Lauren Elizabeth Waller DESIGN PORTFOLIO

2

FLYERI designed a flyer that our India team would place around campus to raise awareness of our

team’s coffeehouse. I came up with the concept, hand drew the coffee cup and henna, then

live-traced them in Illustrator. Using blending modes, I put this design on a background I

created in Photoshop.

3

EVENT BRANDINGOur church asked me to brand our missions conference. I began with designing a logo that

could be used in many different formats. Besides the logo, what is here is a 24x36 poster and

two 5.5x8.5 inserts for the church bulletin. They yearly ask me to update the information.

1 T H E S S A L O N I A N S 2 : 4

9:00am & 10:45am1 Peter 2:4-10 “A People to Declare His Praises Among the Nations”

9:00am & 10:45amMissionary Reports in Fellowship Hall

6:00pm-7:30pm John 4:1-9 John 4:1-9 “A Missionary Heart for the Nations”

7:30pm-9:00pm Coffeehouse Café

6:30pm-8:00pm Romans 4: 1-17 “The Faith Alone Gospel for the Nations”

8:00pm-9:00pm International Café

7:00pm-8:30pm Romans 1:16, 17 “Romans: The Gospel for the Nations (Pauline Missiology)”

8:30pm Gelato Café

Friday • February 28

Saturday • March 1

Sunday • March 2

“but just as we have been approved by God to be entrusted with the gospel, so we speak, not as pleasing men, but God who examines our hearts.”

Annual GIBC Missions Conference February 28-March 2, 2014

Dr. Kent Hughes

It is a privilege to welcome It is a privilege to welcome Dr. R. Kent Hughes as our

2014 Entrusted Conference speaker. Dr. Hughes is the

author of more than twenty-five books and is in the midst

of a life-long project of completing the Preaching the Word commentary series of the entire New Testament,

and is the editor of the Old Testament for the same series.

Dr. Hughes and his wife Barbara are making Grace Immanuel their church home Immanuel their church home for four months this spring as he teaches in The Expositors Seminary. They are the par-

ents of four children and have twenty-six grandchildren.

5.5 x 8.5 Inserts

4

STATIONARY PACKAGEThis stationary package was done for the Jupiter Preschool. This preschool was established

in 1966, and they have had the same logo since the preschool’s conception. As I was speaking

with the president of the preschool, it became apparent that the project for which they brought

me in was not the best option. It was determined that rebranding the company is what was

necessary. After developing several logo concepts for them, they chose the one shown. I then

developed several stationary options based on the chosen logo. The one chosen is displayed.

5

TEXTBOOK DESIGNMy first paid project as as a graphic designer was given to me by one of my business

professors. He told me that he knew someone in need of a textbook design, and he asked

if I would be interested in designing it. After researching how to do textbook designs

and familiarizing myself with how to use features in InDesign with which I was not yet

accustomed, I designed this textbook.

6

62 63

Flickering gas lamps puncture a thick London fog. A metallic, rhythmic

noise begins to drown out the normal sounds of the evening. An army of

copper clockwork automatons comes marching out of the darkness. Over-

head, a looming dirigible barely clears the tallest buildings. Brass nozzles

emerge from the airship’s gondola, blasting fire down upon the rooftops.

This is the world of steampunk.

By Victoria Truffle

MAGAZINE DESIGNThis is a design for a Steampunk magazine. We were given ten pages to

design a cover (and masthead), a table of contents, and the body of a

feature article.

64 65

The typical steampunk artist is also part inventor, part

engineer and part mad scientist

he term “steampunk” originally referred to speculative fiction —

science fiction, fantasy and fictional histori-cal tales — set in an alternate Earth’s 19th century. In this universe, Victorian inventors made great leaps in technological advance-ment with materials like iron and brass and using steam engines for power. From a fic-tional standpoint, real-life inventor Charles Babbage might have succeeded in building his proposed Difference Engine, an early computer. In reality, Babbage never saw his computational engine realized.

