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car ri e j. peter s [for best results view in full screen mode]
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Carrie Peters is a Graphic Design student enrolled in the Fine Arts Program at Portland State University. Though kept busy with her school design projects, Carrie has begun to branch out into freelance work. Born and raised in Southern Oregon, Carrie's grandfather, artist and business owner, Jim Snook– of Jim Snook Cartoons –instilled a love of art in Carrie at a young age, encouraging her to seek out beauty in the world around her. As the third of six children, Carrie found the art of communication and the knack for organization both to be necessary survival skills while growing up. These life learned competencies proved advantageous when they met up with her love for aesthetic beauty in the Graphic Design field. In her free time Carrie loves to read, browse design blogs, and store up visual fodder for inspiration. She plays several instruments and finds musical outlet in writing her own songs, and playing small acoustic gigs from time to time. An enthusiastic participant in outdoor adventures, she can be found most weekends backpacking or climbing, snowboarding or wakesurfing with her photographer husband, Jeremy. Carrie is currently training to run the Portland Marathon this October. The intent in Carrie's design work is to produce thoughtful, appropriate assimilations of both verbal and visual information, in formats both pleasing and accessible to the viewer. Her goal is to create a happy union between aesthetics and substance.
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home obscure holiday cards chocolatier magazine urban planning poster pick a card, any card summer session cover jack and the beanstalk e.a. poe book cover haiku gala event agni identity system unicorn tee design portfolio packaging
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carrie j. peters
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home carrijope@gmail.com
925-890-0745
educational background PSU OIT LBCC George Fox University WR Home Academy
Graphic Design Program General Education General Education Classical Violin Scholarship High School Graduate
Deans List Honor Roll 4.0 GPA 3.85 GPA 3.85 GPA
CREO Design Africa Adventure The Dragons Steel Wonders PSU Apple Lab
Graphic Design Website update Band Myspace Design Freelance Brochure and Business card Lab Monitor, Troubleshooting, Adobe Tutor
Ryan Litrell Lyndsay Harshman Timmy Rotter Jim or Lisa Emard Arman Bohn
CREO Art Director Africa Adventure Band Manager Steel Wonders PSU Apple Labs
Kate Bingaman Burt Matt Livengood Gene Chappell Kelley Hennessey
Design Professor katebingamanburt@gmail.com Design Professor jmliven@pdx.edu 33209 Witam Bluff Drive Chiloquin OR 97624 1862 Leroy St. Klamath Falls OR 97601
Current 2003-2007 Spring 2006 Fall 2004 2000-2004
design related experience
Current 09/09 08-09/09 07/09 09/08-06/09
recent design contacts ryan@creoagency.com lyndsay@adventuresinafrica.com t_i_m_m_y87@hotmail.com steelwonders@yahoo.com arman@pdx.edu
541.591.4952 925.337.6798 N/A 541.783.3333 503.725.4784
503.725.3515 503.360.8887 541.783.2908 541.883.7430
personal references
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obscure holiday cards The design objective was to create three holiday greeting cards: two that connoted fondness, the third dislike. Inspired by the unfortunate coincidence of my birthday falling on National Roast Suckling Pig Day, I based the cards off of obscure holidays. Adding Look for Circle Day and No Sock Day, I completed the trio of cheeky salutations, sure to win the heart of any greeting card enthusiast.
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obscure holiday cards The design objective was to create three holiday greeting cards: two that connoted fondness, the third dislike. Inspired by the unfortunate coincidence of my birthday falling on National Roast Suckling Pig Day, I based the cards off of obscure holidays. Adding Look for Circle Day and No Sock Day, I completed the trio of cheeky salutations, sure to win the heart of any greeting card enthusiast.
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obscure holiday cards The design objective was to create three holiday greeting cards: two that connoted fondness, the third dislike. Inspired by the unfortunate coincidence of my birthday falling on National Roast Suckling Pig Day, I based the cards off of obscure holidays. Adding Look for Circle Day and No Sock Day, I completed the trio of cheeky salutations, sure to win the heart of any greeting card enthusiast.
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obscure holiday cards The design objective was to create three holiday greeting cards: two that connoted fondness, the third dislike. Inspired by the unfortunate coincidence of my birthday falling on National Roast Suckling Pig Day, I based the cards off of obscure holidays. Adding Look for Circle Day and No Sock Day, I completed the trio of cheeky salutations, sure to win the heart of any greeting card enthusiast.
