Category: Design

Vans #LivingOffTheWall Ad Campaign Slide Design

Vans #LivingOffTheWall Ad Campaign Slide Design

This week in Comm 130, we created an ad for an existing campaign. I chose the Vans #Livingoffthewall campaign. The assignment was to make our own ad that would have fit in the campaign. Th main things that I felt were necessary to make my ad fit with the original was having a black and white photo of someone skating, with the vans logo on the side and the hashtag on the bottom in a similar font.

The audience are people who skate, like the style of Vans shoes, or want to use their shoes as an accessory to express themselves. This may range from men or women of the ages of 12-35. Below is a link to my slide design, please check it out! Also, below is the original ad I found and the new ad that I created.

Original Ad

New Ad

Slide Design Final Michael Lippe


Creative Ad

For the past couple of weeks we have been learning how to create a conceptual ad through Photoshop. It has been a fun and challenging experience. Through a random generator, I was assigned to make an ad for a hammer, with the target audience of a 45-65 year old male, who is married, makes about $90,000, and has an Associates degree. This demographic connects through magazines and social media. As a result, I made two ads, one for a magazine and one for a facebook page.

Social Media Ad

Magazine Ad

I wanted my ad to appeal to the demographic in several ways. I wanted it to be masculine in design and color. The shark, while also being a hammerhead, is a symbol of strength and power. I can imagine that many men who are 45-60 years old who are married have been given some kind of to-do list by their spouses. This ad appeals to this, as it relates to the audience on something that they deal with every day. The ad is encouraging them to get that to-do list done with the help of the product, a hammer.

The action of working on a to-do list can be both bold and proactive. I used a bold type to continue the theme of action and masculinity. The logo was yellow, so I decided to use yellow in the text as well to draw the viewer’s attention. I strategically placed the hammer/shark in a way as to point the viewer to the logo. The grey and yellow also can be related to the colors seen at a construction site, continuing the concept of getting things done.


Overall, I really enjoyed this project. It helped me develop my skills in photoshop as well as challenged me to be creative. I had fun with the thought of turning a hammerhead shark into an actual hammer!

Weather Icons!

Weather Icons!

This week in Comm 130 I learned about making Icons! We were given the challenge to make four to six icons that all tie in to the same theme. I chose to make icons for different types of weather.

My target audience for the icons are people who may want to take a quick glance on their phones, tablets, or computers to see what the weather is like. I needed to create icons that will communicate the correct message by looking at it for just a second or two. I focused on simplicity, shape, and color to communicate each message.

It was fun and challenging to make each icon communicate a unique message while still maintaining a uniform theme. I was able to apply my newly acquired skills in Adobe Illustrator for this assignment. Below are my five weather Icons:






Design Decisions

I focused my design on using color, shape, and repetition to maintain a theme while making each icon communicate something different. I changed a lot of things in my icons throughout the process. After making several different shapes of clouds, I decided to use just one shape to keep uniformity. I also added the small clouds to the Sunny icon, because it was the only icon without clouds included. The Windy icon was the most challenging, as I had a hard time communicating wind. I started with trees blowing and swirl lines, but the trees didn’t tie in well with the theme. I added a cloud, but then it looked too busy. The finished icon has new swirls, the cloud, and no trees. I think its current version fits best with the rest of the icons. I also tweaked the colors of the Stormy icons several times to find the right balance on uniqueness and uniformity.


This project was really fun! I enjoyed making the icons, and learning how to use Adobe Illustrator. Feel free to comment and let me know what you think!


The Glorious Plan of a Magazine Spread

The Glorious Plan of a Magazine Spread


In this week’s blog post, I am going to show you my design for a basic magazine spread. We are going to talk about the layout, design choices, and the reasons I made the spread the way I did. Here we go!

by Michael Lippe
by Michael Lippe

The Target Audience

The article I used for my magazine spread is called “Our Father’s Glorious Plan.” It was written by Elder Weatherford T. Clayton Of the Quorum of the Seventy. The article is about Heavenly Father’s plan for us, his children. The target audience is members of the LDS church, as well as people who may want to better understand the Plan of Salvation, including  adults, youth, or families. The layout is designed to be simple, easy to read, and focused on the content. It is not meant to be flashy or distracting, but rather warm and inviting.