Today, people use the term “steampunk” beyond its literary meaning to refer to a style of art and design. There are dozens of artists who modify or create objects to achieve a steampunk aesthetic. Some of these projects have a practical purpose, while others are pieces of artwork or part of a costume. The designs merge the mundane with the exotic, and many steampunk artists have enthusi-astic fans who will pay hundreds or thousands of dollars for one of their creations.

What sort of people create steampunk gadgets and what tools and materials do they use? What’s a typical steampunk gadget modification (mod) like? And just what do some of these strange contraptions do? Keep reading to find out.

The typical steampunk artist is also part in-ventor, part engineer and part mad scientist. Many describe themselves as gadgeteers or tinkerers. Steampunk art has a very industrial appearance. Some feel that the use of materi-als like metal and wood make objects appear more permanent than technology made out

of plastic and other modern materials.Many steampunk artists are self-taught and

work out of basements or garages. Most treat their art as a hobby. The amount of time and effort that goes into creating a single piece of steampunk art makes it difficult to make a living from selling art alone. Some are happy to share their design and building processes, even including step-by-step instructions so that others can create similar pieces.

Steampunk artists regularly use certain ma-terials to achieve an antiquated appearance. The most common materials in steampunk art and design include:

• Metals like copper, brass, steel and iron

• Rivets• Gears and cogs• Wood• Glass• Antique light bulbs• Leather

There aren’t any stores that sell steampunk gadget kits, so most artists have to do a lot of legwork to find materials for their projects. Many scour arts and crafts shops, pawnshops, thrift stores, flea markets and antiques shops for parts. Some regularly search the Internet, particularly eBay, for material.

As for tools, every artist has his or her own favorites. For many artists, the most important tool is a drafting table or similar design space. The most intricate pieces of steampunk art require a lot of forethought in the design process. For this reason, most ste-

ampunk artists own traditional drafting tools like compasses, protractors, rulers, drafting triangles and T-squares. By drafting meticu-lous designs, artists can avoid problems when they’re in the building phase of the process.

Other common tools include:• Band and table saws• Sanders• Drills• Screwdrivers• Hammers• Pliers• Wire cutters• Soldering irons• Metal files• Vises• Glues or epoxiesSome of these artists have created designs

that turn mundane devices into gadgets that look simultaneously atiquated and high-tech. Pieces of steampunk art can be pretty expen-sive, but there are ways to commission a less

expensive piece. One cost-cutting technique artists sometimes use is to spray metallic paint on their creations to achieve the desired look. A can of copper metallic finish might cost one-tenth as much as a sheet of copper.

Perhaps the trickiest part of modifying any gadget is changing it without breaking it or making it impossible to use. Ideally, the artist will know how each gadget works before be-ginning modifications. For most projects, the artist doesn’t try to change the performance or function of the original device. Instead, he or she changes the gadget’s appearance to look like an invention from the 19th century.

Let’s look at modifying a computer keyboard as an example. To turn a modern

computer keyboard into a steampunk cre-ation, artists take inspiration from the design of old typewriters like the Underwood 5. Each artist has his or her own process, but in general, a keyboard modification requires these steps.

First, the artist purchases old typewriter keys, making sure the back of each key is smooth. If necessary, the artist saws or sands down any excess metal on the back of the keys.

The artist removes the computer keyboard from its plastic frame. Each and every key cap has got to go. The key cap includes the key face (the part of the key you can see) and an under-cap that snaps into the keyboard frame. Steampunk artist Jake von Slatt recommends using an IBM Model M keyboard because the under-caps are flat, which makes it easier to at-tach the new key faces later.

