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1. It is equally important
for me to maintain the
integrity—and beauty—of
good design while striving
to best resolve the visual
communication problems
presented by clients.
The divine is in the details!
Thanks much for browsing.
christine woods
g r a p h i c d e s i g n
2. Package redesign
and product upgrade
Concept:
When the ices are
halfway frozen, the
quick-dissolve PopArt
Sprinkles are stirred
into the molds to create
colorful swirly patterns.
Created in Illustrator.
original
3. Print ad mockup
The "magazine" was
created in Illustrator and
Photoshop.
popsicle fun for the whole family!
PopArt.com
original stock photo
5. Logo redesign
Created in Illustrator.
current logo
print
broadcast
R=235 G=181 B=49
R=105 G=109 B=54
R=95 G=99 B=147
white
6. Standards guide
Guide for TV
broadcast usage of
the Animal Planet logo
(selected pages).
Created in InDesign.
Color + Opacity
Fonts + Positioning
Scale + Location
Environments
Contents
16:9
16:9 with pillarbox
4:3 with letterbox
The logo may be
positioned in one
of the four corners
for promotional
advertisements.
SCALE+LOCATION
In still promotional ads, the ‘M’ of the logo
can be dropped, and the logo can be enlarged
appropriately, when superimposed over an
image where an animal can fit in to replace it.
Two examples below.
ENVIRONMENTS
white
COLOR
light
85%
80%
65%
25%
80%
75%
85%
60%
75%
65%
95%
75%
darkmedium
R=235 G=181 B=49
R=105 G=109 B=54
R=95 G=99 B=147
OPACITY PERCENTAGES OF THE LOGO
ON BACKDROPS OF VARIOUS VALUES
IN ORDER TO MAINTAIN BRAND
CONSISTENCY & UNITY
The colors in the far left column are
the only colors to be applied to the Ani-
mal Planet logo on-air and in print.
The opacity grid on the left and the
percentages given are general guides
to be followed when determining
the opacity of the logo when used in
promotional advertisements, whether
aired on Animal Planet or distributed
to other networks.
Use the grid as a visual aid when
determining which color to use against
which backdrop and when adjusting
opacity levels. Professional design
judgment must be applied.
DO
For the logo, choose either white or a
color analgous to the backdrop.
Always decrease opacity to some degree.
DO NOT
Do not choose a color that becomes
too desaturated (gray or muddy) when
mixed with the backdrop.
Do not use 100% opacity of the logo;
always decrease the opacity.
COLOR+OPACITY
BROADCAST STANDARDS GUIDE
Images:AnimalPlanetNetwork
7. Travel poster
16" x 25"
Inspired by the
travel posters of
the 1930s and my
own experience in
Yellowstone.
Created in Photoshop.
8. C.R.o.W.Clinic for the Rehabilitation of Wildlife
3883 Sanibel Captiva Road, Sanibel, FL 33957 (239) 472-3644 info@crowclinic.org crowclinic.org
C.R.o.W.
Clinic for the Rehabilitation of Wildlife
C.R.o.W.Clinic for the Rehabilitation of Wildlife
Sanibel, FL 33957
3883 Sanibel Captiva Road
Heather Barron,DVM
Clinic Director
(239) 472-3644 ext 1
heather@crowclinic.org
www.crowclinic.org
3883 Sanibel Captiva Road
Sanibel,Florida 33957
Clinic for the Rehabilitation of Wildlife
C.R.o.W.
Logo redesign
Created in Illustrator.
current logo
9. Double spreads
for a magazine article
Created in InDesign.
The illustrations and
custom lettering for
the title and drop cap
are mine, created in
Photoshop.
cultivation.com
ne of French Louisiana’s most vital attrac-
tions is its music. Acadian music has undergone
vast changes since arriving in Louisiana, to a
large extent because those who play it today
live so differently from earlier residents.
Understanding Cajun music in all its
variety is a large undertaking but an important
one. Today, we in Louisiana are fortunate
to have living representatives of many of its
various styles and stages. A look at Cajun
music and its development offers a glimpse
into Louisiana’s different cultures, its fasci-
nating history, and the variety which exists
within a traditional culture.
One of the earliest forms of music in
Louisiana was the unaccompanied ballad. All
of Louisiana’s immigrants brought ballads
with them, but perhaps the traditions most
resistant to innovation or change were those of
Acadian, French, and Spanish settlers. These
narrative songs provided a means to share
love stories and humorous tales. Ballads were
ritually sung at weddings and funerals, and
sung informally for small groups of people at
house parties as the food cooked and young
children played. Families who had certain
songs associated with their name were asked
to sing their songs on special occasions.