Initially I chose a bright sky blue as my main color. However, I thought that green would fit better with the photos I chose. Green represents growth and life, which are themes in the Plan of Salvation. It also represents wealth, which ties in to one of the headlines: “The Greatest Gift.” This suggests that the article’s content is of great value to the reader.


Photos of flowers were chosen to enhance the theme and feel of the article. They are beautiful, and express life and growth. The red flowers were chosen because they create leading lines into the next page. By extending the image across both pages, it also helps the reader continue reading to the next page.


Sans Serif was used for the main text. This makes the article easy to read. The modern typeface in the title is also simple, and gives the reader an understanding that the article’s content is serious and reverent. The headings are green, offering contrast between the paragraphs while introducing subtopics. In addition, the pull quote brings the reader’s attention to a key point in the article, and adds more color and variety to the page. To enhance its impact, it is right-aligned.


To sum up, all of the aspects of  the design are centered on the content of the article. They are used to enhance the message the author is trying to communicate to the reader. It is inviting, easy to read, aesthetically pleasing, and full of color. The design, from the photography down to the typography, expresses themes of warmth, life, and growth.

Taken by Michael Lippe
Taken by Michael Lippe
Great Guidelines for Fantastic Photographs

Great Guidelines for Fantastic Photographs

This week, we are going to reverse engineer some photos to better understand three great guidelines to photography: Rule of Thirds, Leading Lines, and Depth of Field.  Let’s get started.

Rule of Thirds

“Lighthouse, New Brighton, UK ” by A_B_digital

This image of a lighthouse is a great example of the rule of thirds. By drawing lines vertically and horizontally, like in tic tact toe, you can divide the picture up into nine different squares. Photos become more interesting when the subject is placed near one of the intersecting points. In this example, the horizon is on a line, and the lighthouse is also, creating an interesting photo.

Personal Example

Photo by Michael Lippe

In my own example, the middle of the tree trunk is near the intersection of the rule of third lines By doing this, it is creating a strong focal point. The image may not be as interesting had I chosen to place the tree trunk in the very center.

Leading Lines

by Alexander Dragunov

Another great guideline in photography is leading lines. In some photographs, you can find lines that lead you to a focal point or a vanishing point within the photo. This helps the viewer’s eye travel through the photo. In this example, many lines on the walls, floor, and ceilings are leading to the very center of the image.

Personal Example

Photo by Michael Lippe

In this example, I use the sidewalk, the shadow, and the electric boxes to create leading lines. Not all of the lines can be seen physically in the picture, but that does not mean that they are not there. Leading lines in this photo lead the viewer through the foreground to the background.

Depth of Field

by Thomas Jeppesen

Controlling your depth of field is another great technique in creating a great photograph. By doing so, you make your image less flat, and give your a viewer a place to focus on. You can have shallow or deep depth. Shallow depth means that the foreground or background of the image is clear, while the other is blurry. With deep depth, all of the picture is in focus. In the example, you can see that the photographer is using a shallow depth of field. The man is in focus while there are elements around him that are blurry. This gives the image depth, and helps the viewer to focus on the subject.

Personal Example

Photo by Michael Lippe

The example shown here is another example of a shallow depth of field. In the image, the tree is sharp and clear, while the background is blurry. Since the background does not contribute much to the composition or subject of the photo, having it blurry allows the viewer to more easily focus on the subject, the tree. (Below, the circle shows the subject in focus in the foreground, and the arrow pointing at the blurred background.)


Now that we have learned three great guidelines for shooting fantastic photos, go out and try it! Experiment using combinations of these guidelines, and try to create a photo that has depth, leading lines, and is framed in the rule of thirds. This will no doubt improve your shots and help you take interesting photos. Have fun!

