shoutgraphics

[shoutgraphics]

Loved working with Ted Dougherty on updating his personal website. Ted is a creative, a writer, an author, and an educator who specializes in Halloween entertainment. Check out his website for more information, and follow him on social to see what he's working on. 🌕 Busy season is coming. _

🔗 More web design: shoutgraphics.design/web/

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Here are some merch concepts for Lizzie's Axe Throwing. The first design is based on the famous poem written about Lizzy Bordon's murder case in 1892. The second is for a T-shirt designed for Glizzies at Lizzie’s, the hot dog stand located just outside The Brighton location. The design reflects the playful, tongue-in-cheek aesthetic of the new brand, using bold colors and a bright, cartoony illustration.

- 🎃 Learn more about pumpkin popping: shoutgraphics.design/projects/print/pumpkin-popping/

🪓 Learn more about Lizzie: shoutgraphics.design/projects/print/lizzie-bordon/ 🌭 Learn more about Glizzies: shoutgraphics.design/projects/print/glizzies/

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Tariff(ied)

Navigating the Unwarented: The Trade War in Design

Shout! Graphics is a graphic and web design provider, and I aim to keep my public statements aligned with the professional services I offer. That’s exactly what I’ll be doing here. What I won’t be doing is wasting digital breath ranting about the man behind these actions or laying out the reasons why these tariffs are a bad idea—there are plenty of political voices far more qualified for that. That said (and perhaps overstated), there’s a reason this post has had to be written and rewritten so many times. Regardless of the “never admit defeat, even when you’ve lost” mentality we’ve grown accustomed to, these people are still vulnerable to public pressure. Every delay in implementing these tariffs has been the direct result of widespread backlash. If I’m going to make one political point, it’s this: we still have power.

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🔗 Read more here: shoutgraphics.design/blog/industry/tariffied/

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I developed this logo concept for FolliGro, a hair growth serum emphasizing hair health through eco-friendly ingredients. This is the second of two designs. The logo is designed to work in green, white, and black.

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💼 More work from PLC: shoutgraphics.design/industry/plc/

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This branding was created at Rocky Mountain College of Art and Design for a class called Photography for Graphic Design. The project was to take product design photos for a product of our choosing. I chose Mythology Distillery and its botanical gin product. The photos used were taken by me and a small-scale design system was created around them, around a slogan, and around the product.

These are not official advertising materials for Mythology Distillery.

- Learn more: shoutgraphics.design/projects/digital/aromatic-natural-delicous/

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When the RedHeaded Zombie Show returned from a two-year hiatus in 2019, I took on the title of Art Director. The team had grown significantly during our time with the event, and our return needed to reflect that. This meant new branding—most importantly, a new logo.

This remains one of my best digital illustrations, and I’m still proud of the work I did with RHZ to this day.

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🔗 Learn more: shoutgraphics.design/projects/branding/redheaded-zombie-show/

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During his time as a student at UCCS, Timmy Vilgiate became a cornerstone of UCCS Radio. In 2014, he launched The RedHeaded Zombie Radio Show, an interview program spotlighting local artists and musicians. Following each broadcast, Vilgiate aired a radio drama. The first, Grease Fire, was written and performed entirely by Vilgiate. Its sequel, Sunrise, expanded on the story of Grease Fire and featured a broader cast of voice actors, many from the local arts scene.

This poster was created as promotional material for Sunrise during its 2015 run. Unfortunately, Sunrise has yet to find a permanent streaming home. Maybe one day we’ll get the RHZ crew back together and give it a proper release. Never say never!

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🔗 Learn more: shoutgraphics.design/projects/print/sunrise/

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⛷️ Throwback to a design exercise from a few years ago: creating a branding package for a hypothetical Winter Olympics in Vail, CO. From logo design to a full color scheme and branding package, it was a big project—and yes, in case you’re wondering, I did pass the class that made me do this.

The logo design draws inspiration from Vail's history as a mining town, once reliant on locomotive transportation—a remarkable feat of engineering. Naturally, Colorado’s mountains and sun are key elements, capturing the state’s 300 days of sunshine, even in winter. The color scheme reflects the beauty of a sunrise and sunset in a Rocky Mountain town.