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obscure holiday cards The design objective was to create three holiday greeting cards: two that connoted fondness, the third dislike. Inspired by the unfortunate coincidence of my birthday falling on National Roast Suckling Pig Day, I based the cards off of obscure holidays. Adding Look for Circle Day and No Sock Day, I completed the trio of cheeky salutations, sure to win the heart of any greeting card enthusiast.
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obscure holiday cards The design objective was to create three holiday greeting cards: two that connoted fondness, the third dislike. Inspired by the unfortunate coincidence of my birthday falling on National Roast Suckling Pig Day, I based the cards off of obscure holidays. Adding Look for Circle Day and No Sock Day, I completed the trio of cheeky salutations, sure to win the heart of any greeting card enthusiast.
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obscure holiday cards The design objective was to create three holiday greeting cards: two that connoted fondness, the third dislike. Inspired by the unfortunate coincidence of my birthday falling on National Roast Suckling Pig Day, I based the cards off of obscure holidays. Adding Look for Circle Day and No Sock Day, I completed the trio of cheeky salutations, sure to win the heart of any greeting card enthusiast.
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obscure holiday cards The design objective was to create three holiday greeting cards: two that connoted fondness, the third dislike. Inspired by the unfortunate coincidence of my birthday falling on National Roast Suckling Pig Day, I based the cards off of obscure holidays. Adding Look for Circle Day and No Sock Day, I completed the trio of cheeky salutations, sure to win the heart of any greeting card enthusiast.
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obscure holiday cards The design objective was to create three holiday greeting cards: two that connoted fondness, the third dislike. Inspired by the unfortunate coincidence of my birthday falling on National Roast Suckling Pig Day, I based the cards off of obscure holidays. Adding Look for Circle Day and No Sock Day, I completed the trio of cheeky salutations, sure to win the heart of any greeting card enthusiast.
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obscure holiday cards The design objective was to create three holiday greeting cards: two that connoted fondness, the third dislike. Inspired by the unfortunate coincidence of my birthday falling on National Roast Suckling Pig Day, I based the cards off of obscure holidays. Adding Look for Circle Day and No Sock Day, I completed the trio of cheeky salutations, sure to win the heart of any greeting card enthusiast.
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obscure holiday cards The design objective was to create three holiday greeting cards: two that connoted fondness, the third dislike. Inspired by the unfortunate coincidence of my birthday falling on National Roast Suckling Pig Day, I based the cards off of obscure holidays. Adding Look for Circle Day and No Sock Day, I completed the trio of cheeky salutations, sure to win the heart of any greeting card enthusiast.
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obscure holiday cards The design objective was to create three holiday greeting cards: two that connoted fondness, the third dislike. Inspired by the unfortunate coincidence of my birthday falling on National Roast Suckling Pig Day, I based the cards off of obscure holidays. Adding Look for Circle Day and No Sock Day, I completed the trio of cheeky salutations, sure to win the heart of any greeting card enthusiast.
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chocolatier magazine The design objective was to create a magazine design system for a publication of choice. I chose to assemble a chocolate publication aimed at informing chocolate connoisseurs. Emulating the qualities of a truffle, the quarterly, Chocolatier, is small in dimension, but packed with indulgent photography and detailed typography.
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chocolatier magazine The design objective was to create a magazine design system for a publication of choice. I chose to assemble a chocolate publication aimed at informing chocolate connoisseurs. Emulating the qualities of a truffle, the quarterly, Chocolatier, is small in dimension, but packed with indulgent photography and detailed typography.
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chocolatier magazine The design objective was to create a magazine design system for a publication of choice. I chose to assemble a chocolate publication aimed at informing chocolate connoisseurs. Emulating the qualities of a truffle, the quarterly, Chocolatier, is small in dimension, but packed with indulgent photography and detailed typography.
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chocolatier magazine The design objective was to create a magazine design system for a publication of choice. I chose to assemble a chocolate publication aimed at informing chocolate connoisseurs. Emulating the qualities of a truffle, the quarterly, Chocolatier, is small in dimension, but packed with indulgent photography and detailed typography.
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chocolatier magazine The design objective was to create a magazine design system for a publication of choice. I chose to assemble a chocolate publication aimed at informing chocolate connoisseurs. Emulating the qualities of a truffle, the quarterly, Chocolatier, is small in dimension, but packed with indulgent photography and detailed typography.