PokeMart Ad

PokeMart Ad

Designed by Chuz0r

This fan-made ad for PokeMarts is a great example of creating contrast through typography. We’re going to go into detail about the different categories of typeface used in this ad.

Typeface 1: Decorative

The first typeface used in this ad (going from top to bottom) is Decorative. You can tell that it is Decorative because it is such an unusual font, one that you would feel uncomfortable reading an entire book in. There are several characteristics in this font, shown by the circles, that make it fun and unique; major aspects of Decorative typeface.


Typeface 2: Sans Serif

The second typeface in this ad is Sans Serif. The biggest giveaway is the fact that there are no “tails” at the end of the letters. Also, you can note that there is no stress in the font. This is because there is no thick / thin transition, which is another clear sign of Sans Serif.


Typeface 3: Decorative / Modern

Lastly, the very bottom typeface was a little more tricky. From my view, I think it is another Decorative typeface, but it also takes after the Modern typeface. The main aspect that makes it look Modern is the font’s vertical stress, but I don’t think that is enough to categorize it. With that said, it is a little too weird to be Sans Serif, although it has no serifs and no thin / thick transition. This is why I would put it in the Decorative category. It has unique features, is fun, and again would not be a font I would want to read an entire book in.


Using these three different fonts creates a nice contrast. The two biggest words, poison and antidote, are larger than the main text, and are in decorative typeface. This grabs the viewer’s attention and makes them want to read the smaller font.
The font used in antidote gives the viewer a modern, clean sense, like one might relate to the modern medicine being advertised. The poison font on the other hand, is more difficult to read, and may even be confusing, like how you might feel or see if you were poisoned.

The main body of text, is smaller, and plainer than the more decorative typefaces. It is the easiest to read, which offers a nice break in between the poison and antidote fonts. It also helps the reader travel through the ad from the top (poison) to the bottom (antidote).


The choices made in the font and typeface used in the ad contribute to the overall design by adding contrast, character, and variety. It creates a clean, modern, and simple feel, which is what they are trying to advertise with the antidote being a simple, easy, modern solution to poison. If the fonts were all the same, and they were all the same size, the ad would be very boring. This is how you know that the typefaces used made a large contribution to the design of this ad.

Coca-Cola Poster

Coca-Cola Poster

Coca Cola Poster Ad
Designed by Coca-Cola

This vintage Coca-Cola ad is a great example of design principles. I’m going to reverse engineer it, so that you can understand why.


Coca-Cola Ad - Proximity

Proximity is shown here in the text on the ad. The words “drink” and “Coca-Cola” are close together, compared to the phrase “it’s the real thing” to show that the they have a relationship. Despite the difference in font, size, and color, you know that you are supposed to read “Drink Coca-Cola.”


Coca-Cola Ad- Aligment

As you can see here, there are two different alignments used. “It’s the real thing” is centered on the poster while “drink” is aligned to the left. This is done to give the poster a little more character.


Coke Ad - Repetition

Repetition is not one of the more apparent principles in this ad, but it can still be seen in the text. The top phrase is all written in the same font showing that it should be read together, despite the second half of it being underlined. Also, both the top text and the logo share the same colors.


Coke Ad- Contrast

This ad uses color to create contrast. One of the first things you see is the contrast between the red background and the yellow center. This contrast makes your eye look right at the Coca-Cola glass. Also, in the top text “real thing” is underlined, contrasting the first part of the phrase.


Coke Ad - Color

This poster uses a spectrum of warm colors. By using tones of red, yellow and orange (with some light green), the ad communicates feelings of warmth, brightness, and excitement. The red, yellow, and black from the coke glass contrast each other. The orange hand although in the middle of the poster is muted by the background because they are similar in color, leaving the main focuses to be the yellow circle and the coke can.


Overall, the most impactful principles used in this design are color, contrast, and proximity. These principles are used to communicate fun, warmth, excitement, and energy. This leads you to feel that if you drank Coca-Cola, you would feel these things. As a result, it is a great design.