‘Reach the Mountain Top’ quickly became the slogan for this event, inspiring a poster template that led to a set of five advertisements. This provided an opportunity to use the core design elements to create both generic and stylish merchandise. Attendees would want a keepsake featuring the full event logo, while the logo’s versatility also allows for creative abstractions on unique clothing items.

All of these branding elements came together in the design of the event tickets. The logo appears in four different variations, with the slogan placed behind it, customized for each specific Olympic event. Gold leaf is included in the print, transforming what would typically be a simple admission formality into a collectible item.

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🔗 Learn more: shoutgraphics.design/projects/branding/olympic-logo/

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This poster was designed in 2015 for my good friends and partners at the RHZ, Timmy Vilgiate and Colin Bovberg. At the time, Timmy Vigilate was performing under the moniker Timothy and the Vigilantes. Colin Bovberg had founded Weathervein to perform his solo work with a full band, The Epic Weatherman—a project that eventually evolved into his current full-band project, Ozonic. The venue, The Exchange, remains one of my favorite places in Colorado Springs.

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🔗 Learn more: short graphics.design/projects/print/timmothy-and-the-vigilantes/

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As the design lead for The RedHeaded Zombie Show, I had the privilege of collaborating with many incredible visual artists. Lauren Brown wasn’t just an addition to that list—she was also a member of the RHZ team for some of our most memorable shows. Brown is a traditional artist whose work often explores the space between the linear and the painterly. Adapting her illustration into a digital format and designing around it was an exciting challenge.

As for the show, it featured 45 Revolutions, The Band Henry David, Foul Play, We Woke Up Like This, and Foxen. Just how we like it: a big energy, small venue, rock show. Perfect.

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🔗 Learn more: shoutgraphics.design/projects/print/rhz-04-25-15/

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Instagram Has Gone 4:5

That’s not really the point here, is it?

Earlier this week, social media managers woke up to a decision that would fundamentally alter how they approach their work. Let’s not sugarcoat what it means to be a social media manager in 2025—these professionals are graphic designers, photographers, account managers, and digital marketers all at once. This week, Instagram decided the grid would go 4:5.

This change lands in a fractured social media landscape. It has been years since the men, seated in the front row at January 20th’s inauguration, prioritized genuine connection over profit. We log on not because we want to, but because we feel compelled to—and our moods deteriorate as a result. We’ve collectively voiced a desire to leave platforms like Instagram, but the alternatives still feel inadequate. Now, amid this disillusionment, Instagram has quietly discarded over a decade of design work by users with one sweeping change.

Most blogs addressing this update will stick to the practicalities. I’ll save you the time: make your images at 1080 x 1350 or 1536 x 1920. The process, however, is far from intuitive. After selecting your images, click "Next," find the dashed square icon at the bottom left of the image preview, and set your post to "Portrait." If you make a mistake, don’t worry—Instagram has also made deleting a post far less accessible. But let’s not kid ourselves—that’s not really the point here, is it?

Creatives have had to accept that our portfolios cannot exist solely on our websites. This is why Shout! Graphics has an official social media policy. Platforms like Instagram, Facebook, and Twitter/X aren’t just social spaces—they’re search engines. They dictate visibility, and if your work is seen, your next contract might depend on the immediate look of your grid. With one unilateral change, a carefully curated portfolio no longer reflects the creator’s intent. Sure, I can adapt future assets, but the time, effort, and resources I’ve already poured into optimizing for 1:1? Gone. The effectiveness of the grid I’ve built has been significantly diminished.

Instagram’s move from 1:1 to 4:5 is an abrasive reminder of how little control we have in these spaces. We don’t set the rules; we’re forced to play by them. They can change the rules at any moment. There is nothing we can do about it. The only place where we maintain true creative control is our own websites.

This isn’t just an inconvenience—it’s a message. Instagram’s decision underscores a lack of respect for its users’ labor and investment. As creatives, we must recognize this for what it is: a move that reinforces the need for independence. Social platforms can serve as tools, but they should never dictate how we define or present our work. The shift to 4:5 isn’t just about aspect ratios; it’s about power dynamics. This is yet another decision made on our behalf, but not for us.

