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As a child, I was sassy and tenacious, and I quickly developed a spirited cando attitude. I was also an artist and a bookworm—I spent immeasurable hours drawing fanciful characters and reading fictional stories. Perhaps that is why I recall the story of the Halcyon so well. At winter solstice, this fabled bird crafted extraordinary, elaborate nests that floated in the sea. Despite the turbulent waves, the Halcyon had magical powers to calm the winds. Over the years, I studied both architecture and psychology. These adventures gave form to my problemsolving skills and built strong nesting places for my ideas. Like the Halcyon, graphic designers have the power to make artistic order out of chaos. They use typography, color, visual narrative and strategic thinking to create lasting designs that can be quite magical. That is what I strive to achieve with my work.

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A Bump In The Night Project

Hotel Branding



Art Director MaeLin Levine

The Macabre Hotel in the wine-crafting region of Sonoma, California pays homage to the lyrical narrative poem The Raven by Edgar Allan Poe. This boutique property targets upscale clients (ages 40–55) with a passion for provocative experiences and an interest in escaping the ordinary. The artfully crafted Victorian heritage architecture invites guests to curl up by the fireplace in eerie wingback chairs with sinister novels from the hotel’s extensive book collection. The primary typefaces Sakkal Majalla and Centaur have an old world flavor. Packaging and applications reminiscent of a bygone era include skeleton room keys and vintage apothecary toiletry bottles. Haunting hues including dusty plum, muted amber and raven black are used across the brand to echo the ominous vibe. Each night at a bewitching happy hour, guests can savor Ebony Bird wines with tasteful labels featuring favorite lines from Poe’s immortal work.

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cmyk 46, 45, 49, 0

cmyk 0, 28, 100, 56

cmyk 0, 0, 0, 100

Sakkal Majalla


abcdefghijklmnopqrstuv wx yz

abcdefgh ijk l m nopqrst uv w x y z





The quick , brown fox jumped over the la zy dog.

T he qu ic k brow n fox ju mped over t he la z y dog.

Macabre Macabre

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wine glasses, wine bottles

stationery and business card, room keys

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Let Us Entertain You Project

Direct Mail


Old Globe Promotion

Art Director Amy Levine

The 1920s in America marked an exciting period of social, artistic and cultural dynamism. A summer series of three plays at the Old Globe Theatre expressed the zeitgeist of this epoch and targeted a younger generation of theatre patrons (ages 30–45). I wanted the visual concept to convey the playful, teasing nature of burlesque dancers, showgirls and vaudeville acts. I unified the visual elements for the plays Follies, Chicago and Gypsy through the use of color and a graphic treatment of imagery. For the direct mail brochure, I used dramatic, mysterious hues of crimson red, ebony black and sepia. The front of the mailer is die-cut to reveal glimpses of an exotic dancer amid swirling 1920s wallpaper motifs. Theatre tickets reinforce the visual language, and a leather journal available in the gift shop boasts a flirtatious feather ornament that gives a nod to pleasure-loving flappers.

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theatre brochure, tickets, gift shop item

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theatre brochure

Making Scents Project

Fragrance Line

Title Aura

Art Director MaeLin Levine

A zen-inspired fragrance, Aura targets upper-middle-income women (ages 25–35) who make holistic well-being a priority. The typeface is clean and simple to reflect the essential nature of the product. Transparency, reflection and light are used in the packaging to magnify the brand personality, which emphasizes nurturing the mind, body and spirit. The perfume names Shanti, Ananda and Sattva are Sanskrit words that translate to tranquility, bliss, and purity and connect to Buddhist philosophy. I custom designed fabric for patterned cosmetic cases in radiant hues and repeated the pattern elements on translucent gift bags, adding colorful accents. The bottles' overlapping, sheer, symmetrical patterns radiate from central cores to suggest the threedimensional energy fields that reflect an individual’s state of consciousness.

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Aspect Regular

Aspect Bold







The quick brown fox jumped over the lazy dog.

The quick brown fox jumped over the lazy dog.