Although today television, radio and
air conditioners have lured people off their
porches and made gatherings of friends less fre-
quent, some of the older people still remember
the days when neighbors sat together and
shared songs. Ask a gathering of elderly people
of French heritage if they know any ballads or
ballad singers and most will say yes.
April 2013 / Cultivation / 5554 / Cultivation / April 2013
As Cajun music evolved through
the centuries it retained its deep
roots while adapting to the times.
cultivation.com April 2013 / Cultivation /5756 / Cultivation / April 2013
Amongsomeoftheyoungermusicianstherehas
beenamovementtobringbacktheoldsongs
andtheacousticsmallbandsound.
The fiddle was the first
instrument commonly used in
French Louisiana music, and the
tradition of twin fiddles was a pre-
decessor of the Cajun music heard
today. Early music was usually
played by two fiddles, one playing
the melody while the other provided
the segoner, or back-up part. Twin
fiddling traditions represent the
music in its purest form, as it was
brought to Louisiana with the early
immigrants and before popular
American tunes mingled with it.
Early fiddlers’ repertoires included
old French and Canadian fiddle
tunes, delicate reels, and mazurkas.
Over time, the music changed
as other instruments came to the
prairie and were incorporated into
its music. The diatonic accordion
became enormously popular at
the turn of the twentieth century,
creating a stylistic change in the
rhythm and chording of Cajun tunes
and in repertoire as well.
The accordion was attractive
to prairie Cajun musicians for many
reasons: it had a powerful sound,
was almost indestructible, and
could be played at a basic level
fairly easily. Because of the diatonic
accordion’s limited chord capacities,
however, it was not always suited
to the Acadian tunes, as it could
play few very complex or minor key
tunes. It did prove very adaptable
to the popular American tunes that
were coming to the southwestern
prairie, and as early as 1920, Joe
and Cleoma Falcon were trans-
lating country and western tunes
into French and playing them on
accordion and guitar.
In time, the settings in which
much of the music was played
changed, too. Music was a central
part of the social life of the early
Cajuns, and music was played
mainly in people’s homes, at small
gatherings and fais do-dos. A few
dance halls began appearing in the
late 1920s, and soon the dance hall
was the primary place for hearing
Cajun music.
As radio came into the prairies
of Louisiana, outside or mainstream
American influences were heard
more and more frequently in the
Cajun dance halls. In this time
period of roughly 1900-1928, dance
hall bands were usually centered
on the accordion, either alone
or accompanied by one rhythm
instrument, usually a fiddle or tri-
angle. Beginning around 1928, Cajun
bands began using the guitar as an
accompaniment as well. This was a
period of beautiful, heartfelt music,
really the basis of Cajun music as it
is known today.
In the early to mid-1930s, the
accordion itself was pushed into
the background by the popular
string bands of the time. Fiddles
were joined by mandolins, pianos,
banjos, playing a variety of music
with a snappy swing beat strongly
influenced by Western Swing of
neighboring Texas.
Other changes came to the
Cajun music scene with the string
bands. Luderin Darbonne was a
founding member of the Hackberry
Ramblers, one of the earliest string
bands. He recalls that they were the
first band to perform standing up
and the first band to amplify their
music. Amplification alone was
a big step into the modern world.
Cajuns came to the un-electrified
dance halls to hear loud music from
amplifiers powered by Model T Ford
batteries! Today, the Hackberry Ram-
blers still perform with several of
the original members and they will
play Cajun music of the string band
era for this festival on Saturday.
After World War II, the accord-
ion regained its popularity in Cajun
music, in what could be called the
second golden age of Cajun music.
This era included accordionists like
Iry LeJeune, Lawrence Walker, and
Aldus Roger, who filled the dance
halls with their beautiful and expres-
sive songs of lonely sorrows.
In the 1950s, one band, the
Pine Grove Boys, became especially
popular for the fundamentally
human quality and soul of its
heartfelt music. Its leader, Nathan
Abshire, one of Louisiana’s great
accordion players, is no longer
with us, but the other original
Pinegrove Boys have reassembled
to give insight into what it was like
in those wooden dance halls of
the 1950s. Fiddler Harry Lafleur,
guitarist Ernest Thibodeaux, bassist
“Big Jim” Baker, drummer Shelton
Manuel, and Nathan Abshire’s
young friend and student, Robert
Jardell, recreate this country dance
band and its unique sound.
