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A simplified vector logo, I went for an old country feel, using brown and tan as often as possible. The sun has an outer glow and the sky has a slight blue gradient.

A simplified vector logo, I went for an old country feel, using brown and tan as often as possible. The sun has an outer glow and the sky has a slight blue gradient.

Here is a logo I designed for a production company. A comical logo, I went with a major size difference between the hungry man and the scared shark. Using mostly blue throughout the work, the man and the company title are able to stand out a bit more than anything else. I also used as many simple shapes and lines as possible, so as to keep the eye focused on the more important, more detailed areas of the logo.

Here is a logo I designed for a production company. A comical logo, I went with a major size difference between the hungry man and the scared shark. Using mostly blue throughout the work, the man and the company title are able to stand out a bit more than anything else. I also used as many simple shapes and lines as possible, so as to keep the eye focused on the more important, more detailed areas of the logo.

This is a logo I designed for a telecom firm. Using a gradient, I blended two shades of blue to form a tint for the oceans. For the light gray effect around the edge, I used the same technique with a gray-black gradient on a circle behind the globe. I traced the continents from a globe photo and used a gray-white gradient on the upper left corner to add some shine to the work. The “X” in axis is made of two entwined cell towers, representing the work of the company.

This is a logo I designed for a telecom firm. Using a gradient, I blended two shades of blue to form a tint for the oceans. For the light gray effect around the edge, I used the same technique with a gray-black gradient on a circle behind the globe. I traced the continents from a globe photo and used a gray-white gradient on the upper left corner to add some shine to the work. The “X” in axis is made of two entwined cell towers, representing the work of the company.

An idea inspired by the green movement, I designed a windmill that illustrates it's connection to nature. A Brown-white gradient is used for the pole. The blue and green backgrounds are highlighted with differently shaded triangles for visual interest.

An idea inspired by the green movement, I designed a windmill that illustrates it's connection to nature. A Brown-white gradient is used for the pole. The blue and green backgrounds are highlighted with differently shaded triangles for visual interest.

This was a logo I designed for my non-existant production company back in college. The "M" is modeled after jesters and the "P" and "L" are just creepy smiling letters.

This was a logo I designed for my non-existant production company back in college. The "M" is modeled after jesters and the "P" and "L" are just creepy smiling letters.

For this flag, I used a few simple shapes, adding a 3D effect to the red curve and multiplying them to create the stripes. The blue area is made from a curved box, also with a 3D extrude effect applied.

For this flag, I used a few simple shapes, adding a 3D effect to the red curve and multiplying them to create the stripes. The blue area is made from a curved box, also with a 3D extrude effect applied.

South Park’s Eric Cartman meets Batman’s Joker in this piece. I used a few highlights and sharp shadows to imply a light source to the right. Two rows of outer glow street lamps give a sense of curved depth to the road, along with the blurred and tilted buildings on either side of the street. A few dark clouds and a blue tint over the entire work help to create an overall sinister feel to the picture.

South Park’s Eric Cartman meets Batman’s Joker in this piece. I used a few highlights and sharp shadows to imply a light source to the right. Two rows of outer glow street lamps give a sense of curved depth to the road, along with the blurred and tilted buildings on either side of the street. A few dark clouds and a blue tint over the entire work help to create an overall sinister feel to the picture.

A more detailed character, I drew this one in harsh lighting, emphasizing the bends and ruffles in the clothes.

A more detailed character, I drew this one in harsh lighting, emphasizing the bends and ruffles in the clothes.

Here, I drew a vector turkey in a cartoon style. After drawing the basic shape of the bird, I went back to add feathers, a beak and a gobbler. Additionally, I added slight shadows to the spaces between feathers, as well as the feathers beneath his neck to make the turkey pop a bit more.

Here, I drew a vector turkey in a cartoon style. After drawing the basic shape of the bird, I went back to add feathers, a beak and a gobbler. Additionally, I added slight shadows to the spaces between feathers, as well as the feathers beneath his neck to make the turkey pop a bit more.

For this volcano design, I created a basic volcano shapes and added vector style details, mainly geometric shapes and thin lines. For the lava, I created and resized multiple copies of each level of lava, changing the hue with each level, and later added highlights to the edges. Finally, I added a red background and red lava raindrops, along with a film grain filter on the volcano itself.

For this volcano design, I created a basic volcano shapes and added vector style details, mainly geometric shapes and thin lines. For the lava, I created and resized multiple copies of each level of lava, changing the hue with each level, and later added highlights to the edges. Finally, I added a red background and red lava raindrops, along with a film grain filter on the volcano itself.

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