A compilation of work focusing on style and logo development, branding, identity systems, business marketing, and making connections between type and image. Created in Adobe Illustrator & InDesign.

1. PRO C E S S B O OK
Laurel L. Jensen245 Design 1

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Copyright © 2016 by Laurel L. Jensen
All rights reserved. This book or any
portion thereof may not be reproduced
or used in any manner whatsoever
without the express written permission
of the author except for educational or
noncommercial purposes.
Printed in the United States of America
Brigham Young University
University Press Building
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Provo, UT 84602

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T A B L E O F C O N T E N T S
Identity SystemsWordmark Branding Identity
372305 47
Pictorial Symbol

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01P I C T O R I A L S Y M B O L

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form: chairs
Objective: The chair as form inspires this exercise. I examined
the form of five different chairs by focusing on the details
of each. Then, I graphically expressed each chair’s attributes
by using a minimum amount of the chair’s form in a square
composition of equal amounts of black and white, figure and
ground, form and counter form. I removed much of each
chair, although I left enough of its shape and lines to allow
its identification. This exercise brought into focus unique
qualities of a chair that make it different from other chairs. I
also practiced altering line in ways that encourage the viewer
to imagine the line’s continuation.
EXERCISEA

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Klismos: mid-5th century BCEames Lounge: 1956Argyle: 1897 Wassily Lounge: 1925 Pratone: 1971

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form: objects
Objective: I chose five different, simple, small objects and
studied each for its structure, texture, and qualities of form.
I was encouraged to select objects within a single grouping
system that could be represented abstractly, symbolically,
or literally. I delineated unique qualities of each object in
order to differentiate it from the others. I also expressed each
object’s attributes graphically by using a minimum amount
of the object’s form in a composition—emphasizing unequal
amounts of black and white figure and ground, form and
counter form. With this exercise the viewer is encouraged
to imagine line and its continuation within the simplicity of
each object’s form.
I chose to form my group from objects found in nature. These
objects are usually unnoticed due to their familiarity and
abundance, but the unique texture each object exhibits begs
for further examination.
EXERCISEA

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flower bark leaf pine cone grass

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EXERCISEB
decompose: the square
Objective: “Enigmatic in its simplicity,” wrote Munari, “in
the monotonous repetition of four equal sides and four equal
angles, it generate a series of interesting shapes…”. Using
Bruno Munari’s Diagram as inspiration, I drew 25 small
squares and divided each into a 4-square grid. Subsequently, I
divided each part again for a total of 8 pieces—using vertical,
horizontal, and diagonal lines.

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icons
badges

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EXERCISEB
recompose: badges
Objective: A square can be recomposed in many ways. The
purpose for this exercise was create a system wherein all
of the shapes within a square appear to belong together.
I chose one of the square diagrams from Exercise B (see
page 8) and broke it into 8 pieces. Then, I used my chosen
square diagram as a structure to create five different abstract
badges that non-objectively represent 5 distinct parts of the
determined system. Employing no more than 2 colors, I
filled in parts of the square to create unique badges that had
meaning in the system. I grouped the colors into shapes to
create a pleasing composition within the whole. All of the
badges in the system are distinct from each other.
For this exercise I chose to appeal to my experience as a
Classical pianist and create badges representing five distinct
composers. I chose the composers chronologically and
listened to their music in order to graphically represent their
style and artistic approach. These badges are the result of my
research and creative analysis.

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Bach (1685-1750) Mozart (1756-1791) Beethoven (1770-1827) Chopin (1810-1849) Tchaikovsky (1840-1893)

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EXERCISEB
recompose: icons
Objective: For this exercise I selected a different square dia-
gram broken into 8 pieces. Then, I designed a set of 5 icons
using the pieces from the chosen square. Some elements re-
peated and overlaped, but I did not change the objects’ scale
relative to each other. The icons could represent anything;
including, people, animals, food, emoticons, etc. The only re-
quirement was that the icons should be recognizable individu-
ally and make sense together as a system/series.

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fish (pufferfish)mammal (rhino) reptile (turtle) amphibian (frog) bird (bluejay)

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PROJECT
pictorial symbol
Objective: Create a symbolic, image-driven, conceptually com-
plex logo (synonyms: mark, symbol, trademark, brand mark).