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🔗 Read more here: shoutgraphics.design/blog/industry/instagram-aspect-ratio/

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In 2015, I was commissioned by Nathan Archer of Rough Age to design this poster for their headlining show at 503W. The show also featured My Name Is Harriett and Wild Hares as the opening acts. This poster serves as a reminder of the hidden gems that can be discovered in public domain image libraries.

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🔗 Learn more: shoutgraphics.design/projects/print/rough-age-503w/

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🗓️ In April 2016, I designed a base layout for the monthly calendar of The Flux Capacitor, a favorite local venue and a partner of mine at the time.

Local venues host incredible shows—be sure to attend as many as you can so we can keep them around.

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🔗 Learn more: shoutgraphics.design/projects/print/flux-capacitor/

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The longer I work as a designer, the more certain I am that other artists are my favorite clients. I love collaborating with local musicians and seeing the impact my work can have for them. So, once again, I’m here to talk about supporting your local music scene. Every dollar you spend at a local show goes further—not just for you, but for the artists and venues you’re supporting—than it ever could anywhere else.

This graphic was created back in 2016. Since then, we’ve lost many of these artists and venues. Let’s do our part to ensure we don’t lose any more. _ 🔗 Learn more: shoutgraphics.design/projects/print/listen-local/

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Social Media

Let's Talk About It

Shout! Graphics has never shied away from sharing and expressing political opinions. As a designer, I believe my education and experience have equipped me to convey messages in a clear, impactful, and easily digestible way. Regardless of the size of my platform, I won’t let that ability go to waste. Recently, things have become more complicated, and I want to take a moment to speak—not as a brand, but as an individual.

Over the past decade, social media platforms have significantly restricted organic reach—the ability for others to see posts without requiring content creators to pay for promotion. Despite these changes, these platforms remain essential as search engines. While I’d love for all my clients to find me directly through my contact page, this isn’t a realistic approach. As a small freelancer, I must maintain an active presence, to some extent, on all major platforms.

The ethics of this obligation grow more complicated every day, and I suspect this won’t be the last statement of its kind from a brand like mine. We are all striving to find a balance. Being present on these platforms means supporting corporations that often prioritize toxic environments and misinformation over a commitment to truth. Platforms like Twitter/X have become significant roadblocks in this regard. While the tension feels particularly intense now, it’s important to recognize that this is not a new phenomenon.

Since at least 2015, companies like Meta have provided a haven for bad-faith actors—often at great cost. Despite this, I hoped that platforms like Threads and Instagram could serve as better alternatives for maintaining a necessary social media presence. However, Meta's recent announcements regarding content moderation have made it clear this is no longer a viable option.

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I will be changing how I use my social media accounts on a case-by-case basis. 🔗 Learn more about that here: shoutgraphics.design/social-media-policy/

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In 2016, Nathan Archer took his band, Rough Age, on a tour across Colorado Springs, playing exclusively at dive bars. His goal? To spotlight the local bar scene in a city where it often doesn’t get the recognition it deserves. Before the tour kicked off, I had the opportunity to brand it.

Inspired by the concept, I designed this logo as an open branding idea—one that any city or community could adapt to bring a similar vision to life. It was a project full of potential and a testament to the power of local scenes.

_ 🔗 Learn more: shoutgraphics.design/projects/branding/cos-dive-bar-tour/

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In 2023, I began fully developing Shout! Graphics as a brand. However, when I talk about Shout!, I’m referring to a brand with roots that go back nine years. I started working as a freelance designer in 2014, and by 2016, Shout! was born out of the need to give my work a name. Here is a retired design from 2016. _ 🔗 Learn more: shoutgraphics.design/projects/branding/business-card-16/

Over the years, my understanding of branding—and the identity of Shout! Graphics—has evolved. This is a retired design from 2017. Despite the growth and changes my brand has experienced, you’ll notice a consistent concept that has been a throughline from the very beginning. _ 🔗 Learn more: shoutgraphics.design/projects/branding/business-card-17/