F R I T H experience designer
F R I T H experience designer
Oh Baby!
I was born and raised in San Diego, California where my academic training was cultivated through the liberal arts program with a graphic design major, and marketing concentration. In order to find the best solution when given a design problem, I ask a series of questions. How can we create engaging communication with emotional resonance? How can we connect people with design and make experiences with it more interactive? How can we meet a client’s bottom line? Using business communication and brand strategies, meaningful messages can be communicated. I believe creating an experience for the viewer is central to communication across media. A user-centered focus, research, ideation, and refinement based on client and end user feedback reach a communication need. From beginning to end, I keep my focus on the big picture and have fun with it along the way.
M a d d i e Fr i t h
M a d d i e Fr i t h
6
favorites BRANDING
16
creation care week HUMAN-CENTERED DESIGN
skolos & wedell
22
T YPOGRAPHIC EXERCISES
type, image, message
34
BROCHURE
40
senior show EVENT SERIES ACROSS MEDIA
48
personal brand BRANDING
54
vinyl record design ILLUSTRATION
8
favorites BRANDING
About the Project
Favorites is a coffee, chocolate, and wine café located in Carlsbad Village. It is designed to create an experience where locals and visitors can indulge in treats together. The community can come together to share their favorite snacks, drinks, and conversation. Chocolates are made on site, various wine bottles are hand picked, and coffee beans are fair trade. Quality is at the brand's core. The café transforms throughout the day from being a coffee hub in the morning to a social wine bar in the evening. The nature of the café changes, but the brand remains the same: simple, clean, and elegant.
CLIENT
Carlsbad Chocolate Shop
C ATEGORY
Branding, Brand
Identity, and Brand Manual
10
M a d d i e Fr i t h
12
M a d d i e Fr i t h
14
Presentation
The Favorites brand is a representation of its goals and values. Favorites represents the city of Carlsbad and the liveliness of Carlsbad Village. It is centered around the locals and creating an experience that will not be forgotten. In order to preserve the brand, it is necessary to maintain the brand’s vision and mission.
Favorites is a brand of excellence. People are drawn to Favorites, not just because of its aesthetic, but because of its story and values. The brand beliefs encompass human interaction an quality goods.
Favorites Brand Manual
Favorites Brand Manual
Guidelines
12
13
18
19
Image Library
Vision and Mission
The photos selected for the image library are very strategic. Each photo helps communicate the essence of Favorites. The colors and the feeling of the images are what Favorites stands for: simple, engaging, local, fun, and inspiring.
The goal of Favorites is to create a beautiful community atmosphere to enjoy coffee, chocolate, and wine. The Favorites spirit is playful and simple. We keep the coffee grounds fair trade, wine local, and chocolate made fresh at the location.
Favorites Brand Manual
Favorites Brand Manual
16
46
47
M a d d i e Fr i t h
14
15
BRAND MANUAL
A manual
was created giving guidelines to the brand. It highlights the brand's essence and is a visual representation of Favorites. The manual will also be a source for images and inspiration.
Inspiration and Concepts
THE BRAND
Favorites is a brand born with the challenge to be different. It represents the lifestyle of California, more specifically, Carlsbad. It is a living representation of the sophistication of wine, the aroma of coffee, and the playfulness of chocolate.
Favorites Brand Manual
Favorites Brand Manual
Inspiration and concepts that guided the creation of the brand originated from a simple, yet powerful idea: what can bring people together and inspire conversation and community? Favorites’ inspiration is to inspire and delight.
10
11
Signature: Full-color
20
21
Signature: One-color
Primary Typeface Acier bat — text outline ABCDEFGHIJKLMNOPQRST UVWXYZ 1234567890
Acier bat — text solid ABCDEFGHIJKLMNOPQRST UVWXYZ 1234567890
Secondary Typeface AVENIR NEXT — CAPS ABCDEFGHIJKLMNOPQRST UVWXYZ 1234567890
Avenir Next — Regular abcdefghijklmnopqrstuvw xyz
40
Favorites Brand Manual
Favorites Brand Manual
1234567890
41
34
35
18
creation care week HUMAN-CENTERED DESIGN
About the Project
Point Loma Nazarene University received a grant from Live! United to explore the intersection of religion, science, and practice. The purpose of the project was to engage with the Point Loma community and stimulate conversations about tending God’s creation and how that relates to practice. The Human-Centered Design process of the inspiration, ideation, and implementation phases achieved a successful solution that was engaging and thought provoking. The piece was installed in the center of campus where most students and faculty interact in conversation.