Cajun fiddler Dewey Balfa
has been an ambassador of tra-
ditional Cajun music to those
outside Louisiana since the 1960s,
and a role model for many young
musicians. His style of playing,
with its emphasis on the double
string fiddle sound, has become
his trademark throughout the
world. The ballads-turned-dance-
tunes made popular by Dewey
and his brothers in the late 1950s
to early 1960s are classics among
Cajun songs. Throughout his
years of playing music, Dewey has
maintained a very high standard
for the quality of sound in his
bands. Balfa’s performances are
always something to look forward
to for their beautiful songs and
strong musicianship which stand
without artifice.
For Cajuns today, the modern
equivalent of a dance hall can be a
church hall, a lounge, a dance hall,
or a restaurant. Musicians playing
Cajun music range from small,
primarily young acoustic bands to
full electric bands.
Since the 1940s, the standard
band of the Cajun honky-tonks has
consisted of an electric guitar and
bass, an amplified accordion, an
amplified fiddle, an electric steel
guitar, and a set of drums. Belton
Richard heads one of the best such
dance hall bands.
Belton Richard shook up the
dance hall scene when he put out
his first 45 rpm recording of “La
Valse d’Ennui/Just un Reve.” He was
perhaps the first “rocker” of his time,
full of new ideas for his band, as he
popularized the sound of two fiddles
played in close harmony and was
the first to use an electric bass in a
band. He also wrote some beautiful
songs, singing them in a style that
has been copied extensively by other
Cajun performers. Belton’s singing
is exceptional and his vocal style
has been compared to country singer
George Jones in his prime.
In the past decade, many young
bands have begun playing Cajun
music in a wide range of styles. Some
have blended the sounds of modern
popular music into their music, just
as Joe and Cleoma Falcon introduced
popular songs into the Cajun music
of the 1920s.
Among some of the other
younger musicians, there has been
a movement to bring back the old
songs and the acoustic small band
sound, proving that the more tradi-
tional styles are still vital. One
such band which is gaining a large
and varied following is Steve Riley
and the Mamou Playboys. Steve has
studied the styles of his mentors,
his cousin, the accordionist Marc
Savoy, and fiddler Dewey Balfa. He
maintains the traditional style of
playing accordion and fiddle which
he loves and appreciates. Always
joined by a top notch band that
shares his belief that “quality plus
tradition can’t be improved upon,”
Steve Riley is a good example of the
future of Cajun music.
There are many fine musicians
in this state, musicians of all kinds
who demonstrate the great variety
of styles and influences within
Cajun music. They can be heard
throughout the year on many occa-
sions, in many settings. Perhaps
some of the older musicians need
to be remembered, as they tell their
listeners about their times, and
teach them through the example of
their lives. So let’s listen, learn, and
have a good time.
Three generations: Eddie LeJeune (right), son of legendary Iry LeJeune, was a master
accordionist and singer; son Eddie (middle); grandson Iry, budding accordionist. The
LeJeune family has influences Cajun music since the 1940s.
Illustrations:ChristineWoods
“
’’
10. Mock magazine cover
Created in Illustrator
and Photoshop.
$10.99
October 2015
THE MAGAZINE IN LOVE WITH THE BLUE IN LIFE
THE FOOD ISSUE
THE BLUE CRAB Meets Haute Cuisine:
Joe Bastianich (p. 11)
BLUE CHIPS: Not Just for Snacks (p. 27)
BLUEBERRIES: Just Plain Good (for you) (p. 35)
Imageofcrab:iStockPhoto
11. buy her a
pencil,
build a
school.
Photo: Nick Onken
then
hear her sing!
pencilsofpromise.org
we believe in quality education for every child. build with us.
buy her a
pencil,
build a
school.
Photo: Nick Onken
then
see her dance!
pencilsofpromise.org
we believe in quality education for every child. build with us.
Photo: Nick Onken
buy her a
pencil,
build a
school.
then
watch her run!
pencilsofpromise.org
we believe in quality education for every child. build with us.
For print magazines
Competition sponsored
by The One Club for
Pencils of Promise (PoP)
who were seeking to
brand their organization.
PoP supplied the logo
and guidelines for
fonts and color. The
copy is mine.
The images were
extracted from larger
photographs using
Photoshop.
Images:PencilsofPromise
12. Guns in the Wrong
Hands
11" x 17"
Response to AIGA’s
“End Gun Violence”
call for designs.
Created in Illustrator.
GUNS
90% of Americans want universal background checks to help keep guns
out of the wrong hands. Congress shot the bill down. Call Congress on it.