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gift bag, cosmetic cases

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perfume bottles

When The Smoke Clears Project

Cigar Packaging


The General

Art Director Sean Bacon

The General—a brand of fine-quality, smooth cigars—wanted to expand on its already devoted following by marketing to a younger masculine demographic (ages 25–35). The General's master rollers hand make each cigar to draw firmly and burn evenly, using premium tobacco leaves which have been aged for over three years and specially cured through four fermentations. I designed a handsome, collectable wooden cigar box, artfully engraved with an ephemera-inspired vintage border, edgy textures, and the brand logo. The impeccable craftsmanship of the package evokes the distinctive spirit of the brand, and an inside liner furthers the storytelling with a historical Civil War map. A trio of matches in warm beige, green and brown tones and a classic white Habana-style guayabera evoke the classic quality and distinctive camaraderie of cigar culture.

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CMYK 35, 35, 100, 40

CMYK 70, 40, 100, 0

CMYK 0, 5, 45, 25

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cigar box exterior

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cigars, guayabera, matchboxes

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cigar box interior

No Pain, No Gain Project

Publication Design



Art Director Sean Bacon

Strive Magazine appeals to upperincome, empowered, active women (ages 30–45) who have a feminist streak. These women love taking care of their bodies, pushing themselves and testing their personal limits when it comes to feats of athleticism. Strive is all about attitude, and empowering magazine content motivates readers to expand their knowledge, increase their discipline and take control of their own health and fitness. The confident masthead has a subliminal #1 embedded in the logo to communicate the competitive spirit of the publication. Bold typefaces and colors relate to the fierce, disciplined nature of subscribers. The use of high contrast black and white images and duotones expresses the vitality and energy of the spreads, and strong layouts designate a clear map for the reader to follow. A daring pink and black sports backpack and water bottle magnify the brand’s attributes.

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May, 2012

Exclusive Interview: Hope Solo When Female Athletes Transcend Gender Boundaries The Art of Crafting Pointe Shoes U.S. $12.95 CAN. $16.00 ISBN 978-1-4000-7780-9


9 781400 077809

magazine cover, spreads

Feminine? Prove It!

36 Best Sports Bras

22 Extreme Climbing

6 Girls Who Play Rough

In Her Words:

5 Exclusive Hope Solo Interview 10 Freed of London’s Pointe Shoes


14 Feminine? Prove It! 18 Ten Surprising Endurance Tips 24 Athlete of the Year 28 Soccer Moms? How about Soccer Dads? 32 The Ugly Side of Competition

You recently posed for “ESPN: The Body Issue.” What motivated you to do that? Did you have any reservations about posing nude? “Growing up, I felt insecure about my build. I didn't feel very feminine. But as time went on, I learned to completely embrace my body. It's helped me attain all my dreams and goals. I didn't have an issue posing nude, because now I see my body as empowering.” Have you ever felt self-conscious? “I used to be self-conscious about my arms and shoulders —they're so broad, people assumed I was a swimmer or a volleyball player. It was difficult for me to wear a halter dress or a small tank top; I thought the first things people would see were my arms and shoulders. I remember trying to get out of lifting weights in college because I didn't want to bulk up. I would do more reps to avoid putting on too much muscle mass. Or I would skip certain power exercises like cleans—I always tried to get out of cleans. But now, it's my arms and my shoulders that I'm most proud of. I appreciate my athletic look.” How do you feel about being labeled a sex symbol? “I still don't buy the idea that I'm a ‘sex symbol.’ It's amazing that there are so many beautiful bodies out there on the female athletic side, and it's great that they are starting to get attention. But sex symbol? I truly don't know where that came from. My entire purpose is trying to be the absolute best in the game, and if that exudes beauty too, I think that's a pretty powerful thing. But I’m not a ‘sex symbol!’”

May, 2012



Freed of London

Keeps Dancers on Their Toes Pretty as they are, pointe shoes are foremost work shoes. Every part of the shoe—even the ribbon—is there to support the dancer’s foot and help her avoid injury.

The world-famous tailors of Savile Row make fine gentleman's suits.


ix miles to the east, in Hackney, lies another temple to old-school English craftsmanship: Freed of London, makers of custom pointe shoes since 1929. In a small workshop neighbored by midrise apartment blocks, a no-frills sandwich café and a betting parlor, twelve shoemakers each transform satin, canvas, cardboard, burlap and leather into exquisite pointe shoes for ballerinas.