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chocolatier magazine The design objective was to create a magazine design system for a publication of choice. I chose to assemble a chocolate publication aimed at informing chocolate connoisseurs. Emulating the qualities of a truffle, the quarterly, Chocolatier, is small in dimension, but packed with indulgent photography and detailed typography.
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chocolatier magazine The design objective was to create a magazine design system for a publication of choice. I chose to assemble a chocolate publication aimed at informing chocolate connoisseurs. Emulating the qualities of a truffle, the quarterly, Chocolatier, is small in dimension, but packed with indulgent photography and detailed typography.
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chocolatier magazine The design objective was to create a magazine design system for a publication of choice. I chose to assemble a chocolate publication aimed at informing chocolate connoisseurs. Emulating the qualities of a truffle, the quarterly, Chocolatier, is small in dimension, but packed with indulgent photography and detailed typography.
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chocolatier magazine The design objective was to create a magazine design system for a publication of choice. I chose to assemble a chocolate publication aimed at informing chocolate connoisseurs. Emulating the qualities of a truffle, the quarterly, Chocolatier, is small in dimension, but packed with indulgent photography and detailed typography.
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chocolatier magazine The design objective was to create a magazine design system for a publication of choice. I chose to assemble a chocolate publication aimed at informing chocolate connoisseurs. Emulating the qualities of a truffle, the quarterly, Chocolatier, is small in dimension, but packed with indulgent photography and detailed typography.
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chocolatier magazine The design objective was to create a magazine design system for a publication of choice. I chose to assemble a chocolate publication aimed at informing chocolate connoisseurs. Emulating the qualities of a truffle, the quarterly, Chocolatier, is small in dimension, but packed with indulgent photography and detailed typography.
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urban planning poster The design objective was to create a large scale, 30"x 45" black and white vocational poster to be hung in a high school hall, urging youths towards a profession. Choosing to represent the trade of Urban Design, I incorporated a collage of existing city plans and urban-scape visuals in an organized fashion, paralleling the construction and assemblage of elements employed in Urban Design.
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urban planning poster The design objective was to create a large scale, 30"x 45" black and white vocational poster to be hung in a high school hall, urging youths towards a profession. Choosing to represent the trade of Urban Design, I incorporated a collage of existing city plans and urban-scape visuals in an organized fashion, paralleling the construction and assemblage of elements employed in Urban Design.
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pick a card, any card The design objective was to create a three sticker series, using the familiar phrase “Pick a Card, any Card� to imply meaning contingent upon the visuals provided. I chose to make statements regarding transportation, financial, and occupational choices we make daily. These cards are aimed at students in transitional stages of life and are thus presented in the convenient playing-card sized stickers that potentially increase in meaning within context.
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pick a card, any card The design objective was to create a three sticker series, using the familiar phrase “Pick a Card, any Card� to imply meaning contingent upon the visuals provided. I chose to make statements regarding transportation, financial, and occupational choices we make daily. These cards are aimed at students in transitional stages of life and are thus presented in the convenient playing-card sized stickers that potentially increase in meaning within context.
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pick a card, any card The design objective was to create a three sticker series, using the familiar phrase “Pick a Card, any Card� to imply meaning contingent upon the visuals provided. I chose to make statements regarding transportation, financial, and occupational choices we make daily. These cards are aimed at students in transitional stages of life and are thus presented in the convenient playing-card sized stickers that potentially increase in meaning within context.
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summer session The design objective was to create a cover for Portland State University’s summer session schedule, using typography from the words “Summer Session” as a main visual. By coupling the letters, and then establishing relationship between pairs in relation each other I created a well paced visual, expressed through summerappropriate colors.
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summer session The design objective was to create a cover for Portland State University’s summer session schedule, using typography from the words “Summer Session” as a main visual. By coupling the letters, and then establishing relationship between pairs in relation each other I created a well paced visual, expressed through summerappropriate colors.
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jack
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the beanstalk
The design objective was to illustrate and design the children’s classic tale of Jack and the Beanstalk. Vertical dimensions were used to play on the narrative’s incorporation of worlds above and below the beanstalk. I also implemented found textures in the illustration resulting in a saturated color scheme, rich in detail.
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jack
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the beanstalk
The design objective was to illustrate and design the children’s classic tale of Jack and the Beanstalk. Vertical dimensions were used to play on the narrative’s incorporation of worlds above and below the beanstalk. I also implemented found textures in the illustration resulting in a saturated color scheme, rich in detail.