17. Research
Brand Attributes: Core Attributes: Logo of a Brand Competitor:
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• handcrafted nut butters
• “stir up a twist on the classics”
• all-natural [flavor]
• simple
• variety [of tastes and textures]
• “great food, great music”
• passion
• jammin’, funky, feel-good
• trendy
• offer great food, great music,
great environment to customers
• food and community
(connecting people)
• healthy living for all
• celebrate life
• equality through philanthropy
• meaningful diversity and equality
• evoking memories
• bonding friends and family
Adjectives:
whimsical, inclusive, all-natural, expressive, family-oriented, jammin’, quality, trendy,
celebratory, handcrafted, explorative, classy, “granola-style,” genuine

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Thumbnails

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Roughs

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Refinements

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Final

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02W O R D M A R K

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logo lotto: letter & pictorial symbol combination
Objective: Alongside abstract or semi-representational images,
lettering and word-marks play a key role in modernist logos.
Following in the age-old tradition of the monogram, one or
more single letters can also stand for a company’s complete
graphic identity. In this exercise, I combined a letter and
pictorial symbol to represent the attributes of the product,
service, or profession that I selected from the Logo Lotto boxes.
The letter I drew from the box: L
The profession I drew from the box: Baker
EXERCISEA

25. Research
Brand Attributes: Core Attributes: Logo of a Brand Competitor:
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• creative
• artistic
• personable
• unique
• quality
• patient
• industrious
• organized
• self-motivated
• detail-oriented
• consistent
• passionate
• open-minded
• focused
• flexible
• nimble
• proud, yet humble
• determined
• intuitive
• optimistic
• a leader
• brave
• multi-tasker
• patient
• perceptive
• innovative
• tasty
• inviting
• creative
• artistic
• personable
• unique
• quality
• family-friendly

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Thumbnails

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Roughs

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Refinements

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Final

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wordmark
Objective: For this project, I chose a band name to work
with. Then, I created a logotype from 3 to 10 custom-drawn
letterforms. The logotype represents the brand attributes of
the band chosen.
Brief: I decided to create a wordmark for the band I share
with my husband: The Cosmos, Abridged. We are an acoustic
duo that entertains with revisionist covers of folk songs and
Indie Pop music. We express our music through a wide range
of instruments: guitar, piano, voice, banjo, harmonica, cello,
and percussion. Classy and creative, The Cosmos, Abridged
is an artsy folk duo prepared to entertain and become one of
your favorite stars.
PROJECT

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Brand Attributes: Core Attributes: Logo of a Brand Competitor:
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• acoustic
• folk
• duo, collaborative
• Indie Pop
• covers
• string instruments
• percussion
• revisionists
• artsy
• fun
• colorful/creative
• explorative
• classy
• acoustic
• explorative
• creative

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Thumbnails

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Roughs

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Refinements

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Final

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03I D E N T I T Y S Y S T E M S

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introduction to identity systems
Objective: In this third branding project we developed a
visual system and identity. In teams of two, we collaborated
to design both a pictorial symbol and a wordmark. We were
required to integrate: 1. the cultural sensibilities of one
international country; 2. the brand attributes of a business
category; and, 3. a hand motif.
PROJECT

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The company my partner and I chose to work with was a
Mexican construction company specializing in earthquake-
proof housing. We randomly selected a company name and
then developed the design for our logo by analyzing the
structure and composition of earthquake-proof housing. We
wanted to communicate feelings of stability, dependability,
and protection while avoiding iconic representations of a
house. My partner and I wanted to use sturdy shapes like
triangles, squares, and right angles when designing both our
wordmark and logo in order to create a business foundation
communicating stable construction that people can trust.
project brief:

41. Research
Brand Attributes: Core Attributes: Logo of a Brand Competitor:
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• capable
• protector/protection
• stronger than/defies the elements
• people helping people/country
• culturally-minded
• structurally sound
• stability
• dependability
• foundational
• sturdy
• structure
• stability
• dependability

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Thumbnails

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Roughs

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Refinements

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Final

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04B R A N D I N G I D E N T I T Y

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design as visual language: hope & water
Objective: As a synthesis project this final required a more
complex response to concepts discussed throughout the
semester. Using text and image I sought to represent the
meaning of hope and water. In each square, I used at least one
of three levels of visual language: representation, symbol, or
abstraction to convey meaning.
EXERCISEA

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Type
Hope
Symbolic
Type & Image
Hope
Representational
Image
Hope
Symbolic
Type
Hope & Water
Symbolic
Type & Image
Hope & Water
Symbolic
Image
Hope & Water
Representational
Image
Water
Abstract
Type & Image
Water
Symbolic
Type
Water
Symbolic
R E B O R N
I love when
people who have
been through hell
walk out of the
F L A M E S
carrying buckets
of water for those
still consumed
by the fire.

