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MY OLD SOUL As long as I can remember I have been told I have an old soul. My obsession with vintage music started at a young age. I spent hours flipping through massive stacks of vinyl, dropping the needle on a groove, and analyzing album covers. I now realize that design is much of what drew me in to this world. Vintage album covers possess a unique energy—the imagery, graphics, and typography provoked me deeply. Just like music, good design evokes memories and triggers emotions. I couldn’t imagine designing without music. Today, my design process always begins with looking at old typefaces, architecture, art, films—anything and everything creative. With all the inspiration I’ve acquired from beyond my years, I’ve developed an acute awareness of the how the past affects our appreciation of visual language. Like all creative mediums, great design is timeless. I’m endlessly inspired by designers like Saul Bass, whose logos are still beautiful and relevant fifty years later. While it’s important that we look forward, I firmly believe that the past dictates the future.


44˚ 50' 32.09" N 93˚ 8' 11.44" W

Pike Mountain 01 02 03 04 05 06 07 08

Minnesota ski area Course

Project Type


Editorial Design



Sean Bacon & Bradford Prairie

Spring 2018


Founders Grotesque, Fresh Script

Ski Area


Objective Pike Mountain is a premier ski destination located in Iron Mountain, MN. The mountain prides itself on inclusivity and welcomes snow enthusiasts of all skill levels. The mountain has strong value propositions with its amazing views of Lake Superior and the best terrain park in the Midwest. The goal of the rebrand was to continue to push the boundaries of excellence in mountain sports and target a younger audience of terrain park enthusiasts, ages 18–31.

Approach Scandinavian roots run deep in Minnesota—this includes the belief that the first Vikings who inhabited the state were not members of the NFL. A lthough not overtly Scandinavian, Pike Mountain, whose name refers to the Viking weapon, has branding that gives a nod to its roots and connections. The logo combines Viking helmet horns with the mountain’s glorious peak. To effectively target a more youthful audience, the park’s digital offerings, including a website, mobile app, and in-house equipment rental app, were overhauled with an emphasis on clean and intuitive design. The brand is driven by expansive imagery of the mountain landscape in a blue-gray duotone style. The monotone color scheme and edgy script helps differentiate the park from local competitors and enhances the youthful vibe. Pike’s dynamic “Shred the Pike” tagline is found on its website as well as its advertising campaigns.

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Pike Mountain 01 02 03 04 05 06 07 08

Gondola | Terrain Park | Billboard

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Pike Mountain 01 02 03 04 05 06 07 08

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Pike Mountain 01 02 03 04 05 06 07 08

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32° 42' 56.65'' N 117° 9' 39.91'' W

Johnny Pomp 01 02 03 04 05 06 07 08

Men's hair products Course Advance Typography

Project Type Hand Drawn Logo

Instructor Sean Bacon

Semester Spring 2017

Industry Men's Haircare

Typefaces Avenir, Alianza Slab

Objective Johnny Pomp is a London-born brand of premium haircare products for men. The brand has a timeless vintage style that is applied in a contemporary way. The target audience of men, ages 28–44, are more likely to ride a vintage Vespa over a Harley Davidson. Johnny Pomp needed a new brand that would communicate its unique personality—a refined masculine attitude but not full of testosterone.

Approach The new Johnny Pomp logo, which is hand-lettered in a vintage style, reflects the attention to detail and handmade quality of their products. Swashes and ligatures give the logo a unique feel and a tight outer shape. Striped patterning, used throughout the brand, adds to the sophisticated masculinity. The muted color palette is paired with dark amber packaging for a premium look. The Alianza Slab typeface family was paired with Avenir capitals to give the typography a refined look with lots of structure and weight. Johnny Pomp’s premium product line includes three varieties of pomades, a shampoo, a conditioner, and a folding pocket comb.

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Logo Development The hand drawn logo for Johnny Pomp went through several revisions. Here are nine though there were many more.

1. First inception in sketchbook.

3. Vector sketch to evaluate stress and letterform consistency.

5. Contrast of strokes refined and stress defined.


2. Second sketch exploring swash placement and stroke contrast.

4. Exploring higher stroke contrast to make type bolder.

6. Simplification of elements explored. Ligature built between ‘J’ and ‘P’. Connection between ‘n' is broken up to give more air.