Next, the artist removes the key face from each key cap, making sure the top of the key cap is a

flat surface. The artist then snaps the key cap back into place on

the keyboard.After taking measurements

of the keyboard’s components, the artist designs the new steam-

punk frame. The keyboard’s layout won’t change, but its appearance can

undergo a drastic transformation.The new frame’s design includes a

faceplate. Most companies design modern keyboards so that the keys are flush against each other. Changing the style of the key

faces means that the user will see more of the keyboard’s surface. A face-

plate masks the plastic parts and circuitry that oth-

erwise would be visible. The artist builds

the frame and face-

2

7

2 Winter 2015 | 3

How GRAFFITI

Graffiti has always been a dirty word for a dirty art form that blights our city’s walls and trains. Night after night, indecipherable

tags and secret codes are scrawled on railway sidings and pedestrian bridges, while dripping silver spray paint smears every other high-street shopfront. Most passers-by are immune to its messages; others are confused or angered by the visual intrusion into their daily commute.

Yet, all of a sudden, the newspapers are full of stories – seemingly from a par-allel universe – in which anger is vented at ignorant councils who whitewash over treasured illegal murals and masterpieces painted by hooded men under the cover of darkness. The media frenzy has, so far, centred on the graffiti world’s very own Scarlet Pimpernel – who may or may not once have been a bit pimply himself – the bearded Bristolian thirtysomething called Robert Banks, or just Banksy. He could also, like Spartacus, be tall/short, fat/skinny and black/Asian, depending on whom you believe.

Banksy’s signature stencils of kissing coppers, flower-chucking terrorists and mischievous rats found on doorways and side streets have become so sought-after that they are being chipped out of walls and sold for ludicrous sums, exactly mirroring the early ’80s phenomenon of Brooklyn-born graffiti kid SAMO (better known as troubled painter Jean-Michel Basquiat). Like New York in graffiti’s hey-day, London is now embracing its disen-franchised plein air daubers, except that they are no longer derided as criminals or vandals but lauded as ‘street artists’.

This newly acceptable form of graf-fiti is currently storming the traditional bastions of high culture. On Tuesday, venerable old Bonhams is holding the capital’s first dedicated auction of ‘urban art’ in Bond Street (not exactly its natural habitat), and Tate Modern will be dedicating a weekend to the arrival of the street art genre in May. With such establishment credentials come big money oppor-tunities, but also huge contradictions. How can you call yourself a street artist when your work is hang-ing in a gallery or depicted in an

auction catalogue or emblazoned on a promotional T-shirt? When ad agencies are employing graffiti artists to make their products look cool, doesn’t your raison d’être as an illegal, guerrilla artist implode?

Already, Banksy’s pseudo-anonym-ity has come to seem less of a necessity to avoid prosecution for his years of paint-inflicted property damage and more a ploy to maintain his aura as international man of mystery. It may also backfire on him, as fraudulent Bansky prints have been peddled on eBay and any number of unscrupulous art dealers continue to sell secondhand Banksies as though they’re his official agents, when in fact he has only one (gallery owner Steve Lazarides). In spite of the circling wannabes, a whole street art industry is forming around young galleries and art-ists selling prints and unique pieces. So, while the current boom may have begun with Banksy, his witty one-liners won’t be the last word in street art.

It all began in the mid-1980s as London’s hip hop scene – also imported from New York – began to grow, espe-cially in inner-city areas such as Brixton and Westbourne Grove. Small brigades of writers began tagging their names all over town, with pseudonyms like Robbo and Drax (taken from James Bond’s ene-my in ‘Moonraker’) seemingly ubiquitous on every tube line. The most famous was Mode 2, who set up the first renowned graffiti crew, the Chrome Angelz. Soon, designated graffiti ‘halls of fame’ sprang up in housing estates and train yards from Hammersmith to Neasden. By 1987 the British Transport Police (the dreaded BTP) had launched a fully fledged graf squad to keep pace with the rampant crews, whose burgeoning membership meant they were capable of producing

huge full-colour ‘pieces’ (short for masterpieces) or

mural-sized ‘productions’. As in-fighting between London’s

graffiti kings escalated from merely ‘lining’ through or

‘dogging’ rival pieces to all-out violence and eventual

arrest, famous crews like World Domi-

nation (WD), the Subway Saints

(SBS) and Drop

At one time, spray paint on a wall was a signal to get out the high-pressure hose. Time Out tracks urban art’s ever-growing street

cred and explains why we don’t need Banksy any moreBY OSSIAN WARD

Became ART

the Bomb (DTB) began to fracture and splinter. Many of those London pioneers went on to paint legal commissions and are at the heart of today’s scene, although the average street artist may be too young to have paid serious dues as an illegal ‘bomber’.