CLIENT
Point Loma Nazarene University
C ATEGORY
Human-Centered Design
20
M a d d i e Fr i t h
22
M a d d i e Fr i t h
INSPIR ATION PHASE
How might we use Human-Centered Design research processes and
methods to create an engaging and interactive visual communication experience on campus focused on Creation Care? The challenge is to stimulate conversations that connect faith, science, practice and use materials that can be reused and recycled. IDE ATION PHASE
Concept 1 Mount Plexiglas to old art boards and place vinyl stickers or posters
onto Plexiglas with information about sustainability. Concept 2 Have 5 art boards that open up with information underneath. Have them open like a book so they are interactive. Concept 3 Highlight the PLNU Office of Sustainability initiatives with a call to action to the community garden for a free potted plant. IMPLEMENTATION PHASE
The final creation was beautiful and received positive feedback from
the campus. Something I did not consider was the paper being outside overnight getting damp. As a possible solution, I would try printing the text on canvas instead of poster paper so that it is more water resistant.
24
skolos & wedell T YPOGRAPHIC EXERCISES
About the Project
Nancy Skolos and Tom Wedell are rulers of typography. They are a married couple that create dynamic and engaging posters together. Tom focuses on photography and Nancy specializes in typography. Together they create beautiful posters using extreme experimentation processes. In this assignment, we made an homage to them using their methods of type, image, and message. The four points of focus were fusion, separation, inversion, and fragmentation. Beginning with type experimentation, the message was communicated through a single typeface and layering of images. The class's posters were showcased at the LOVE Gallery on the PLNU campus.
CLIENT
Self-Initiated
C ATEGORY
Typography
26
M a d d i e Fr i t h
Type, Image, Message: An Homage to Nancy Skolos + Tom Wedell Photo + Typographic Works
T YPE, IMAGE, MESSAGE
Point Loma Nazarene University Monday, April 16–Friday, April 20, 2 018 LOVE Gallery 9 am–5 pm
A cynic might question the ability of a poster to make an impact.
An Homage to Nancy Skolos+ Tom Wedell Photo + Typographic Works
But history indicates that the humble poster has great powers of
Point Loma Nazarene University LOVE Gallery April 16–April 20, 2 018 9 am–5 pm
persuasion. Throughout the twentieth century, and the wars that
A cynic might question the ability of a poster to make an impact. But history indicates that the humble poster has great powers of persuasion. Throughout the twentieth century, and the wars that took place within it, posters have been a means of choice with which to reach mass audiences and influence the decisions they make.
took place within it, posters have been a means of choice with which
to reach mass audiences and influence the decisions they make.
— Na n c y S k o l o s / Tom We d e l l
28
M a d d i e Fr i t h
N a n c y S k o l o s / To m We d e l l
HIERARCHY
The constraints
in this process were to use the typeface Minion Pro, font size 9 pt, and create hierarchy within the text. The contrast was achieved through variation in text weight, italics, leading, tracking, and working grids.
Type, Image, Message: AN HOMAGE TO NANCY SKOLOS + TOM WEDELL Photo + Typographic Works
“A cynic might question the ability of a poster to make an
impact.
Point Loma Nazarene University LOVE Gallery April 16–April 20, 2018 9 am–5 pm
But history indicates that the humble poster has great powers of persuasion. Throughout the twentieth century, and the wars that took place within it,
“A cynic might question the ability of a poster to make an IMPACT. But history indicates that the humble poster has great POWERS of persuasion. Throughout the twentieth century, and the wars that took place within it, posters have been a means of choice with which to reach mass audiences and INFLUENCE the decisions they
posters have been a means of choice with which to reach mass audiences and influence the decisions they
m a k e .”
make.”