This poster was designed by Christine Woods, Hudson, New York. christine@christine-woods.com
in
the
wrong
hands
13. Exhibit promotional
13” x 19”
Into Norman Rockwell's
painting The Art Critic
I Photoshopped two
of Egas’ prints plus an
image of my supervisor
holding 3-D glasses
(which are needed to
view Egas’ work)
The Art Critic, 1955,
Norman Rockwell
15. Parrot Tulips
Digitization of a
screen-printed fabric.
(I designed textile
prints for 23 years.)
The simulated pillows,
plus the paintings and
sculpture (also my work),
were Photoshopped into
the room.
Imageofroom:iStockPhoto
17. Logo development
IDEATION
The designprocessforthelogobegan
withamindmap.
I drew one doodle on a scrap of
paper (below) and brought the idea
intothecomputertoseeif ithadwings
(phase2).
phase 1 Sage
Sage
Climate
Crisis
Center
Sage Climate Crisis Center
Climate
Crisis
Center
Sage Climate
Crisis Center
Sage Climate
Crisis Center
SA
GE CLIM
ATE
CRI
SIS C E N
TER
DIGITAL DEVELOPMENT
The first attempts (below) had problems:
the eye was reminiscent of CBS; the Earth
was too cliché; and there was no hint of
global warming.
I dropped the eye and tagline and gave
the Earth visual heat (right). I began testing
different layouts and refining the graphic,
using Adobe Illustrator.
phase 2
Simplified map with
green extending to
the orange
TYPOGRAPHIC EXPLORATION
In the end I chose Avenir Next Bold for its
solid presence, the roundness of the Cs, and
its high legibility at dimished sizes.
Sage Climate
Crisis Center
Sage Climate
Crisis Center
Sage Climate
Crisis Center
Sage Climate
Crisis Center
(In response to the criticism that it was read as Sage Climate . . . Crisis Center)
Climate
Crisis
Center
at Sage
Climate
Crisis
Center
at Sage
Sage Climate
Crisis Center
Avenir Medium
Sage Climate
Crisis Center
Rockwell Light
Sage Climate
Crisis Center
Stone Sans Sem ITC TT
Sage Climate
Crisis Center
Avenir Next Bold
Sage Climate
Crisis Center
Frutiger 56 Italic
Sage Climate
Crisis Center
Acid Sans Regular
Sage Climate
Crisis Center
Marker Felt Wide
Sage Climate
Crisis Center
Rebecca Regular
Sage Climate
Crisis Center
phase 3
In response to criticism that it read as
“Sage Climate…Crisis Center”
Sage
ABSTRACT APPROACH
TO THE NEXT LEVEL
The Earth-half of the graphic still
looked cliché, tired and weak. I
decided to search for an abstract
solution.
The finished design ‘works’ on
several levels:
• the green Cs for the Climate Crisis
Center represent the environment
• the orange reverse Cs represent
global warming and the Center’s
holding a mirror up to it
• the white negative space between the
Cs forms a double spiral representing a
spiraling downward as climate change
is today, the other spiraling upward in
hope
• the space in the center is a stylized
‘S’ for Sage
• the axis is tilted, as the Earth’s
• the overall form is of a hurricane
phase 4
Climate
Crisis
Center
at Sage
Climate
Crisis
Center
at Sage
Almost there...
Final
(increased the shading of the outer Cs)
FINAL
ALMOST THERE…
phase 2
18. LET’S GET REAL FOR A CHANGE
climate-crisis-cent er.org
(so says Big Coal)
HOAX
BIG
Climate
Crisis
Center
at Sage
(so says Big Gas)
HOAX
LET’S GET REAL FOR A CHANGE
climate-crisis-center.org
BIG
Climate
Crisis
Center
at Sage
Image:AP
(so says Big Oil)
HOAX
LET’S GET REAL FOR A CHANGE
climate-crisis-center.org
BIG
Climate
Crisis
Center
at Sage
AshleyCooper/GlobalWarmingImages
(so says Big Oil)HOAX
CLIMATE
CHANGE
IS A
BIG
Starvedpolarbear/AshleyCooper/GlobalWarmingImages
LET’S GET REAL FOR A CHANGE
climate-crisis-center.org
Starvedpolarbear/AshleyCooper/GlobalWarmingImages
Climate
Crisis
Center
at Sage
Posters and postcards
The copy, including the
tagline “Let’s get real
for a change,” is mine.
Created in Illustrator.
Images:variousnewsagencies
