Thomas O'brien

I was the primary graphic designer for Thomas O'brien brand development. Product line launched in fall of 2005. I worked closely with marketing planning, Thomas O'brien, his team and my creative manager; I created the brand standard guidelines, color standards, woven labels, printing process (for instance the TOB is a spot varnish on the packaging), determined in-store signing and established the tone for photo art direction.

I have to honestly admit that it was a pleasure to work with Thomas and his team. They were great partners during the whole process. And I love his product line, so refined and a consistently gorgeous color palette.

for more about Thomas click here and visit his website aerostudios.com

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Club Wedd

I partnered with another in-house designer at Target to complete this 112 page catalog from initial sketches to final printed piece. The amount of detail work that went into this project was mind numbing. I think we had about five photographers and seven stylists working at once while fielding questions and approvals from the buyers, creative department and vendors. After it was printed I had a new found respect for every catalog that lands in my home mail box.

Global Bazzar

This is Target's first Global Bazaar from 2005. Global Bazaar was a six week program within Target stores. Products were sourced directly from five regions: Asia, Europe, India, Latin America and Africa. The five regions represented product developed with the aesthetics of : China, Japan, Sweden, Tuscany, Africa, Latin America, India and British Columbia. The packaging system voiced the design sensibilities of each region through color and pattern. In-store signing was peppered with iconic photographic images of each region. The overhead banners were printed on fabric to lend a feeling of a true bazaar.

The direct mail piece showcased products from the various regions of Global Bazaar. When it was folded up it looked like a shipping crate with arrival stamps. This also tied into the tv spot.

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I was the lead designer on this project working on the packaging, in-store experience, direct mail piece, photoshoots and even color proofing. When it finally hit the stores it was amazing to see. Prior to this floorset, Target stores typically had lawn/patio set in January. This was a big change for Target. They carried it forward another three years. In 2008, the global approach faded and it became more about home decor.

target giftcards

While I worked at Target I would often volunteer to work on the giftcards. It was a nice break from managing large brands like Global Bazaar or Thomas O'Brien. The snowman giftcard above was actually a shake-able snowglobe giftcard with tiny bits of snow that would move around (no water). The dinosaur giftcard was originally designed to have googly eyes but it was deemed a choking hazard so instead we went with glow-in-the-dark green spots.
This giftcard broke into two pieces. The parent would keep the top section and attach it to a key chain while the offspring would run off with bottom section to spend the cash loaded on the card. The card could be reloaded at any time.
Here is an illustration of how a lenticular holiday giftcard worked. The puppy would pop out of different stockings depending on how you moved the card. Lenticular cards can get very tricky and work best when the background is a pattern or color. (live and learn).

R+R teen brand at Target

R+R teen logo development and initial "re-usable" packaging concept was developed by Chase Design Group. The project then came in-house at Target. I defined packaging standards/materials/price points, developed in-store signing, photo art direction and promotional materials.

Packaging elements include a comforter bag with wire insets that keep it upright so the bag can be re-sued. In addition, the sheet bag had handles cut into the poly-material so it could be used as a tote later. Key chains and lanyards were used as packaging elements to give the brand longevity.

Below is the direct mail piece that went out to the tween guest audience. The back panel had a questionnaire to help determine your style preference: island, gypsy, preppy or modern.

In-store signing had similar images and models to the direct mail piece to create continuity in the brand experience. The overall backer paper was purple tones to tie to the logo colors. The individual style preferences were color coded for clarity within the run.