TYPE, IMAGE, MESSAGE: An Homage to Nancy Skolos + Tom Wedell Photo + Typographic Works Point Loma Nazarene University LOVE Gallery April 16–April 20, 2018 9 am–5 pm
— N a n c y
S k o l o s
+ Nancy Skolos + Tom Wedell
T o m
W e d e l l
T P h o t o + T y p o g r a p h i c
Y
P
E
,
I
M
A
G
E
,
M
E
S
S
A
G
E
:
An Homage to
W o r k s
T Y P E I M A G E M E S S A G E
POINT LOMA NAZARENE UNIVERSITY Apr i l 1 6 – 2 0 , 2 0 1 8 LOV E G a l l e r y 9 am – 5 pm
Photo/Typographic Works Point Loma Nazarene University LOVE Gallery April 16–April 2 0, 2 018 9 am–5 pm
Nancy Skolos + To m We d e l l
A cynic might question the ability of a poster to make an impact. But history indicates that the humble poster has great powers of p
e
r
s
u
a
s
i
o
n
. Throughout the twentieth century,
“A c y n i c mi g ht qu e st i on t he abi l it y of a p o ste r to ma ke an i mp a c t . But h istor y i nd i c ate s t hat t he hu mbl e p o ste r has g re at p owe rs of p e rsu asi on . T h rou g hout t he t we nt i e t h c e ntu r y, and t he w ars t hat to ok pl a c e w it h in it ,
and the wars that took place within it,
p o ste rs have b e e n a me ans of choic e w it h w h i ch to re a ch mass au d i e nc e s and i n f lu e nc e t he d e c is i ons t he y ma ke.”
posters have been a means of choice with which to reach mass audiences
N a n c y
S k o l o s
+
T o m
W e d e l l
a
30
M a d d i e Fr i t h
n
d
i
n
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e
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a
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.
SCALE
In this phase, scale
was used to develop contrast between the type and further
Point Loma Nazarene University
LOVE Gallery
April 16–20, 2018 9 am–5 pm
and influence the d e c i s i o n s they make.
of choice with which to reach m a s s a u d i e n c e s
An Homage to Nancy Skolos + Tom Wedell P h o t o + Ty p o g r a p h i c Wo r k s
Throughout the twentieth century, and the wars that took place within it, posters have been a means
9 am–5 pm
—
Na
nc
yS ko l
os
+
To m
W
ed
ell
P L N U LOVE GALLERY April 16–20, 2018
MESSAGE
But history indicates that the humble poster has great powers of p e r s u a s i o n .
w i t h w h i c h t o r e a c h m a s s a u d i e n c e s a n d i n f l u e n c e t h e d e c i s i o n s t h e y m a k e .”
T Y P E , I M AG E , M E S S AG E :
c e n t u r y, a n d t h e w a r s t h a t t o o k p l a c e w i t h i n i t , p o s t e r s h a v e b e e n a m e a n s o f c h o i c e
IMAGE
“ A cynic might question the ability of a poster to make an i m p a c t .
that the humble poster has great powers of persuasion. Throughout the twentieth
TYPE P H OTO + T Y P O G R A P H I C WOR K S
"A cynic might question the ability of a poster to make an impact. But history indicates
A N H OM AG E TO NA NC Y SKOL O S + TOM W E DE L L
create hierarchy.
”
I m a g e ,
M e s s a g e :
AN HOMAGE TO Nancy Skolos + Tom Wedell
“A cynic might question the ability of a poster to make an IMPACT. But history indicates that the humble poster has great powers of persuasion. Throughout the twentieth century, and the wars that took place within it, posters have been a means of choice with which to reach
04.16.18
04.20.18
Point Loma Nazarene University
LOVE Gallery
/
photo typographic 9 -5
PM
LOVE GALLERY
9 am–5 pm
An Homage to Nancy Skolos + Tom Wedell Type, Image, Message
P h o t o + Ty p o g r a p h i c Wo r k s
A cynic might question the ability of a poster to make an impact. But history indicates that
the humble poster has great powers of persuasion. Throughout the twentieth century, and the wars that took place within it, posters have been a means of choice with which to reach mass audiences and influence the decisions they make.
K
S
AM
“
P L N U
April 16–April 20, 2018
O
R
WED ELL
-
mass audiences and influence the decisions they make.”
SKOL OS
T y p e ,
W
N a n c y S k o l o s + To m We d e l l
32
M a d d i e Fr i t h
”
EXTREME SCALE
Few
elements were selected to create hierarchy through extreme scale to create interesting compositions.
NANCY SKOLOS + T Y PE TOM IMAGE WEDELL MESSAGE Nanc y Sk o l o s Tom We d e l l
o + T y p o o t g r a P h P o i p h n t i c L o m W o r k s a N a z a L M o r e n O n d a e U n i v e r s i t y y, V
“toA cymaknice manight question the ability of a
A p r i l
—N
an
cy
Sk
ol
os
+T
E G A L L E 1 6 – R Y F r i d a y, A p r i l 2 0 , 9 a m 2 0 1 8 – 5 p m
impact.
om
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poster
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mass
pers uasi
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”
“A
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Point Loma Nazarene University
impact. But history indicates that the humble poster has great
cynic
LOVE GALLERY
powers and a
the
means
might
of
wars of
question
persuasion. that
choice
influence
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with
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to
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twentieth posters
mass
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decisions
they
been
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m a k e .”
