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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.

chr i s t ine woods

g r a p h i c d e s i g n

(646) [email protected]

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

Print ad mockup

The "magazine" was created in Illustrator and Photoshop.

original stock photo

Advertisement

Top: window banner mockup.

Bottom: point-of-purchase mockup.

Photoshopped into images of FAO Schwarz, a high-end toy store in NYC.

Logo redesign


current logo

print

broadcast

R=235 G=181 B=49

R=105 G=109 B=54

R=95 G=99 B=147

white

Standards guide

Guide for TV broad-cast usage of the Animal Planet logo (selected pages).

Created in InDesign.

Color + OpacityFonts + PositioningScale + LocationEnvironments

Contents

16:9

16:9 with pillarbox

4:3 with letterbox

The logo may be positioned in one of the four cornersfor promotionaladvertisements.

SCALE + LOCATIO

N

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.

ENVIRONM

ENTS

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.

COLO

R + OPACITY

BROADCAST STANDARDS GUIDE

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Travel poster

16" x 25"

Inspired by the travel posters of the 1930s, drawing upon my own experience in Yellowstone.

Created in Photoshop.

C.R.o.W. Clinic for the Rehabilitation of Wildlife

3883 Sanibel Captiva Road, Sanibel, FL 33957 (239) 472-3644 [email protected] crowclinic.org


Clinic for the Rehabilitation of Wildlife

Heather Barron, DVMClinic Director

(239) 472-3644 ext 1 [email protected] www.crowclinic.org 3883 Sanibel Captiva Road Sanibel, Florida 33957

C.R.o.W.


Sanibel, FL 339573883 Sanibel Captiva Road

Logo redesign


current logo

“’’

Double spreadfor a magazine article

Created in InDesign.

The illustrations and the custom lettering for the title and drop cap are mine, done in Photoshop.

cultivation.com April 2013 / Cultivation /5756 / Cultivation / April 2013

Among some of the younger musicians there has been a movement to bring back the old songs and the acoustic small band sound.

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 accordion 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 young er 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.

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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 / 55 54 / Cultivation / April 2013

As Cajun music evolved through the centuries it retained its deep roots while adapting to the times.

Cover design

For a mock magazinetitled Blue.

I designed the lettering for the masthead and composed the tag line.

Created in Illustrator and Photoshop.

$10.99

October 2012

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)

Imag

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cra

b: iS

tock

Pho

to

buy her apencil,build aschool.

Photo: Nick Onken

thenhear her sing!

pencilsofpromise.org

we believe in quality education for every child. build with us.

buy her apencil,build aschool.

Photo: Nick Onken

thensee her dance!



Photo: Nick Onken

buy her apencil,build aschool.thenwatch her run!



Ad campaignfor print magazines

College competition sponsored by The One Club for the nonprofit Pencils of Promise (PoP). PoP was seeking to brand the organization.

PoP supplied the logo and guidelines for fonts and color. The copy is mine.

The images were extracted from larger photographs using Photoshop.

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Guns in the Wrong Hands

11" x 17"

Response to AIGA’s“End Gun Violence”call for designs, following the Sandy Hook school shooting.


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. [email protected]

in thewronghands

Digital Imaging

Left: Abandoned, 1927

Right: Land of Opportunity

Promotion piece

13” x 19”

3-D glasses are needed to view Egas’ anaglyphs. I co-opted Norman Rockwell's painting The Art Critic and Photoshopped into it an image I shot of my supervisor at The Albany Institute of History & Art, plus two of Egas’ prints.

The Art Critic, 1955, Norman Rockwell

Parrot Tulips

Digitization of a fabric originally screen-printed. (I designed prints for textiles for 23 years.)

The simulated pillows, and the paintings and sculpture (also my work), are Photoshopped into the room.

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ClimateCrisis

Centerat Sage

Logo

Designed for the Climate Crisis Centerat Sage College,Troy, NY

Logo development

IDEATION

The design process for the logo began with a mind map.

I drew one doodle on a scrap of paper (below) and brought the idea into the computer to see if it had wings(phase 2).

phase 1 Sage

Sage

Climate Crisis Center

Sage Climate Crisis Center

Climate Crisis Center



SA

GE CLIMATE

CR IS IS 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 withgreen extending tothe 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.





(In response to the criticism that it was read as Sage Climate . . . Crisis Center)

ClimateCrisis

Centerat Sage

ClimateCrisis

Centerat Sage

Sage ClimateCrisis Center Avenir Medium

Sage ClimateCrisis Center

Rockwell Light


Stone Sans Sem ITC TT


Avenir Next Bold


Frutiger 56 Italic


Acid Sans Regular


Marker Felt Wide


Rebecca Regular

Sage ClimateCrisis C enter

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

ClimateCrisis

Centerat Sage

ClimateCrisis

Centerat Sage

Almost there...

Final (increased the shading of the outer Cs)FINAL

ALMOST THERE…

phase 2

LET’S GET REAL FOR A CHANGE climate-crisis-cent er.org

(so says Big Coal)

HOAXBIG

ClimateCrisis

Centerat Sage

(so says Big Gas)

HOAX

LET’S GET REAL FOR A CHANGE climate-crisis-center.org

BIG

ClimateCrisis

Centerat Sage

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P

(so says Big Oil)

HOAX


BIG

ClimateCrisis

Centerat Sage

Ash

ley

Coop

er/G

loba

l War

min

g Im

ages

(so says Big Oil)HOAX

CLIMATE CHANGEIS ABIG

Star

ved

pola

r bea

r / A

shle

y Co

oper

/Glo

bal W

arm

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Star

ved

pola

r bea

r / A

shle

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oper

/Glo

bal W

arm

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Imag

esClimate

CrisisCenter

at Sage

Posters and postcards


The copy, including the tagline “Let’s get real for a change,” is mine.

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Website

Selected pages,created in Wordpress.

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A Message from the Fossil Fuel Industry to Planet Earth

11" x 17"


christine_woods_portfolio linkedin2

Documents

current logo print broadcast

darkmedium r

opacity percentages

opacity grid

christine woods g r

opacity levels

sanibel captiva road

ani mal planet logo