The company was started by cobbler Frederick Freed in 1929 in a Covent Garden shop basement. Freed’s widow sold the company in 1993 to the Japanese apparel company Onward Kashiyama, but its headquarters and manufacturing are still based in London. Freed maintains its approximately 50% market share (the Los Angeles, San Francisco, Pacific Northwest, Miami, New York City, Paris Opera and Royal ballet companies all use Freed shoes) by offering traditionally made shoes with an extremely high degree of customization—something other companies, such as Gaynor Minden, Grishko, Sansha and Capezio—simply can’t afford to do. Freed shoes are also prized for the color of the satin (the company buys the seconds from its factory in Scotland so no other maker can use it) and the way they look on the feet. The near-infinite amount of customization available is more than just vanity. Pretty as they are, pointe shoes are foremost work shoes. Every part of the shoe—even the ribbon—is there to support the dancer’s foot and help her avoid injury. And individuals who are knowledgeable about ballet are very aware of this. “The shoe is your instrument and becomes a part of you,” said Colleen Neary, co-artistic director of the Los Angeles Ballet, where almost all of its 22 ballerinas use Freed of London shoes. “You have to have the technique and the experience, but the shoe is what makes you really dance your best. Finding the right shoe is so incredibly important. It cannot be underestimated.” At around $100 a pair and with a life expectancy of just one performance, custom pointe shoes are mostly worn by dancers




whose companies are footing the bill. Los Angeles Ballet budgets $50,000 per year for shoes, with each ballerina getting 28 to 30 pairs. Larger companies, such as New York City Ballet, have annual shoe budgets near $250,000. Ballet companies such as these comprise the bulk of Freed of London’s substantial business. Pointe shoes start as an unsewn upper consisting of two layers of cotton and a layer of satin. Makers then tack the material inside out onto the last—a plastic foot-shaped block. A bucket of paste, burlap triangles and cardboard are combined by hand à la papier-mâché between the two layers of canvas to build the hard toe, or box, of the shoe—the part of the shoe on which a dancer balances. That other shoe companies use a plastic insert to make the box rather than building it up layer by layer is a point of contention for Freed factory manager Gary Brooks. “It’s like putting a plastic cup in the shoe. It won’t break down, it won’t mold to the shape of the foot, it won’t absorb perspiration.” The width, length and overall shape of the box is a major component of each maker’s individual style. While the shoe is inside out on the last, the satin is pleated under the toe to help absorb the dancer’s body weight when she is en pointe (balancing on the tips of her toes). This absorption of the dancer’s weight helps her avoid injury to her feet or even her legs.

Four Makers’ Marks: Dave Bramson

Ed King

Stephen Daugherty

Sam Elwood

(7 years experience)

(18 years experience)

(16 years experience)

(12 years experience)

Bramson chose a crown as his mark because, to him, a crown reflects regalism, a characteristic he believes his dancers possess.

King inherited his mark from his father, a retired Freed of London maker. King appreciates the history associated with his mark.

Daugherty chose a swan as his mark because he feels it perfectly reflects the grace and beauty of the dancers who wear his shoes.

Elwood let his son choose his mark. He says that knowing that his son chose his mark makes him feel connected to his son while working.

After the pleating, the shoe goes to the only machine used in the process to sew the sole—cut from thick leather—to the upper. The shoe is then turned right side out and put back on the last, so the maker can shape the platform—the part the dancer stands on when she’s on her toes. The angle, size and shape of the platform depends on the dancer. “A lot of dancers prefer a platform that is tapered—that is, it goes down to a smaller platform on the bottom,” said Neary. “I always found that easier to turn with. Some dancers prefer a wider platform because it’s easier to balance. It basically depends on the width of your foot and the length of your toes. Each dancer is different, and each quickly finds out what she likes.” The final stage is carried out in Freed’s finishing department, where a shrine to Liverpool soccer great Steven Gerrard oversees the vamp being cut to the required shape (U or V) and string (or elastic) added to the binding. Ballerinas sew the ribbons on the shoes themselves as part of the breaking-in process. Like any high-performance athlete or artist, dancers are always on the lookout for any equipment advantage another dancer might have. Neary insists that dancers aren’t superstitious about their shoes. But in his 30 years at Freed, Brooks has seen all manner of craziness. “We’ve had people order the same spec as for someone else, even though they don’t fit them, because they think they’re magic,” he said. “They squeeze their foot into a shoe that’s crippling them because they think they will dance better.”