April 16–April 20
2
0
1
8
Ty p e , I m a g e , M e s s a g e : A
N
H
O
M
A
G
E
PHOTO & TYPOGRAPHIC WORKS
34
M a d d i e Fr i t h
FINAL POSTERS
By layering
various compositions with images, interesting posters were created using the methods of fusion, separation, fragmentation, and inversion (left to right).
36
type, image, message BROCHURE
About the Project
Type, Image, Message, A Graphic Design Layout Workshop is a book written by Nancy Skolos and Tom Wedell. This project highlights excerpts of processes that are used to combine type and image to communicate a meaningful message. The design challenge was to organize the type in a meaningful way that is simple and interesting to read. The brochure is experimental but focuses on strong typography.
CLIENT
Self-Initiated
C ATEGORY
Layout Design
38
M a d d i e Fr i t h
PUBLICATION
RO CKPORT PUBLISHERS SAN DIEGO CALIFORNIA
NANCY SKOLOS / TOM WEDELL
It has often been said that a picture is worth a thousand words. More recently in a lecture at the Rhode Island School of Design, multimedia designer Mikon van Gastel offered, “One perfectly chosen word is worth thirty minutes of footage.” Value judgments aside, one thing is clear: graphic designers are both blessed and cursed for working with two very distinct modes of communication, the word and the image. As in any successful partnership, type and image work best when they complement each other—when they finish each other’s sentences. For graphic designers, a photograph isn’t finished with a click of the shutter. That is just the beginning of the creative process, as an image becomes a part of a piece of graphic design. In fact, the image must be “incomplete” so there is something left for the type to do. In the conceptual phase of a project, designers often begin working with type and image intuitively, in a mind space where the two are more like substances than entities. We experience them, imagine them, see them in our sleep, and consider them simultaneously. They never operate outside of a context and their meaning is never fully realized until they are put into play. Often they are assigned a “format” within which to interact. They can be visualized with common textures, shapes, and colors, and unified with light or shadow, but even in the realm of our greatest imagination, they remain uniquely discernible as type or image.
A GRAPHIC DESIGN LAYOUT WORKSHOP N a n cy S kolos / To m Wedell Ma d die Frith
Images open the door to multiple interpretations through varied experiences and memories. These connections make photography a more complex, and more visceral form of communication. Unlike images, words are essentially shapes that have learned, recognized meanings. Willi Kunz describes this phenomenon in Typography: Macro–and Microaesthetics: “Every word is comprised of a particular set of letters, whose sequence and form makes each word semantically and syntactically unique.” When type meets image, there is automatically a dialogue between them and each can pull the other in many different directions. The text can support or contradict the image just as the image can illustrate or refute the written message. Each may also contain independent meanings
FOUR CRITICAL RELATIONSHIPS
that may react with or against the overall message in the work. To compound the interpretation further, additional relationships can spring up from the viewers’ backgrounds and personal points of view. In his essay “The Photographic Message, Roland Barthes said of the interaction of text and image: “It is true that there is never a real incorporation since the substances of the tow structures graphic and iconic are irreducible, but there are more most likely degrees of amalgamation.” During the process of analyzing the phototypographic works contained in these pages, the difficulty of teasing out the visual from the verbal brought the struggle between the two forms of communication to the forefront. It is impossible to construct an authentic written description of the type/image relationship at work in a piece of visual communication. For, in order to measure that dynamic completely, one has to go to a place in the mind that doesn’t speak or explain, but rather absorbs. These examples are rare because they take you there.
M a d d i e Fr i t h
While much has been written about typography and photography, surprisingly little has been written about how the two work together. Many times while in the final throes of completing a project that employs both type and image, designers will confess, “I’m just no good with type.” The reality is that nobody is naturally good at combining type and image. Even though words and images are familiar ways of expressing human experience, the two forms of communication are inherently difficult to reconcile. This book is intended to begin to fill that gap. We call it a “graphic design layout workshop” because it originates from a place of making as much as analyzing. Pioneering, innovative graphic designers and photographers from around the world have contributed their extraordinary designs to this endeavor, and it is their inspiration within these pages that serves as the backbone of this discussion and possible reconciliation.