Johnny Pomp 01 02 03 04 05 06 07 08

7. Style exploration with the descender of the ‘y’. Bowl of lowercase p refined to be more round.

8. Stem of ‘h’ refined. The ‘y’ is modified to mimic curves in ‘J’ and ‘P’.

9. Final revision. Bar of ‘J’ thickened. swashes in ‘y’ rounded and refined.

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Johnny Pomp 01 02 03 04 05 06 07 08

Street Advertisement

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34° 9' 40.78'' N 118° 10' 3. 53'' W

Monsterpalooza 01 02 03 04 05 06 07 08

Horror convention Course

Project Type

Page Layout

Poster Design

Instructor Bradford Prairie




Horror Films

Courier, Spookhouse

Spring 2017

Objective Monsterpalooza is the world's longest running Celebration of monsters and movie magic. The festival has become internationally known as the place to be for fans of film, makeup, special effects, collectible toys, and art with monster themes. Monsterpalooza offers over 250 vendors, live makeup demos, film screenings, actor meet and greets, and the world famous monster museum. The festival needed new branding that would entice its primary target audience of film geeks, ages 27–43.

Approach A convention this devilish needs to turn the evil up. A sinister blue gray and pukey green color palette is used on signage, badges, and a welcome guide. The typographic logo mixes different horror and sci-fi typefaces that speak to the diverse subcultures it represents. The brand has a fun and creative personality with unexpected elements like a wayfinding bathroom sign that substitutes Freddy Kruger and Lizzy Borden for the typical men and women icons. Festival attendees receive fun gifts including a makeup kit with a design style borrowed from the zany comic book ads of the 70’s and 80’s.

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Monsterpalooza 01 02 03 04 05 06 07 08

Banner | Restroom Sign | T-Shirts

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Monsterpalooza 01 02 03 04 05 06 07 08

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40° 45' 32.03'' N 73° 59' 6.47'' W

William Barlow 01 02 03 04 05 06 07 08

Deco inspired shoes Course Portfolio

Project Type Editorial Design

Instructors Sean Bacon & Bradford Prairie

Semester Spring 2017

Industry Women's Shoes

Typefaces Barlow, Centaur

Objective William Barlow is a deco-inspired women's shoe brand based in lower Manhattan The shoes are made from top quality materials with patterns and heel shapes derived from original vintage shoes of the 1920s. The jazz age brought freedom in dress for women, where hemlines were rising and ashy shoes became popular. William Barlow targets chic women with an affinity for vintage style, ages 35–50.

Approach The name Barlow comes from a 1920’s term for a girl or “flapper.” A custom typeface, created in an Art Deco style, was used for the logotype and mark. The shoes are named after words commonly found in the flapper dictionary such as “Ritz” and “Sugar.” A nav y and gold color palette conjure an elegance of the past and give the brand a vintage sophistication. Fan patterning derived from the custom typeface is used on many branded items, including bags, shoe boxes and packaging tissue.

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T-Shirt | Tap Handles | Key Chain | Bottle Caps



William Barlow 01 02 03 04 05 06 07 08

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05 1502 BREWING CO.

32° 42' 56.65'' N 117° 9' 39.91'' W

1502 Brewing Company 01 02 03 04 05 06 07 08

San Diego craft Brewery Course Logo & Packaging

Project Type Branding

Instructor Min Choi

Semester Spring 2016

Industry Craft Beer

Typefaces Inkheart, Brandon Grotesque, DIN Next Slab

Objective 1502 Brewing Company is a new craft brewery located in Ocean Beach, a San Diego coastal town that is known as a hippie haven. The brewery needed a brand that was authentic to the community and celebrated the quirks of the people who live there. The brewery targets Ocean Beach residents and visitors who love craft beer, ages 23–36.

Approach The name 1502 comes from a local nickname, derived from the letters O and B—the 15th and 2nd letters of the alphabet. The logo uses a peace sign as a throwback to the peace and love movement of the sixties, which carries on in the local culture. The beers are named after the common characters found on the streets of OB. Brightly-colored labels evoke the sunny beaches and vibrant personalities of the community. A modified version of Inkheart, a gritty script typeface was used for its expressive and energetic feel. The script was paired with Brandon Grotesque for its clean, but human quality. The brewery gives back to the community through a partnership with the Surfrider Foundation, which organizes beach cleanups and environmental awareness.

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Logo Exploration There are endless possibilities when creating a hand lettered logotype. I explored multiple techniques, media, and styles to find the right logo for 1502 Brewing Company.

Pixma Micron 05

Kimberly HB Pencil


6.0 mm Pilot Parallel Pen

1502 Brewing Company 01 02 03 04 05 06 07 08

Speedball C-O

Tombow ABT N15

Lyra 2B Graphite Pencil

Sharpie Chisel Tip

Hunt No. 102

Itoya Doubleheader CL-10

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1502 Brewing Company 01 02 03 04 05 06 07 08 T-Shirt | 12 OZ. Bottle | Coasters

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1502 Brewing Company 01 02 03 04 05 06 07 08

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36° 50' 54.45'' S 174° 45' 48.01'' E

Count Sheep 01 02 03 04 05 06 07 08

Children's Bedding Course

Project Type


Menu Design



Sean Bacon

Spring 2018





Objective Count Sheep is an organic children’s bedding brand based in New Zealand, a country where sheep outnumber people twenty to one. The sheets are made from 100% Organic cotton fiber with an unusually high thread count for organic sheets. Included the bedding set is a flat sheet, fitted sheet and pillow case. Count Sheep needed a brand expression and environmentally friendly packaging system that could be enjoyed by parents and children alike.