The quest for the perfect shoe preoccupies the makers as much as it does the dancers. “I’ve been doing this job for 18 years” said Pat King, a maker whose work is often requested. “I’ve had some top

Most ballerinas sew the ribbons on the shoes themselves as part of the breaking-in process. dancers—Tamara Rojo and Belinda Hatley. I still remember the times I’ve come to work and made the perfect shoe.” Spotting a promotional opportunity, he adds proudly, “tell the dancers to look for the key [his symbol]. That’s an excellent shoe. I guarantee it!” One thing Moran has never done in all the years he’s made shoes is actually go to the ballet. Partly after dealing with shoes all day, it’s a bit of a busman’s holiday. Most of the makers are also workingclass East Londoners, which means that for many, the ballet is a bit girly. “It’s sort of a macho thing, said Brooks. “I started going when I turned 40. I really enjoy watching their feet and what the shoes do. It gives you a whole different view.”

Makers have their own stamp—a crown, a key, a swan, an anchor—that they put on the bottom of each shoe they complete. “When you are young and going into a company, you try all different makers and modifications,” said Neary, “and when you get a little bit older, you get attached to your own maker. The loyalty can last a dancer’s entire career.”

May, 2012



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gym bag, water bottle

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magazine spreads, cover

Tying the Knot Project

Wedding Collateral


McKinstrie Wedding

Art Director Candice Lopez

A summer wedding for a carefree couple at a Southern antebellum manor steeped in history and tradition required a suite of wedding invitations with a vintage flair and a modern twist. To conjure the spirit of fireflies in mason jars and summer carnivals, I developed a frolicking motif of pink, white, and brown flags matched with Victorianinspired letterforms. Designed to appeal to guests in their mid- to late-twenties, the invitations eschew typical floral imagery in favor of expressing the playful, imaginative nature of the bride and groom. An iconic "R&S" joins the couple’s initials together in a whimsical love knot, cleverly symbolizing getting married—or "tying the knot." This motif is repeated on printed materials in mischievous combinations such as the "R&SVP" card. Even the scrumptious gourmet wedding cake is topped off with the conjoined emblem and draped with the festive flags. Breezy program fans help keep guests cool, and clever die cuts embellish birdseed packaging.

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cake, seat assignments, bird seed, programs

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RSVP card, invitation

Child's Play Project

Baby Products



Art Director Candice Lopez

Dandylion creates high-end products and comfortable clothing for infants and toddlers using quality materials and organic cotton. The brand attracts 30- to 40-year-old established, upperincome women looking for superior baby products that are refined, simple and clean. Whimsical, original illustrations employ patterns to create visual interest in a sophisticated palette of warm gray, bright white, dreamy blue, vivd green and luscious orange. These colors—coupled with the soothing illustrations—help to channel the relaxed magic of the brand. A thin, fanciful typeface was custom designed to grace items such as clothing, tableware and novelty gift boxes. The imaginative identity manual is in the form of a board book and provides guidelines to maintain the consistency and spirit of the product line.

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t-shirt, dinnerware, bib, onesie

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identitďż˝ manual custom typeface, identity manual

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two, buckle my shoe;


brand promise




shut the door;


six, pick

up sticks; seven, eight, lay them

color usage t��og�aphy

ten, a big fat hen! straight;

clear space


no nos! image st�le stationer� applications

contents custom typeface, identity manual

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I meant what I

said, and I said

what I meant! And an

elephant’s faithful one

hundred percent!

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At Dandylion, we t��ly “get” parents. We understand that you want the best for your baby, and we believe that your baby deser�es the best! That’s why at Dandylion, we use only material of the highest qualit�, craſting baby apparel from the soſtest organic cotton available. And our products are more than just high qualit�—they're absolutely adorable to boot!

brand promise

custom typeface, identity manual

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What are little

girls made

of? Sugar and

spice and everything nice! That's what little girls are made of.

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The dandelion sy�bol coupled with the "dandylion" logo (i.e., tex�) is Dandylion's official combination mark. However, the "dandylion" logo can be displayed by itself (without the sy�bol). Likewise, the dandelion sy�bol can be displayed sing�larly (without the tex�). Please note: the letters comprising "dandylion" have been specially desig�ed and caref�lly letterspaced.


custom typeface, identity manual

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When I put

yellow paint on


the colors change

orange instead. Another trick that I have



yellow and

blue turn into

green. There's

magic when

my colors mix. It's fun to



do their tricks!