9
When type and image coexist, each remains a distinguishable entity, occupying its own space and time to greater and/or lesser degrees, while continuously interacting in distinct ways. Through the combinations of permutations of type and image are infinite, the integration of these media can be delineated according to the following criteria:
SEPERATION FUSION FRAGMENTATION
15
INVERSION
TYPE. IMAGE, MESSAGE GRAPHIC DESIGN LAYOUT WORKSHOP
40
As containers for meaning and expressions of human experience, type and image have different properties—but they also operate on different levels of cognition.
TYPE. IMAGE, MESSAGE GRAPHIC DESIGN LAYOUT WORKSHOP
MEANING
The viewer depends on type and image to five form and meaning to many messages and ideas. Both contain room for interpretation by the audience and extend the role of the graphic designer from form giver to mediator and guide. Through form, designers construct and create an organized system for content, emphasizing some concepts and de-emphasizing others, providing ways into, around, and out of each work.
TYPE. IMAGE, MESSAGE GRAPHIC DESIGN LAYOUT WORKSHOP
TYPE/ IMAGE/ MESSAGE
17
PRINTING
The brochure
is printed 5.6 x 8.2 in. with saddle-stitch binding.
CONTRAST / COLOR / TEXTURE
“Reading” a photograph is very different from reading a text.
While images render the world in a complete tonal range, tonal shifts generally interfere with, more than contribute to, the clear reading of text.
For example, in Western culture, a conventional hierarchy is well established, dictating a left-toright, top-to-bottom approach. Letters make up words, words make up sentences, and sentences make up concepts. It is a primarily linear construction that cannot be easily rearranged without affecting meaning.
Unlike objects rendered in photographic space, letters and their forms do not customarily exist in three-dimensional space. Letterforms themselves have no intrinsic third dimension. Jan Tschichold, renowned typographer and designer, wrote a wonderful metaphorical essay about working with type called “Clay in the Potter’s Hand.” But type is less like clay and more like Legos. It is a prefabricated kit of parts, a closed system, with typefaces whose inner harmonies make them complete in the and of themselves
TYPE. IMAGE, MESSAGE GRAPHIC DESIGN LAYOUT WORKSHOP
Photographs are representations of the physical world possessing a three-dimensional sense of time and space. Photographs of landscapes feature a horizon, while photographs of architecture have perspective and a vanishing point. Portraits contain unique human features of eyes, nose, and mouth. Each of these elements and scenarios commands a different point of entry into a picture.
Type is therefore an inherently high-contrast medium. Dieter Feseke of the Berlin-based studio umbra-dor observes, “The type is more geometry, more digital and clean. The image is patchy, spotted, more analog, natural, and dirty.” As the viewer looks at and discovers a work that is formed of both entities, the flow of experience is varied, with each medium dictating its own point of entry and rate of comprehension. The reading gets even more intricate when the piece contains multiple images and text elements. Complexity adds to the time needed to investigate and interpret a work, regulated by each viewer’s level of experience. For intricacy to transcend entanglement, designers must embrace the creative potential of photo-typographic space. These strategies should guide the viewer beyond what Rick Poynor, in his book No More Rules: Graphic Design and Postmodernism, calls “fully postmodern representational space, where all that is solid often melts into an intoxicating, semiabstract blur.”
11
TYPE. IMAGE, MESSAGE GRAPHIC DESIGN LAYOUT WORKSHOP
SPACE / POINTS OF ENTRY
13
FUSION
FORMAL QUALITIES
APPLICATIONS To blend two or more things that aren’t customarily related to make a strong association
when the type and image blend to form a unity
Optical effect TYPE. IMAGE, MESSAGE GRAPHIC DESIGN LAYOUT WORKSHOP
Perspective, lens, or filter
23
Shared surface or texture Type and image are woven into a texture of , or adhered to, a unifying surface—either the picture plane or other homogeneous field(s) in space. 24
Motion or gesture Type and image are acted on by a common force, or affected by the implied motion of a human or mechanical gesture.
Metaphor Type and image are fused by a calculated visual metaphor that operates through mutual dependency of the verbal and pictorial elements.
To strengthen an existing conceptual connection through harmony and integration in order to present a galvanized point of view To create an altered reality that challenges the viewer to reexamine a particular subject from an unexpected perspective
The principle of fusion, uses a unifying force to synthesize the type and image. The alliance of form and meaning presents itself in a strong visual coherence—a “cause and effect.” Some images and text are optically altered, and others are circumstantial through motion or juxtaposition, they are all the result of deliberate, holistic choices made by the designer.