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EXERCISEB
design as observation: 10 personal collections
Objective: Collections help us to filter and make sense of
the world. They are an act of discovery. Through the act of
collecting we develop a more critical eye. We compare and
contrast, define patterns and anomalies, form judgments and
develop preferences. What you collect says a lot about you.
What is a collection? What do I collect? It might be something
physical and man-made with a particular visual quality
that intrigues me. What I collect might also be an abstract
concept. For this exercise I determined what constituted my
collections—each reflects my interests and who I am.

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design as identity: branding my collection
Objective: As a synthesis project this final required a more
complex response to concepts discussed throughout the
semester. Rather than responding to a branding assignment
for a client, this final project asked me to work with readings,
found texts, sets of images, and then to draw commonalities
from those components.
The objective for this final synthesis project was to consider
the complications of my own identity. Using my collections
I was asked to consider the three levels of visual language:
represenation, symbol, and abstraction. Then, I curated my
10 collections down to 3 in order to brand my own identity
through the visual form of a booklet or zine. I developed a
concept that blended the three collections together in order to
create a brief representation of my personal identity.
PROJECT

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Adjectives that define the meaning, tone,
and substance of my 10 x 10 collections
Short statement: a general introduction
to my collections
Possible Titles:
• reminiscent
• explorative
• symbolic
• nostalgic
• simplistic
• realistic
We often think of collections as physical,
tangible objects. However, we frequently
also collect in conceptual ways. In
order to gather images for my booklet I
brainstormed various groupings of objects
or abstract ideas that I collect (listed to
the left). After I curated my collections,
I looked for a connecting theme and
discovered that I am the sum of all the
little things I notice and experience every
day. Hence, I ultimately decided to entitle
my booklet “Mindfully” with the hope that
it will invite others to more sincerely reflect
upon the moments and unnoticed items
in their lives that truly make a significant
difference and bring daily happiness.
• sanity
• peace
• hopeful
• remember
• 365 (days/year for adventures)
• we’re not of this world for long
• & the aperture opens
• recollection
• momentarily
• mindful/mindfully
• the little things
• feel/feeling
What do I collect?
• memories
• forgiveness
• friendships
• burdens
• experiences
• opportunities
• smiles
• sketches
• hikes
• sharpies
• paper
• images of the
unnoticed
• TP tubes
• makeup
• shoes
• receipts
• grocery bags
• pebbles
• books
• stickers
• art supplies

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Gill Sans SemiBoldBodoni 72 BookBaskerville SemiBold Chaparral Pro
Gill Sans SemiBoldBaskerville Bold Palatino Regular
MiNDFUL
mindful
Mindful
MiNDFUL
mindful
Mindful
Gill Sans LightOptima Regular Baskerville Regular
MiNDFUL
mindful
Mindful
Bodoni 72 Bold
Mindful
mindful
MiNDful
Mindful
mindful
MiNDful
Mindful
MiNDFUL
mindful
MiND
FULLY
Mindful
MiNDFUL
mindful
Optima Regular
Optima Bold
Mindful
MiNDFUL
mindful
Mindful
MiNDFUL
mindful
Mindful
MiNDFUL
mindful
MiND
FULLY
MiND
FULLY
TypeLock-ups

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FinalLock-up
MiNDFULLY
Gill Sans Light

62. Resources:
Airey, David. Logo Design Love. New
Riders, 2009, pp. 3-18.
Bringhurst, Robert. The Elements of
Typographic Style. Hartley & Marks
Publishers. 2002, pp. 9-25, 209-265.
Dondis, Donis A. A Primer of Visual
Literacy. The MIT Press, 1973, pp. 67-
84.
Müller-Brockmann, Josef. Grid Systems
in Graphic Design. Braun Publish,
1968, pp. 12-13, 110-121.
Munari, Bruno. Design as Art. Penguin
Global, 2008, pp. 53-63.