Although this history suggests that there will always be a steady stream of teenage boys who feel compelled to spray their immature artistic seed across any available vertical surface, it doesn’t explain why graffiti has now reached such dizzying heights of popularity and accep-tance. Perhaps it’s because the emerging generation of artists is less concerned with painting illicit and illegible pieces for the benefit of their tiny community than with attaining wider fame and bigger audiences. Perhaps it’s because they are no longer constrained by the medium of spray paint on walls and are now incorporating all kinds of street furniture – from signs to statuary – into ad hoc in-stallations, impulsive public interventions and increasingly political statements. Either way, the widening of the term graf-fiti to encompass street art, urban art and any other vaguely yoof-ful combination of art and adjective you can think of has led to an avid market for these previously unobtainable works.

As contemporary art is experiencing such unprecedented prices, it’s natural that street art is gaining value, especially among a generation of people who have grown up viewing it as art rather than vandalism. Luckily for the budding en-thusiast, most collecting revolves around relatively cheap limited editions of bold, graphic images that can cost as little as £50. However, buyers should beware: the business side is still under-developed, so print editions are often too numerous to be likely ever to attain much value. If history really is repeating itself, then the London graffiti scene will crash and burn as the New York one did after the ’80s art boom. In which case, it’s possible that only a few devotees will continue to make serious work and street art will go back underground, but the sophistication of to-day’s artists makes it more likely they will be around for years, perhaps even cross-ing over into the respectability of mu-seum collections and art history books. Maybe journalists can finally stop looking for Banksy and start searching out the next unsung urban pariah-turned-poet. Check out our names to watch.

TABLOID DESIGNThis project was designed for a Street Art tabloid. Included were several articles, many

photos, and a 7.5x7.5” ad.

8

DuffysMVP.com

Passbook feature is only available for iOS users

Upgrade your app today to set up your MVP card on Passbook

T E C HPassbook App

Duffy's

ONE-PAGE ADThis ad was done for an internship at Levatas. My assignment for the internship was to

design a Passbook App for Duffy’s (an existing client) MVP Program. This ad follows the

format of Duffy’s other one-page ads and features the new app I designed.

9

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quidiorro te volor si volesto mos sequat autem quasi cuptatem dolupta volup tisitem as experum aute sitiis eaquia idiaspero quiduntius.

Henti omnihil iscilliquia conem facculparios dolupta assi to moloriant utem aut ea dolupta spicium illupta nem. Nim volorem excepel elicitae. Ipieneces eos dolupta speritaecte nullat voluptia del esed earum licabor endae-rum repudit iumquat emperum fuga. Ihicium nist aut volut veriore res eum id quia sim et al.

Et eostrunt qui rempost rumque re, et adio moditaqui con experro renisi quis volupta dunt.Optat quat accullu ptatur.

MAGAZINE ADFor Graphic Design II, we were to design a new logo and a set of similar ads for Sports

Authority. The logo was designed in Illustrator, the ad was designed in InDesign, and the

background photos were purchased from Shutterstock.

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quidiorro te volor si volesto mos sequat autem quasi cuptatem dolupta volup tisitem as experum aute sitiis eaquia idiaspero quiduntius.

Henti omnihil iscilliquia conem facculparios dolupta assi to moloriant utem aut ea dolupta spicium illupta nem. Nim volorem excepel elicitae. Ipieneces eos dolupta speritaecte nullat voluptia del esed earum licabor endae-rum repudit iumquat emperum fuga. Ihicium nist aut volut veriore res eum id quia sim et eostrunt qui rempost rumque re, et adio.

Moditaqui con experro renisi quis volupta dunt. Optat quat accullu ptatur suntionsed et tu.