TYPE. IMAGE, MESSAGE GRAPHIC DESIGN LAYOUT WORKSHOP
FUSION
25
42
senior show EVENT SERIES ACROSS MEDIA
GRAPH PORTF Latter H Saturda Profess 10am–1 Public R 12:30–2
About the Project
The Senior Show is a combination of events including the Graphic Design Portfolio Review as well as the Visual Art Highlights Exhibition. The events occur every spring and is a time to celebrate senior artists’ work. The design challenge was to create a poster that reflects both graphic design majors and visual art majors. How can I get people excited for the event to come and see our work? The 60s and 70s were an interesting time for college students as well as music, fashion, and media. I took inspiration from this time period in America to create a feeling of excitement and delight. The colors of the poster are taken straight from the Jimi Hendrix, Axis: Bold as Love album cover. The typeface, Hendrix Groove, is similar to the typography used on album art during the 60's and 70's. Contrasting this is Helvetica, a classic font that was released in 1957 and was one of the most popular typefaces in the 1900s.
CLIENT
PLNU Art and Design Department
C ATEGORY
Event Poster
44
M a d d i e Fr i t h
GRAPHIC DESIGN PORTFOLIO REVIEW Latter Hall, Room 101 Saturday, April 27 Professional Portfolio Review 10am–12:30pm Public Reception 12:30–2pm VISUAL ART HIGHLIGHTS EXHIBITION Keller Gallery Monday, April 29– Friday, May 3 9am–5pm SENIOR SHOW VISUAL ART GRAPHIC DESIGN Keller Art Center & Gallery Friday, May 3 Family & Friends Reception 10am–12pm Cambria Braun Kelly Buck MacKenna Carney Ethan Chan Mia Chandler Magdi Cook Paige Davenport Kate Erath Maddie Frith Jayden Hall Kelsey Keenan Catherine Kendrick Katherine Kidd Madeline Lenz Margaret Mann Chad McLain Delaney Meier Mary Perez Camille Publico Brandi Roberts Aaron Smith Stephen Yoon
DESIGNED BY MADDIE FRITH
46
M a d d i e Fr i t h
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M a d d i e Fr i t h
ADVERTISING
The poster
translates across media in multiple environments that communicate the same exciting message.
50
personal brand BRANDING
About the Project
Experience design is a practice that focuses on the user and their experience reacting with the environment. This is integral to my process as a designer. My personal brand is a representation of my work, but also reflects my personality. The text is playful, exciting, and sophisticated. I used my first name as the primary focal point with contrasting colors for each letter. The star symbol and the color red create a bold logo.
CLIENT
Self-Initiated
C ATEGORY
Branding, Business Stationary
52
M a d d i e Fr i t h
54
M a d d i e Fr i t h
F R I T H experience designer
56
vinyl record design ILLUSTRATION
About the Project
My Mom would always talk about her experience with her vinyl collection growing up. She would put on the Pink Floyd album, Brick in the Wall and lay on her floor looking at the cover art and reading the lyrics along with the songs. Listening to a record is an experience. My question was how does that translate to today? We have access to so much music and can listen to anything we want, anytime we want. What would make someone listen to a record? It’s the feeling of nostalgia, the scratches on the tracks, and the classic music that takes us back to an era. I wanted to create a playlist that acknowledges the history of the record and the record player, but is also relevant to today. I created a metamodern playlist that combines the songs of 70s rock with what I believe is today’s version of rock. Every song on the album is written about a girl and I thought who better a woman to illustrate than the goddess Stevie Nicks?
CLIENT
Self-Initiated
C ATEGORY
Illustration
58
M a d d i e Fr i t h
60
M a d d i e Fr i t h
62
M a d d i e Fr i t h
Thanks!
First of all, I want to thank my Mom, Dad, and sister for loving and supporting me though my academic career. You have always inspired and pushed me and I am so grateful for you. A special thanks to Courtney Mayer for being such an awesome mentor and advisor. Your passion for design is inspiring and infectious. Next I want to thank my roommates Sarah, Alex, Savannah, and Faith for being patient and loving. You are all so fun and I love you all. Special shout out to my classmates Kelly, Kenna, Ethan, Mia, Magdi, Paige, Kate, Mad, Chad, Laney, Brandi, Maya, Aaron, & Annalee. What an awesome group of people who are so lovely and encouraging.
M a d d i e Fr i t h
M a d d i e Fr i t h
Colophon
DESIGN
Maddie Frith
PRINTER
Clearstory
PA P E R S T O C K BINDING
Classic Crest with eggshell finish, solar white 100lb.
Perfect Bound
T YPEFACE SOF T WA RE
Bookmania and Soleil AdobeCC 13.1