Approach To create a brand that was fun and expressive, hand-lettering is used as a primary graphic element. Oversized sleep-related words, phrases, and icons cover the ultra-comfy sheets. Pillowcases feature plenty of typographic Zs with eclectic styles and textures, ready to be caught. A simple belly band keeps the packaging simple and environmentally friendly. The logo features an illustrated sheep hurdling the ‘U’ of the hand drawn logotype. Knockout is used as a secondary typeface for its practicality and expressive quirkiness.

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32° 42' 56.65'' N 117° 9' 39.91'' W

Gig Magazine 01 02 03 04 05 06 07 08

Local Music Magazine Course

Project Type

Page Layout

Editorial Design



Bradford Prairie

Spring 2017




ITC Kabel, Industry Inc

Objective San Diego has a rich music scene with over 20 major venues. Gig magazine taps into the local San Diego music culture with a monthly showcase of upcoming shows, interviews with artists, and in-depth feature articles. The magazine needed a vibrant and dynamic brand that would speak authentically to its target audience of young music lovers, ages 17–35.

Approach Gig magazine’s new branding is electric and captures the raw energy of live music. Lightning bolts are used in the masthead and as a graphic motif throughout the magazine. The interior uses a 12 column grid to allow for creative flexibility in its layouts. Loud colors and funky artwork line the pages. The masthead and spine color changes each issue based on the hues in the cover photo. The magazine uses the Kabel typeface for its vintage quirks paired with Neutraface Text for its clean readability in body copy. Gig’s website offers web versions of articles, news, and useful features like a show finder with filters for date, genre, and venue.

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Gig Magazine 01 02 03 04 05 06 07 08

T-Shirt | Magazine Spines | Sunglasses

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Gig Magazine 01 02 03 04 05 06 07 08

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Gig Magazine 01 02 03 04 05 06 07 08

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Gig Magazine 01 02 03 04 05 06 07 08

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41° 36' 28.97'' N 72° 52' 18.24'' W

Thee Hearth 01 02 03 04 05 06 07 08

wood fired pizza Course

Project Type

Page Layout

Menu Design



Bradford Prairie

Spring 2017




Surveyor, White Oleander

Objective The Hearth is an upscale restaurant with a warm and modern feel located in downtown Southington, Connecticut. The restaurant is known for their wood-fired pizza with unique combinations and toppings. The bar features several local beers, wine, and specialty craft cocktails. The Hearth needed a fresh and engaging brand that would reflect its warm personality. The restaurant’s primary target audience is foodies, ages 31–46.

Approach The Hearth’s name comes from the wood-burning ovens that give Connecticut pizza its distinct taste. The logo, which is hand-lettered in a rustic style, reflects the humanistic quirks of the restaurant and its pizza. The food and beverage menus use detailed illustrations and wood etchings that pay homage to the past. The Surveyor typeface family, inspired by copperplate engraving, was the perfect accompaniment to the warm and delicate brand style. The type is paired with swashy handwriting that gives the typesetting a human touch. The handwriting script is also used as a graphic motif to flood print elements, including the pizza boxes.

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Restaurant Exterior | Menu Board



Comedy Festival

Craft Beer

Gas & Electric

Essential Oils

Women's Shoes

Cupcake Bakery

Ski Area

Horror Convention

Bio Tech

Men's Haircare

Local Music Magazine

Skateboard Video

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THANK YOU To my wonderful wife and daughter for your daily affirmations and inspiration. I love you both more than you could ever know. To my Family back East. You all have always encouraged and believed in me. I miss you everyday and cherish our time together. To the portfolio graduating class of 2018. You guys have been great. You're always willing to lend a helping hand and have fun. To the SDCC Graphic Design department and affiliates. This journey has been one of the most challenging, yet enjoyable experiences in my life. You have all made my time here so worthwhile. Thank you Min Choi, Donald Gould, and Channin Fulton. Extra thanks to Norman Ramos, Bradford Prairie and Sean Bacon who always go above and beyond what is expected. Please keep the passion high!

COLOPHON Designer Jeff Perry Phone: (860) 977 8495 Email: Web: San Diego City College Spring 2018

Printing Red River 60lb. Polar Matte Double Sided Printed with Canon Pixma Pro-100

Binding International Coil Bindery

Photography Bradford Prairie Jeff Perry

Typefaces Neutraface Mrs. Eaves


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Jeff Perry Design Portfolio  
Jeff Perry Design Portfolio