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c=0 m=10 y=20 k=60

c=0 m=55 y=100 k=0

r=129 g=117 b=105

r=246 g=139 b=31

The official colors for the Dandylion combination mark are orange and white; the logo is displayed in orange, and the sy�bol is displayed in white. This color combination necessitates a non-white backg�ound. Alter�atively, the combination mark can be displayed entirely in white on a non-white backg�ound. If displayed on a white or light backg�ound, the Dandylion combination mark should be taupe. The Dandylion sy�bol, when appearing by itself, can be displayed in orange, white, or taupe, depending on the backg�ound color.

color usage

custom typeface, identity manual

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DANDELION size: 50 pt leading: 79 pt

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GABRIOLA size: 10–27 pt leading: 25 pt

Now I know

my ABCs! Next time won't you sing with


The t��eface "Dandelion," which was specially desig�ed for use exclusively by Dandylion, is used for the Dandylion logo as well as the occasional heading. The t��eface "Gabriola" is used in all other instances—for both body copy and headings.


custom typeface, identity manual

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x ½x

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Peter, Peter, pumpkin eater, had a



keep her. He put her in a pumpkin shell, couldn't

and there he kept her

very well!

To ensure their integ�it� and visibilit�, the Dandylion combination mark and sy�bol should always be kept clear of competing tex�, images, and g�aphics. When the combination mark is used, the minimum safet� zone measures ½ the x height of the logo. (Please be aware that there are exceptions such as when the company mailing address is alig�ed with the bottom of the letter 'y' on the Dandylion letterhead and envelope.) When the sy�bol is used by itself, the minimum safet� zone measures ½ the width of the dandelion icon.

clear space

custom typeface, identity manual

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Little Polly

Flinders sat among the cinders, warming her


little toes.

Her mother came

and caught her and whipped her

little daughter for spoiling her nice

new clothes.

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Do not do any of the following to the combination mark: add an effect to the combination mark, rotate the combination mark, change the combination mark's colors, alter the combination mark's sy�bol, change the combination mark's opacit�, or alter the thickness of the letters. (This list of "no-nos" should not be considered exhaustive.)


custom typeface, identity manual

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I am a pretty




as pretty as can be. And all the

boys in the

neighborhood are


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over me!

Dandylion utilizes t�o t��es of images: photog�aphs and illust�ations. Photog�aphs used by Dandylion are duotone, t��ically consisting of black (c=0, m=0, y=0, k=100) and taupe (c=22, m=33, y=51, k=0). Dandylion's photog�aphs feat�re healthy, happy babies. Illust�ations used by Dandylion are t��ically flat and patter�ed. Dandylion's illust�ations t��ically consist of cute animals.

image st�le

custom typeface, identity manual

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12163 Dandelion Avenue San Francisco, CA 94105

Date Recipient’s Name Title Company Address Address Continued Dear Name,

Onsendre mag�a conulpu t�atis non ut venim doloreraesto et, sust��d tis do do dolor�ie consequi bla commodolor se del dolor si tie dolobor si. Im zzrit diam velenis adion eug�e feugiat iure dolore venismo dolor�is erate mincipit lumsandrero coreet vent lore mag�im dolor init praese et, sit in eraest��d tat�er incing et, vendig�isit et acilla feuis eniam ipsust��d ming el inisi. It iust��d do cor�ie eugait velesequisi. Uscil utat. Duiscil lamcommodiat veliquat, conum enisismodiam nosto odit acin veliquam num nullan henim volore est��d ea faciduis nostiscidunt vel iure ming exer aliquis nost��d te feuis nisi. Ver seniat. Niamcommolor alit vel er iure mod essenit wisi. Na faccumm oluptat ad tio commodit nis nonsequis nit la consenis nulla faciduis nis exerit, commy nis ad mod tio odolobor si eug�e consecte ex eu facinci blan eugait num nim diamet del est��d modipit utat�e et�eriust��d tat�m zzriuscing eugait, consect et�mmy nonum del ero dolor�e raest��d tet vel iure conulla core volupta t�mmolore dipsuscing erciduis eugiamconsed mag�a feu faci ex eug�eros num inci tat�m iuscidui ecte feugiam, quatio con utem quip eug�er irit ex ecte modipit, cor aut�at aut nibh et dolum quate mag�a aut vulput lamet ip essi.