10

Bird Watching

Travel Reservations

Dining Guide

Roadside Assistance

Sports Medicine

Weather Report

Language Translator

Calorie Counter

PHONE APP ICONSThis was a class project developed to give us experience designing app icons. I chose to design

app icons for Android because they can be amorphous in shape. Our teacher gave us specific

topics for which to develop and design concepts. The vector portions of the icons were

designed in Illustrator, while the effects were added in Photoshop.

11

LABEL DESIGNFor this project, we were to design a label for hot sauce. We were to choose a unique selling

point (USP) and the target market based on that USP. Part of this design also involved

choosing a bottle that would best fit the USP. The final project was to be an 8.5x11 page

presentation of the hot sauce itself. This piece was featured in the PBA student art show.

12

PACKAGE DESIGNThis design involved choosing an ethnic food that needed new packaging. Our design was

to include all necessary information on the existing packaging. If expedient, we were also to

choose a new the container for the product. The product I chose to “redesign” didn’t have

a design to begin with, so part of my design included choosing a name for the product. I

hand-drew both the name of the product and the henna, then image-traced and refined them

in Illustrator. I did the set-up and photography of the background photo, used Photoshop

to combine the photo, title, and henna, then printed and hand labeled the packaging myself.

This final presentation made it into the PBA student art show.

Before After

13

CHARACTER POSTERSThe goal of this assignment was to use good design and learn various

Photoshop techniques: the use of blending modes and the integration of

textures with pictures to add visual interest.

14

WEBSITE DESIGNFlorida Park Tours needed a logo and a new website.

Using Illustrator, I designed a logo for them and

using Photoshop I designed a new website. The new

webpage design assumes more than one page, and it

categorizes the activities and events offered.

BEFORE

AFTER

15

NACCAP LOGOPalm Beach Atlantic University was going to be hosting the North American Christian

Coalition of Admissions Professionals conference for the year of 2015. As the on-staff designer,

they wanted me to come up with a concept for the theme of the conference and design a logo

for that theme. I came up with “Finding True North.” The other states were excited to have

the conference in South Florida because of the weather, and so I saw it fitting to point back to

Christ who is the Christian’s “true north” to draw attention to our purpose in life.

16

WEDDING INVITATION SUITEThis was a design done for a friend’s wedding. She had a very clear idea of what she wanted-

a rustic feel with the addition of lace. She also had a very small budget, so real lace was out of

the question. She provided the wording, and this was the final product.

17

GU

ES

TB

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WA

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ER

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DD

ING

WEDDING GUESTBOOKThis was a design done for my wedding guestbook. We needed something for our guests to

sign, and we wanted something to showcase our engagement photos. This did both.

18

WEDDING PROGRAMThis was a design done for my wedding program. It was designed to showcase some of what

can be done with print design. It is designed as a Z-fold program, and it not only gives basic

information included on a wedding program, it also states the goal of our marriage and gives

a blurb on each of our wedding attendants.