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jack
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the beanstalk
The design objective was to illustrate and design the children’s classic tale of Jack and the Beanstalk. Vertical dimensions were used to play on the narrative’s incorporation of worlds above and below the beanstalk. I also implemented found textures in the illustration resulting in a saturated color scheme, rich in detail.
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jack
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the beanstalk
The design objective was to illustrate and design the children’s classic tale of Jack and the Beanstalk. Vertical dimensions were used to play on the narrative’s incorporation of worlds above and below the beanstalk. I also implemented found textures in the illustration resulting in a saturated color scheme, rich in detail.
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jack
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the beanstalk
The design objective was to illustrate and design the children’s classic tale of Jack and the Beanstalk. Vertical dimensions were used to play on the narrative’s incorporation of worlds above and below the beanstalk. I also implemented found textures in the illustration resulting in a saturated color scheme, rich in detail.
bio
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jack
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the beanstalk
The design objective was to illustrate and design the children’s classic tale of Jack and the Beanstalk. Vertical dimensions were used to play on the narrative’s incorporation of worlds above and below the beanstalk. I also implemented found textures in the illustration resulting in a saturated color scheme, rich in detail.
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poe book design The design objective was to create a book cover and interior design system for a collection of work by author, Edgar Allan Poe, which would be identifiable to Poe enthusiasts. In the design I chose to reflect the short story “The Fall of the House of Usher,” a tale that ends with a haunted mansion sinking into an evil black tarn. The result ended in a dark, finite design vernacular true to the nature of Poe’s writing style.
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poe book design The design objective was to create a book cover and interior design system for a collection of work by author, Edgar Allan Poe, which would be identifiable to Poe enthusiasts. In the design I chose to reflect the short story “The Fall of the House of Usher,” a tale that ends with a haunted mansion sinking into an evil black tarn. The result ended in a dark, finite design vernacular true to the nature of Poe’s writing style.
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poe book design The design objective was to create a book cover and interior design system for a collection of work by author, Edgar Allan Poe, which would be identifiable to Poe enthusiasts. In the design I chose to reflect the short story “The Fall of the House of Usher,” a tale that ends with a haunted mansion sinking into an evil black tarn. The result ended in a dark, finite design vernacular true to the nature of Poe’s writing style.
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“With the utter depression of the soul which I can only compare to no earthly sensation more properly than to the after-dream of the reveller on opium; the bitter lapse into everyday life;
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poe book design
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The design objective was to create a book cover and interior design system for a collection of work by author, Edgar Allan Poe, which would be identifiable to Poe enthusiasts.
oe’s immense powers as a storyteller are at their peak in this anthology. Highly skilled in achieving a calculated psychological effect, he created chilling fictional nightmares permeated by mysterious forces, grotesque creatures, and improbable hallucinations. The works contained in this volume are presented chronologically to showcase the development of Poe’s vision of an indeterminate universe that led him to become infamous as the master of the macabre, the possessor of a brilliant and original mind. These timeless stories from over one hundred years ago have an international popularity that few authors can claim. Here, then, are the offerings of one of America’s and the world’s most disturbing, powerful, and inventive writers.
EDGAR
ALLAN
POE
In the design I chose to reflect the short story “The Fall of the House of Usher,” a tale that ends with a haunted mansion sinking into an evil black tarn. the
fall house The result ended in a dark, of usher of the
finite design vernacular true to and other tales by the nature of Poe’s writing style.
EDGAR ALLAN POE
ead throughout the world, and recognized today as the undisputed master of the American Gothic horror story as well as being considered the father of the modern short story, Edgar Allan Poe (1809–1849) revealed his genius in tales of death, terror, evil, and perversity. His tales and poetry have been admired by Dostoevski, translated by Baudelaire, and served as influences to other writers from Sir Authur Conan Doyle and Robert Louis Stevenson to James Joyce and T.S. Eliot. Poe has become a legendary figure, representing the artist as obsessed outcast and romantic figure. His visions, often truly terrifying, are shaped by cool artistic calculation and reveal some of the dark possibilities of human experience. But his enormous popularity and his continuing influence of literature depend less on legend or vision than on his stylistic and formal accomplishments as a writer of fiction and a great lyric poet. Indeed, he is renowned both for sensuous musicality and for hypnotic incantatory rhythms. Poe was also adept at the humorous sketch or playful jeu d’espirit, and all of his stories reveal his high regard for technical proficiency and for what he called “ratiocination.”