Min ex eros nullaor erilis do el irilluptat velestion vel er sit esequat. Vero diam, quatem do conulla ad do euis dolestinim quat nonsed dolorero delit lan endre minit at. Si. Odiamet lutem ver sendrer inisl et luptat nos aliscil iquat, consed te vel diamet�m nulluptatie ming endrercin hendrercil et praesequis alisi. Um aug�e do ecte do dipsumsandre dolore faccumm odipis nit wis alit ing ea feum erosto eraesendre mod dolore cor�ions alisi. Ex elisl dit utet, volendig�im vel dolore dit lummy nos aut�at landiam dolore delessit adip eratie exerat. Vullamet inciduipsum volore ex euipit nos nonse mod dolorem veril dolestie dolorem duisit praesse ero consed diam dolor ipit nonum zzrillu t�atet ut ullaore et del ut iliquat. Im vulput�at. Ent vulput praest��d tat, quis nostinc iduissi. 12163 Dandelion Avenue

San duiscing Francisco, ero CA 94105 Ure dio dit ut nim zzrilisit niam, consequip elesto od tat niamet�e modolutet nisismolore ea consequat essed delit aut�atis ex erost��d modit ing er incipis eug�eros et�e ex er iriusci euis dolobor suscing euismodolore mod mod duisi tat. Na feuissi tismod duisit, cor sum inim dio eu faci euis augait pratio od et ut�at. Ut la ad tie dolore volore dolore min volorem do et, sequam ea feu feum zzriure feug�e modion ut venis aliquat�e feuis num dolore dipit velit, cor�ie ming et vullaore min utatet, ver sit lum veriusc ilisim aut wis dig�im er at velit praessi scilit lam num volese ting erat�m dit, quisim dolorer in henibh et augait luptat. Ut aut aut exerosto odolor�ie dolor�ie dolor inis non ut augait, con eug�er autat nullaor sum nit vullandrerat dit aut�ate veraestisi.


Your Name | t: 415.611.1111 | f: 415.611.1112

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Dandylion utilizes t�o t��es of images: photog�aphs and illust�ations. Photog�aphs used by Dandylion are duotone, t��ically consisting of black (c=0, m=0, y=0, k=100) and taupe (c=22, m=33, y=51, k=0). Dandylion's photog�aphs feat�re healthy, happy babies. Illust�ations used by Dandylion are t��ically flat and patter�ed. Dandylion's illust�ations t��ically consist of cute animals.

If all the world



and all the sea were


if all the trees were bread and cheese, what should we




The Dandylion letterhead and envelope can be ordered via Copy on the letterhead should be t��ed in Gabriola (size=11 pt, leading=13 pt, space aſter=7 pt). The top margin of the letterhead is t�o inches, and the leſt and right margins are each one inch. (See example on leſt.)


custom typeface, identity manual

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mend my


Get it done by

half past two. Half past two is much

too late!

Get it done by half past


Here are some examples showing how illust�ations can be combined with Dandylion's combination mark to create sweet, playf�l baby items.


custom typeface, identity manual

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custom typeface, identity manual

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stuffed animal, identity manual, receiving blanket

Premium Cigars Pocket Park Project Children's Clothing Victorian Wedding

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Organic Cereal Vampire-Themed Bar Fitness Magazine Boutique Hotel


1920s Theater Plays

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Thank You! Cal, thank you for putting up with my incessant "portfolio talk," for supporting me financially and emotionally, for believing in me, and for never once getting frustrated with the abominable state of our apartment. You have been—and always will be—my foundation.

Candice and Sean, how can I even begin to thank you two? The degree to which you have both dedicated yourselves to my success has been mindboggling. I will forever appreciate the numerous hours you two have allotted towards helping me succeed, your spot-on guidance, and your incredible "above and beyond" work ethic. I truly couldn't have pulled this off without you, and I have grown so much as a designer as a result of your mentoring.

Steve, thank you so much for photographing my work. You truly made my pieces shine, and I know that I have benefited enormously from your incredible generosity.

Ma, thank you for sewing those cosmetic cases for me (and for re-sewing them), for encouraging me when I was feeling less than optimistic, and for overcoming your aversion to airplanes to attend the portfolio exhibition!

Brittany, thank you for being so good at holding wedding cakes (despite my atrocious driving)!

Vanessa, thank you for being so darned pretty—I couldn't have asked for a more perfect model!

And to all of my other friends who I have bored by talking nonstop about my portfolio, thank you for listening and for caring. You guys are awesome!

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Profile for Rachel Wright


Rachel Wright's graphic design portfolio.


Rachel Wright's graphic design portfolio.