LAUREN GRAHAM & SHAWN WALLER

W E LC O M E TO T H E W E D D I N G O F

S AT U R DAY, T H E E L E V E N T H DAY O F A P R I L

T W O T H O U S A N D A N D F I F T E E N

CeremonyPRELUDE

A Selection of HymnsVocalise – Sergei Rachmaninoff

SEATING OF THE GRANDPARENTS AND PARENTS

Beau Soir – Claude Debussy

PROCESSIONAL Ladies in Lavender – Nigel Hess

ENTRANCE OF THE BRIDEBridal Chorus – Richard Wagner

WELCOME & INVOCATIONJerry Wragg

GIVING OF THE BRIDE

CHARGE TO THE BRIDE & GROOMJ. Todd Murray

EXCHANGE OF VOWS

EXCHANGE OF RINGS

CORD OF THREE STRANDSSteve Fleming

Behold Our God Jerry Wragg and Jessica Fleming

CONGREGATIONAL HYMNIn Christ Alone

PRESENTATION OF THE BRIDE & GROOM

RECESSIONALSee You Tomorrow Medley – John Powell

The Wedding PartyOFFICIANT

J. Todd Murray

MAID OF HONORKristen Donovan

BRIDESMAIDSKelsey Axelgard Ashley Graham

Amanda Rodriguez Yuxian Yu

BEST MANJustin Ayoub

GROOMSMENMark Axelgard

Bradley Graham Joshua Lies

Dustin Waller

PARENTS OF THE BRIDESherwood & Elizabeth Graham

PARENTS OF THE GROOMJohn & Penny Waller

GRANDPARENTS OF THE BRIDERalph & Gwendolyn Graham

GRANDPARENTS OF THE GROOMCharles & Marianne Waller

FLOWER GIRLEllie Kreider

RING BEAREREzekiel Narine

PASTORSJerry WraggSteve Fleming

MUSICIANSDaniel KreiderDave & Simona Magdales

USHERSBrian BaldwinEdcy JeanMark KowalcykTim PfeifferDallas Trahern – D E S S E R T R E C E P T I O N I M M E D I AT E LY F O L LO W I N G –

19

UNDER THE BANYANThis was a design done for part of my husband’s wedding gift. It is a compilation of emails

from when we first started communicating broken up by each email “conversation”.

UN

DER

TH

E BAN

YAN

Wa

ller & G

ra

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m

Contents

1. From Naples to Palm Beach 42. Gospel Life on One’s Death Bed 73. Celebrating Two Years 304. The Lord is Kind 1195. A Letter 151

54

1

From Naples to Palm Beach

May 10, 2013Good evening, Lauren :o)

Shawn here from the other coast. I hope all is well! Have you began any Sum-mer classes yet? I’m glad you all were able to come to Naples, about 2 weeks ago. It was nice to meet all of you. Everyone was very hospitable and I’m glad I was able to fellowship with you all briefly. You can tell Dallas and Ryan next time you see them, that I was attempting Dallas’s favorite “bobber fishing” a few days ago, but to no avail heh. We are so excited for Steve and his loving family to come over soon. We’re going to have a blast with Ezra and Josiah (and others soon) at Kids Club!

Here’s something that I thought was cool that I wanted to share with ya:It was challenging for me to read the accounts and see the difficulties of your

family and not be able to do something physically or even as a soon-to-be new-bie PT to help out in care somehow some way. What I knew was also needed, was fervent prayer and so, prayers began. About one year ago, pastor Jim left our congregation and we missed him dearly. Now, God sovereignly has brought about and provided Pastor Steve and his dear family to us. They are well loved and we are so excited to have them come over (Some of us are going to try and make it to his graduation!) It just happened to be, by His details of course, that some people came over from Jupiter! And guess who? :o)

I’m so grateful that God allowed me, among many others, to personally see the

answer to prayers- specifically that you were able to initially and continue to see His sovereignty throughout His perfectly ordained trial, and that you were and are able to continue giving Him glory through it. Obviously in all aspects of healing too! It was great to be able to read about it in the Blog and CaringBridge updates, especially the Gospel seed that was being sown. But it’s also another thing to being able to see the healing and answered prayers in person. God had been revealing some important verses in my life around the same time that you were actually writing the very same verses too which I thought was cool- specifically Isaiah 55:8-9, Psalm 84:11, Romans 8:28-29, among others, and even going through Jerry Bridge’s Trusting God book too.

God truly has performed a miracle in our midst and He will continue to perfect that which He started. So many people have been influenced by His workings in your life and even many of my patients as well whom I’ve also been able to share the Gospel with.

Again, I hope all’s well. Say hi to Mark and Kelsey, and Brad, Ryan, and Dallas as well if you get the opportunity to for me.

Eph. 1:3-14, Matt 6:33Your brother in Christ, our Lord,~ShawnPS- I’m in the process of talking with a few more seasoned orthopedic therapists

as well as some orthopedic surgeons in their thoughts on light “muscle energy” techniques to help with your hip pains. It’s basically using your own muscles to keep your pelvis in nice alignment- even those who have never fractured their pelvis, can have problems with hip pain and such that is easily corrected - I just want to get their opinion, knowing that you have had the ExFixiator (Darth Vader) and such. When I have full info, I can send these to ya complete with exercise/tech-nique pictures and such.

