This logo exists in a square grid used pretty strictly in most elements of the brand. The mark can consist of any four icons in the family of 30+ geometric icons that I made to accompany this identity. The result is a more modular and flexible approach to an identity system that lives in harmony with its surroundings on a menu, label, poster, or social media post.
I created a set of over 30 geometric icons spanning the breadth goods that the deli offers, from meats and veggies to jams to food trucks. Each icon has a filled and an outlined version in each of the four colors of the identity — red, green, gold, and indigo.
This 7 3/8" by 10 3/8" menu uses the same square grid that shapes the logo — at this size, the grid is 8 columns wide by 12 rows tall. I used both filled and outlined versions of the icon family in all four primary colors of the brand's palette. Section headings sit in a separate column from menu items to add clarity and readability (so it's easier for readers to spot all the list of salad dressings, for example).
The front of the shirt features the wordmark on its own. For the reverse side, I arranged all the icons in the shape of Arkansas, while keeping the main four icons (steak, sausage, cheese, cleaver) in their same position and orientation as they are in the logo.
Patterned butcher paper and stickers keep sandwiches straight and ward off the evils of cross-contamination. The icons are repurposed to create fun, stylish patterns.
The social media image strategy is fast, loose, and quirky; the brand's geometric icons take center stage. Photos live in duotone to bring greater attention to high-contrast type. 
James Lewis' web presence is uniquely color-forward; each section of the site is duotone in one of the identity's four main colors. The menu lives vertically on the left side, unseparated from the main content area in the desktop version. Writing on the site is classically snarky.

check out more of my work:

Restoring the neighborhood collective
My degree capstone project investigated sparsely-attended civic meetings that make huge housing and land usage decisions in communities across the United States.
Environmental design: Goose Egg Park
I made a series of egg-shaped, goose-themed icons intended to spur a grassroots movement to improve a small, empty park in Joplin, Missouri.
Data vis: "Partisan Pawprints"
As a reckless challenge to see how many different data inputs I could combine into one visualization, I chronicled five years of my life through travel, dogs, politics, and culture.
Snarky Stickers for SoarBlue
I made a series of stickers and Instagram graphics for SoarBlue, a liberal activist shop based in Fayetteville, AR.
Frazier Homes
I developed a minimalist identity inspired by early 20th-century craftsmen for a local contractor and applied it to business cards, yard signs, and shirts.
Sleep hygiene infographic
I made an augmented reality-enabled data visualization poster about my friend's sleep habits.
Poster: "Good News from Iran"
Inspired by the work of Iranian designer Homa Delvaray, I created a poster and event collateral full of 3D typography.
Identity: Starspot
I made an identity system and package design for Starspot, a company making beginner-friendly astronomy equipment, plus a series of "trading cards" for real-life stars.
Visualizing the Earned Income Tax Credit
In my third project with Reimagine Arkansas, I made a series of data visualizations on SB10, a bill that would create an EITC for working families in the state.
Afognak, a dilapidated typeface
Inspired by the millions of dilapidated buildings in America, I designed a sinking, collapsing slab serif typeface in two weights.
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