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poe book design The design objective was to create a book cover and interior design system for a collection of work by author, Edgar Allan Poe, which would be identifiable to Poe enthusiasts. In the design I chose to reflect the short story “The Fall of the House of Usher,” a tale that ends with a haunted mansion sinking into an evil black tarn. The result ended in a dark, finite design vernacular true to the nature of Poe’s writing style.
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haiku gala event The design objective was to appropriate Japanese visual culture, and implement it in a four-part system, including a poster, tickets, envelope and booklet, to promote the Annual Haiku Gala event. Diverging from overly gimmicky Japanese aesthetics, I used traditional motifs to respectfully reflect the visual language and target an elitist audience of classic Japanese literature patrons.
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haiku gala event The design objective was to appropriate Japanese visual culture, and implement it in a four-part system, including a poster, tickets, envelope and booklet, to promote the Annual Haiku Gala event. Diverging from overly gimmicky Japanese aesthetics, I used traditional motifs to respectfully reflect the visual language and target an elitist audience of classic Japanese literature patrons.
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haiku gala event The design objective was to appropriate Japanese visual culture, and implement it in a four-part system, including a poster, tickets, envelope and booklet, to promote the Annual Haiku Gala event. Diverging from overly gimmicky Japanese aesthetics, I used traditional motifs to respectfully reflect the visual language and target an elitist audience of classic Japanese literature patrons.
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haiku gala event The design objective was to appropriate Japanese visual culture, and implement it in a four-part system, including a poster, tickets, envelope and booklet, to promote the Annual Haiku Gala event. Diverging from overly gimmicky Japanese aesthetics, I used traditional motifs to respectfully reflect the visual language and target an elitist audience of classic Japanese literature patrons.
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haiku gala event The design objective was to appropriate Japanese visual culture, and implement it in a four-part system, including a poster, tickets, envelope and booklet, to promote the Annual Haiku Gala event. Diverging from overly gimmicky Japanese aesthetics, I used traditional motifs to respectfully reflect the visual language and target an elitist audience of classic Japanese literature patrons.
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haiku gala event The design objective was to appropriate Japanese visual culture, and implement it in a four-part system, including a poster, tickets, envelope and booklet, to promote the Annual Haiku Gala event. Diverging from overly gimmicky Japanese aesthetics, I used traditional motifs to respectfully reflect the visual language and target an elitist audience of classic Japanese literature patrons.
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agni identity The design objective was to develop a branding identity for the satellite communication company, Agni. Using the Vedic deity, Agni, the official mediator between the heavens and earth as a model, the logo recreates the moment Agni originated: The striking of two sticks created a spark, and set communication into motion.
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agni identity The design objective was to develop a branding identity for the satellite communication company, Agni. Using the Vedic deity, Agni, the official mediator between the heavens and earth as a model, the logo recreates the moment Agni originated: The striking of two sticks created a spark, and set communication into motion.
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agni identity The design objective was to develop a branding identity for the satellite communication company, Agni. Using the Vedic deity, Agni, the official mediator between the heavens and earth as a model, the logo recreates the moment Agni originated: The striking of two sticks created a spark, and set communication into motion.
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agni identity The design objective was to develop a branding identity for the satellite communication company, Agni. Using the Vedic deity, Agni, the official mediator between the heavens and earth as a model, the logo recreates the moment Agni originated: The striking of two sticks created a spark, and set communication into motion.
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agni identity The design objective was to develop a branding identity for the satellite communication company, Agni. Using the Vedic deity, Agni, the official mediator between the heavens and earth as a model, the logo recreates the moment Agni originated: The striking of two sticks created a spark, and set communication into motion.
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agni identity The design objective was to develop a branding identity for the satellite communication company, Agni. Using the Vedic deity, Agni, the official mediator between the heavens and earth as a model, the logo recreates the moment Agni originated: The striking of two sticks created a spark, and set communication into motion.
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never kill a unicorn The design objective was to create a series of three T-shirts using the common theme of “Never (ever) Kill a Unicorn.� Aimed at hip young fantasy enthusiasts, I chose to hand render these tees to appeal to the demographic. Each T-shirt communicates this motif using primarily image, typography or pattern, respectively.