PSS- I don’t know if you know about Blue Letter Bible but it’s a great tool to study from and you can look up the Greek/Hebrew original words and even col-lection of phrases to gain a better understanding of passages. You can also click the “Thayer’s Lexicon” to see the word usage in history as well as in other passages, specifically how it was used in the context and definition. This is the one for crown, or Laurel like we were talking about at lunch!

http://www.blueletterbible.org/lang/lexicon/lexicon.cfm?Strongs=G435&t=NASB

20

PBA MISSIONS BOOKMARKThe PBA Missions Department had seen some of the work I did while in school, and

they wanted to me to produce their printed promotional bookmark for the year. On the

bookmark, they wanted the theme verse, the PBA logo, and the relevant contact information

as well as the QR code. This was the concept I developed for them that is used on the 2015

missions promotional material.

Front Back

21

PERSONAL CHRISTMAS CARDThis is what I designed for Shawn and I’s first Christmas card in the year 2014.

t h i s h o l i d a y s e a s o n

Merry Christmas!

-Shawn and Lauren

22

CLIENT HOLIDAY CARDAurora Diagnostics yearly sends out a holiday card to their clients. In 2014, this was the

design for the interior of the card. I used Illustrator to create the text and Indesign to layout

the card.

23

c h a l l e n g e s ? D i s c ov e r a N e w Wa y t o G ro w .

Innovative Pathology Revenue Models

Minimal Investment

Legally compliant

PRACTICEPROFITABILITY

ACG POSTERAn Aurora Diagnostics laboratory needed a 24x36in. poster for a tradeshow that advertised

their services. They provided me with the copy and also wanted me to incorporate the idea

of growth; this is what they used. I used Photoshop to edit the flower and Indesign to lay out

the poster.

24

1. Seek the shade, especially between 10am and 4pm2. Do not burn3. Avoid tanning and UV tanning booths4. Cover up with clothing, including a broad-brimmed hat

and UV-blocking sunglasses.5. Use a broad spectrum (UVA/UVB) sunscreen with an SPF

of 15 or higher every day. 6. For extended outdoor activity, use a water-resistant,

broad spectrum (UVA/UVB) sunscreen with an SPF of 30 or higher.

7. Apply 1 ounce (2 tablespoons) of sunscreen to your entire body 30 minutes before going outside. Reapply every two hours or immediatly after swimming or excessive sweating.

8. Keep newborns out of the sun. Sunscreens should be used on babies over the age of six months.

9. Examine your skin head-to-toe every month10. See your physician every year for a professional skin exam

Beauty at any age

skin cancer prevention guidelines

10

1314 NORTH MACOMB • MONROE, MI 48162 T 800.746.5870 F 734.242.4962 • WWW.PINKUSLAB.COM

Pinkus Dermatopathology Laboratory is a full-service dermatopathology laboratory. All slides are interpreted by board-certified dermatopathologists. This ensures

that you get expertise in this highly specialized field. Our goal is to provide expert interpretations to you with easy, fast, and convenient service.

possible sign of Melanoma is a change in a mole or

pigmented area. The change could be in size, shape,

height, or color. In some cases, there may be an irregular

edge or border, itching, oozing, or bleeding. Asymmetry (two sides of

a mole looking or shaped differently) or new moles growing near an

existing mole are other signs of possible Melanoma.

Inspect your entire body every month for any changes in your skin. It is

recommended that you also visit your dermatologist for a complete skin

evaluation annually.

AAsymmetry One half does not match the other half

Border irregularity

Varied shades of black, brown and tan

Greater than six millimeters

Change in size, shape or shade of color

Borders B

Color C

Diameter D

Evolving E

ABCDE’s of Melanoma

BEAUTY AT ANY AGEPinkus Dermatopathology Laboratory, a laboratory of Aurora

Diagnostics, was having an event at a tradeshow and needed a brochure.

