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mark andrew halvorsongraphiC designer photographer illustrator all-around good guy
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piXel pusherI’m a serious designer, but I try not to take myself so seriously. Design is about function as much as form, and I love things that function. As a technical communicator at heart (NMU, 3.41 GPA!), I understand the importance of getting across the right message, and creating visuals that convey that message with the right amount of fl uff.
inkLed design and advancement of Kimball Midwest’s company magazine since 2004. In 2010, I advanced a new direction, upgrading it from a small newsletter to a full magazine. I continued directing the artwork and assisted editorial decisions until my departure in June.
ConCepting layout design illustration
photography photo editing digital imaging
2004-2014
ink2004-2014
Following an increase productivity in 2011, the team planned an article featuring voices of sales representatives in the field, expressing their plans and optimism for the coming year.
I formulated this concept and title for the cover page, then followed it with a design for the interior spread. The text bubbles mimic beer bubbles, while also incorporating the company color scheme.
Since the quotes of the sales reps were the most important elements, I emphasized them with color and movement, while placing less important elements, particularly the summary paragraphs toward the outside.
ConCepting layout design photo editing
ink2004-2014
After a string of record selling months for two elite sales reps, the team planned an article to focus on the close race between them. An editorial cartoon seemed the right way of keeping the competition light and fun while also bringing attention to the matchup.
During my concepting and illustration, I landed on the fight poster as the ultimate cover page. I penned the copy for the cover and designed it.
A few months later, after another contender joined the fray, I followed up the artwork of the original with a another illustration (far right) to match the first.
Ultimately, I kept the backgrounds simple in these by using negative spaces to create the illusion of boxing ropes without any real detail.
ConCepting illustration layout design
For Kimball Midwest’s 90th year in business, the we put together a special issue of the ink covering company’s history. The timeline on the bottom of the spread stretches throughout the entire document, ranging from 1923 to 2013.
I led the design for this issue and created many of the layouts myself. The project required weeks of archiving old photos, documents, and stories to be featured.
Each spread features distinctive looks to cover different topics but include similar elements.
ink2004-2014
ConCepting layout design photography photo editing, retouChing
ink2004-2014
I conceptualized and created this cover from scratch, using a scan of a $100 bill. I added ink residue to the plate and texture to the bill for realism.
After taking the photograph for this cover, I set it off with some red negative space added in Photoshop. The scorpion was added to fi t with the Arizona theme of the issue.
I built this cover’s imagery in Photoshop and Illustrator, aging the background images and using complementary colors so the foreground image would pop.
I setup the shot for this cover using digital fl ashes for lighting, and scrub brushes and phone cords for the defi brilator paddles. Leaving the model (me!) in shadow brings the paddle and shelving to the foreground.
CatalogsDesigned and upgraded Kimball Midwest product catalogs since 2004. This work routinely involved concepting, product photography layout design, and product demonstrations.
ConCepting layout design illustration
photography photo editing
2004-2014
For nearly 10 years, I edited and Kimball Midwest’s main product catalog, a 2000+ page book. The catalog came in multiple forms, including the annual hardbound issue seen here. I took and edited 10,000+ product photographs for this catalog over my tenure.here. I took and edited 10,000+ product photographs for this
2004-2014
We needed to sell KM’s new line of mini air tools. I emphasized the tools’ size by photographing one used in a very comfi ned space. I created a small lens fl are to put the foreground more in focus. Using Photoshop, I created more contrast in on the subject’s hands and the tool. Utilizing negative space on the right, I have left some focus on the isolated product shots, as well. The ribbon serves both as a title and to move the eye across the spread to the individual products.
Catalogs
I constructed this image to sell a line of abrasives discs that seem virtually invisible during use. Using Photoshop, I created the appearance of grinding strokes around the embossed text. Again, the ribbon moves the eye from one portion of the spread to the other.
2004-2014
To sell Kimball Midwest’s premium lines of electrical terminals, we needed to highlight each products qualities visually. I cut and spliced the wires myself to ensure the most attractive product closeups possible. This eliminated some of the ugly qualities of products designed to be effective more than beautiful. The angled placement of the images creates dynamism and movement without adding elements that might distract from the products.
Catalogs
I created this to show off some of the major crimping tools offered at Kimball Midwest. I took each photo individually to allow better lighting and ultimately merged them into one file. To add some lively presence to these otherwise uninteresting products, I positioned them actively, showing off their individual features mid-action.
2004-2014
Metal bins and assortments were a key product at Kimball Midwest, so I took care when photographing them to make them appear as clean and attracive as possible. In both pieces above, I also worked to keep the table data visible and crucial to the design. This required creating movement with the position of photos and geometric designs. Catalogs
2004-2014
Drills and saws were the “jewelry” products of the KM line, so I felt it was very important to show them off that way, while staying in touch with their industrial nature. I set off the products with bright, complementary color fi lls to bring out their yellow tones. To keep the massive amount of imformation that needed to be conveyed on each page, I broke them down into grids with white space to separate them. Color fi lls also helped to negate backgrounds to better highlight the products.
Catalogs
10,000+ produCt photographs
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photos2008-2014
In addition to design work for Kimball Midwest, I excelled at photography. I took and processed all product photos, in addition to other situations, such as event and portrait photography. Much of my work entailed photo editing, as well. When photographing chrome it’s nearly impossible to eliminate unwanted refl ections. Therefore, I removed them in post-production, leaving the surfaces of this wrench spotless.
Consistency is incredibly important for product photography. Differences in color, lighting, and angle, even when minor, can make a photograph stand out unintentionally. I rigorously detailed my shooting schemes for every product to ensure complete consistency. These hydraulic fi ttings were photographed separately over the course of several years.
photos2008-2014
This before and after is deceivingly complex. When a product needed to be added to a catalog before being available for photography, I was tasked to edit an existing product to match. This not only entailed changing colors, but also all text and graphical layouts.
BeFore aFter
I take them where I can get them. So when given a chance to photograph this harvester on a nice cloudy day, I took as many shots as possible. Then I meticulously isolated it from the background, removed all badges and unwanted refl ections, and now it can be used in anything.
I take them where I can get them. So when given a chance to photograph this harvester on a nice cloudy day, I took
photos2008-2014
I devised this demonstration as a way to sell premium diamond-grit grinding wheels. Upon taking the photos, I was surprised to see the sparks form in such a way. Apparently that’s what tungsten-carbide does when it meets diamond. The red gel fill creates negative space for the background, while also creating a hot, aggressive feeling.
Like the previous image, the red gel fi ll gives this image a certain aggressive feel, which is perfect for the product type. I shot this from several feet away with a long lens, but still managed to get metal shavings in my hair.
photos2008-2014
A digital flash off camera provided the spray highlight in this photo, as well as a spiffy little lens flare.
To catch this saw blade in action, I positioned flash units underneath and behind it. Combined with studio lights, the shot captures the cutting action in detail, while keeping the saw brightly lit.
photosI planned and executed this shoot in about 15 minutes for a sudden KM Facebook project. I gently touched up the photo, while leaving some wrinkles in evidence. This had the effect of smoothing lines while not appearing false.
I also work occasionally as a freelance photo restorer. This heavily damaged image above required serious tlc. I darkened up the sunspot, removed dirt and debris, and even added shadow around the boy’s head to separate him from the background.
