bottles, Egg Carton, Grain and Dried Fruit Jars, Honeycomb Box and Shopping Bag

53BRANDENBERRY

obscuro

Obscuro is an avant–garde studio generally producing darker underground or cult genre films. In the combo–mark the two headed horse is a twisted reference to the film by Eadweard Muybridge of a horse running (one of the first moving pictures). The typographical element of the mark relates to the optical device, the camera obscura. I designed the identity using the films of David Lynch and the Quay Brothers as inspiration. The target audience would be younger males approximately 20 to 35 years of age. The overall essence of the brand is industrial and edgy. I used film elements with cult appeal for some of the designs including Polaroid frames and Super 8 negatives. The limited color palette of black and shades of gray with a splash of red are meant to further drive home the industrial feel and harken back to the era of film noir. I used an image of scared concrete for the backgrounds as a vague reference to the cutting room floor.

55OBSCURO

Fil m Studio Corporate Identity

Statio

nery

Ani

mation

En

vironment al

Packaging

Coll ateral

Branding

57OBSCURO

Animation Stills | Hot Air Balloon | Business Card | Studio Entrance

59OBSCURO

DVD Case, DVD and Postcard

61OBSCURO

logos

63LOGOS

Independent Film ProductionLanguage Learning ProgramDefense ContractorBiotech ResearchOrganic Farm Cooperative

Whiskey BrandBrand ConsultantMusic GroupClothing ManufacturerCustom Bicycle Shop

Theater Season and Plays

Consulting

Firebrand

65LOGOS

BrandenberryOrganic Grocery

The completion of this book would not have been pos s ib le wi thou t t he he lp and guidance o f t he following people: Andrea Singer, Amy Becraft, Amy Levine, MaeLin Levine, Sean Bacon, Candice Lopez, Clyde and Michael at Inscriptu, Diego and Sons, Golden Rule and of course my loving and patient fiance Lea. A large number of images were purchased from Bigstock. The process page for Futureon contains images from “2001 A Space Odyssey” by Stanley Kubrick. After a great deal of research I was unfortunately unable to discover who had taken the band images for Broadcast. I suspect many were taken by the band themselves and perhaps by their close friend and graphic designer Julian House. The process page for Obscuro contains images from Fritz Langs “M”, Sergio Leones “Once Upon a Time in the West” and “Eraserhead” by David Lynch. The postcard for Obscuro contains modified images originally made by Eadweard Muybridge.