The event was promoting skin care and melanoma awareness. I used

Indesign for this booklet and cover.

25

BOARD CERTIFICATIONSDermatopathologyAnatomic & Clinical Pathology

EDUCATIONOregon Health & Science UniversitySchool of MedicinePortland, OR

POSTGRADUATE TRAININGDermatopathology FellowshipAckerman Academy of DermatopathologyNew York, NY

Anatomic and Clinical PathologyOregon Health & Science UniversitySchool of MedicinePortland, OR

Aurora Diagnostics Twin Cities Dermatopathology (ADX Twin Cities) is pleased to announce the addition of Erick Jacobson-Dunlop, M.D. to our full-service Dermatopathology laboratory. ADX Twin Cities is dedicated to providing the highest quality, customized dermatopathology services. We believe that the practice of medicine and the delivery of healthcare are both personal and best served locally.

• Accurate diagnostic reporting• Rapid turnaround time• Friendly customer service agents • Direct access to Dermatopathologists

ERICK JACOBSON-DUNLOP, M.D.Dermatopathologist

9900 13TH AVENUE NORTH, SUITE 2A PLYMOUTH, MN 55441-5037 T 800.782.2974 WWW.AURORADXTWINCITIES.COM

DISCOVERA N E W L E V E L O F D E R M A T O P A T H O L O G Y S E R V I C E S

DR. DUNLOP LEAVE BEHINDTwin Cities Dermatopathology, a laboratory of Aurora Diagnostics, desired a leave behind

that advertised one of their physicians. They provided the copy, and using the company’s

graphic elements, this is the design. I used Indesign to combine all of these elements.

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“WE’VE GOT YOU COVERED” SERIESAurora Diagnostics’ Lab in South Texas was using the theme “We’ve got you covered”

for their dermatopathology laboratory. They wanted a circular label for the packages of

chocolate covered almonds they were using as giveaways. They also wanted a mailer that

corresponded with the almonds to handout. Finally, they wanted a 33.5x79in. banner for a

tradeshow with a similar design. I used Illustrator and Indesign for these pieces.

we’ve got you COVERED.

*artwork not to scale

Banner Candy Label

Handout

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DermDXJacksonville, FL

ADX LMC Pathology ServicesLas Vegas, NV

ADX Cunningham PathologyBirmingham, AL

ADX Biopsy DiagnosticsRidgeland, SC

Mid-Atlantic Pathology Services Sterling, VA

ADX Pathology SolutionsEatontown, NJ

ADX GPA LaboratoriesGreensboro, NC

DermDXTampa, FL

ADX Global Pathology & DermDX Miami, FL

ADX Pinkus DermatopathologyMonroe, MI

ADX Twin Cities DermatopathologyPlymouth, MN

ADX South Texas DermatopathologySan Antonio, TX

ADX Arizona DermatopathologyScottsdale, AZ

ADX Laboratory ofDermatopathology

Woodbury, NY

DermDX New EnglandBoston, MA

E X P E R T S I N D E R M AT O PAT H O L O G Y

A C C E S S T O A D V A N C E D D I A G N O S T I C S

C O N V E N I E N T L O C A L S E R V I C E

A PA R T N E R F O R Y O U R P R A C T I C E

DISCOVERA N E W L E V E L O F D E R M A T O P A T H O L O G Y S E R V I C E S

D E R M ATO PAT H O LO GY L A B O R ATO R Y LO C AT I O N S

“DISCOVER” POSTERAurora Diagnostics’ Dermatopathology Labs host tradeshows that need a 24x36in. poster

advertising their various locations. Using copy, icons, and a map from a previous postcard, I

put together this piece that advertises the various lab locations as well as the features the labs

provide. I used Illustrator and Indesign to design this piece.

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SELF-PORTRAITIn this piece we were to use an existing photograph, the pen tool, and shape-to-shape blends

in Illustrator to create a likeness representing ourselves. This piece was featured in the PBA

student art show.