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never kill a unicorn The design objective was to create a series of three T-shirts using the common theme of “Never (ever) Kill a Unicorn.� Aimed at hip young fantasy enthusiasts, I chose to hand render these tees to appeal to the demographic. Each T-shirt communicates this motif using primarily image, typography or pattern, respectively.
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never kill a unicorn The design objective was to create a series of three T-shirts using the common theme of “Never (ever) Kill a Unicorn.� Aimed at hip young fantasy enthusiasts, I chose to hand render these tees to appeal to the demographic. Each T-shirt communicates this motif using primarily image, typography or pattern, respectively.
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never kill a unicorn The design objective was to create a series of three T-shirts using the common theme of “Never (ever) Kill a Unicorn.� Aimed at hip young fantasy enthusiasts, I chose to hand render these tees to appeal to the demographic. Each T-shirt communicates this motif using primarily image, typography or pattern, respectively.
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never kill a unicorn The design objective was to create a series of three T-shirts using the common theme of “Never (ever) Kill a Unicorn.� Aimed at hip young fantasy enthusiasts, I chose to hand render these tees to appeal to the demographic. Each T-shirt communicates this motif using primarily image, typography or pattern, respectively.
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never kill a unicorn The design objective was to create a series of three T-shirts using the common theme of “Never (ever) Kill a Unicorn.� Aimed at hip young fantasy enthusiasts, I chose to hand render these tees to appeal to the demographic. Each T-shirt communicates this motif using primarily image, typography or pattern, respectively.
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never kill a unicorn The design objective was to create a series of three T-shirts using the common theme of “Never (ever) Kill a Unicorn.� Aimed at hip young fantasy enthusiasts, I chose to hand render these tees to appeal to the demographic. Each T-shirt communicates this motif using primarily image, typography or pattern, respectively.
bio
1
2
3
4
5
portfolio
6
7
8
resume
home
never kill a unicorn The design objective was to create a series of three T-shirts using the common theme of “Never (ever) Kill a Unicorn.� Aimed at hip young fantasy enthusiasts, I chose to hand render these tees to appeal to the demographic. Each T-shirt communicates this motif using primarily image, typography or pattern, respectively.
bio
1
2
3
4
5
portfolio
6
7
resume
home
portfolio packaging The design objective was to design an archival packaging system for ten projects submitted for a portfolio review. A box and ten folders‑ one for each design project enclosed‑ were hand constructed, and organized with an index and labeling system appropriating antique perfume bottle visual aesthetics.
bio
1
2
3
4
5
portfolio
6
7
resume
home
portfolio packaging The design objective was to design an archival packaging system for ten projects submitted for a portfolio review. A box and ten folders‑ one for each design project enclosed‑ were hand constructed, and organized with an index and labeling system appropriating antique perfume bottle visual aesthetics.
bio
1
2
3
4
5
portfolio
6
7
resume
home
portfolio packaging The design objective was to design an archival packaging system for ten projects submitted for a portfolio review. A box and ten folders‑ one for each design project enclosed‑ were hand constructed, and organized with an index and labeling system appropriating antique perfume bottle visual aesthetics.
bio
1
2
3
4
5
portfolio
6
7
resume
home
portfolio packaging The design objective was to design an archival packaging system for ten projects submitted for a portfolio review. A box and ten folders‑ one for each design project enclosed‑ were hand constructed, and organized with an index and labeling system appropriating antique perfume bottle visual aesthetics.
bio
1
2
3
4
5
portfolio
6
7
resume
home
portfolio packaging The design objective was to design an archival packaging system for ten projects submitted for a portfolio review. A box and ten folders‑ one for each design project enclosed‑ were hand constructed, and organized with an index and labeling system appropriating antique perfume bottle visual aesthetics.
bio
1
2
3
4
5
portfolio
6
7
resume
home
portfolio packaging The design objective was to design an archival packaging system for ten projects submitted for a portfolio review. A box and ten folders‑ one for each design project enclosed‑ were hand constructed, and organized with an index and labeling system appropriating antique perfume bottle visual aesthetics.
bio
1
2
3
4
5
portfolio
6
7
resume
home
portfolio packaging The design objective was to design an archival packaging system for ten projects submitted for a portfolio review. A box and ten folders‑ one for each design project enclosed‑ were hand constructed, and organized with an index and labeling system appropriating antique perfume bottle visual aesthetics.