DESIGN WORKS
RICKY FRANKLIN
DESIGN WORKS
Graphic Design Portfolio by Ricky Franklin
Š Frederick Franklin, 2020 All Rights Reserved All content in this book was written and designed by Ricky Franklin, unless otherwise noted. Any reproduction of this book or the work therein without permission is prohibited.
INTRODUCTION
Hi, I’m Ricky. I tell stories through design. Welcome to my Portfolio!
my name is ricky franklin and I’m a storyteller. I love telling stories through graphic design, both empowering brands to tell their story and connecting it to the consumer’s story. The strong ideals I possess keep the value of the authentic human narrative behind my work, and treating all people with due respect means pursuing the needs and wants of real people. A passion for the rich heritage of art history informs my work in creating holistic brands with deeper roots than simply following the ebb and flow of design trends. My illustration-based method to design expresses a strong sense of personality that every brand needs in order to empathize with its audience. A conceptual approach to each aspect of the design process results in meaningful visual storytelling that will delight and excite your clients. Pendragon Design Works is a collection of work from my own story—jobs, clients, schoolwork, and personal projects ignited by my own passions. Please enjoy!
RICKY FRANKLIN
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Projects
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Mask of the Sentinels 33
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Centerpoint Church
Monsters of the World
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Driftwood 2019 19
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P E N D R AG O N D E S I G N WO R K S
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Avenir Norse 49
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Lindfors Farms
Spider-Man Symbol Evolution
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Ashlyn Craig Art & Embroidery 45
RICKY FRANKLIN
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P E N D R AG O N D E S I G N WO R K S
Centerpoint Church GRAPHIC DESIGN + PRINT DESIGN + WEB DESIGN + ENVIRONMENTAL GRAPHIC DESIGN
Photo courtesy Centerpoint Church
centerpoint church is a megachurch in Murrieta, CA with an average weekend attendance of over 3000 people. For almost 3 years, I was the in-house graphic designer for the church. When I first started my journey at Centerpoint, the church’s communications were disoriented—all independently created and distributed by 80+ organizations and ministries. Many of these communications did not align with the beliefs, personality, or the quality expected from Centerpoint’s experience. I worked with the communications director to transform the approval process for projects— allocating smaller projects to others while owning larger-scale projects myself. The structure I brought helped to unify Centerpoint’s brand, bringing a consistent story of life-changing connections told to and by all parts of the church.
You’re Invited Before the launch of each new sermon series, Centerpoint leaves a business card-sized invitation card on every chair for church attendees to give to friends. These cards are tactile touch points for potential guests to have a first experience with Centerpoint. The back of each card includes service times, contact information, and directions. RICKY FRANKLIN
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Telling the Right Story When I started working at Centerpoint, there were no brand guidelines or standards for internal stakeholders in creating communications and marketing materials that represented the whole church. Striving to avoid potential conflict of leaders miscommunicating Centerpoint’s beliefs and personality, I worked along-side the communications team to develop a brand guide to help leaders stay true to the church’s design and voice.
Brand Guide The inward-facing Brand Guide uses simple and straightforward language for all team members to reference. The small pocket-size book is a quick, easy resource for design guidelines, formatting, and standard information to be included in all visual communications.
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P E N D R AG O N D E S I G N WO R K S
1 // C E N T E R P O I N T C H U R C H
WELCOMe.
WELCOMe.
TEXT “CONNECT” TO 93238
CONNECT WITH US
Adult Name(s) Kid’s Name(s) Address
TEXT “CONNECT” TO 93238 City
Zip
CONNECT WITH US Phone First time visitor Adult Name(s)
Update my info
Kid’s Name(s)
I want to take CP 101
Tell me more about CP Kids Tell me more about CP Youth
Connect with me
Address City
Zip
Email Phone First time visitor Update my info
Tell me more about CP Kids Tell me more about CP Youth
I want to take CP 101
SERVICE TIMES NORTH
Recentering Stationery
SERVICE TIMES NORTH
Church uses a new pattern motif featuring
951-696-1002 24470 Washington Ave. Murrieta, CA 92562 mycenterpoint.tv
KALMIA
MADISON
KALMIA
The new stationery I designed for Centerpoint
WASHINGTON
JEFFERSON LEMON
SAT: 6 PM SUN: 9, 10:30, 11:59 AM
CAL OAKS
951-696-1002 24470 Washington Ave. Murrieta, CA 92562 mycenterpoint.tv
MADISON
JEFFERSON LEMON
SAT: 6 PM SUN: 9, 10:30, 11:59 AM
CAL OAKS
Connect with me
WASHINGTON
the icons of the church’s four values: Worship, Connect, Serve, Influence.
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RHYTHM
Below: Illustration detail
RH
Feel the Rhythm At the end of each summer, Centerpoint Church has
I championed the idea of creating a colorful, illus-
what we call an attractional series: a sermon series
tration-driven suite inspired by art and architecture
focused on practical, personal topics that leave the
of the Mid-century Modern era. The four rooms of
audience feeling inspired and engaged. These series
the design create a visual rhythm, with each room
are an invitation to new people and to families who
representing one of the four message topics. The
have not attended church due to vacations and other
nostalgic sensibilities of the decor juxtaposed with
plans. As this time had families getting back into
a vivacious color palette creates a memorable style
the rhythm of work and school, this series Rhythm
that urged people to come experience each message
promised to help guests to find peace and order in
in the series. The iconic style yielded itself to Mid-
their busy lives.
Century modern installations and stage pieces by the production team to flesh out the experience.
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Christmas at Centerpoint Christmas is one of the biggest times of the year for
In place of Centerpoint’s usual business-sized
Centerpoint Church. The Christmas Experience is
invite cards, this suite included larger printed cards
an opportunity for the church to reach many who
featuring upcoming seasonal festivities and a circular
are looking for something more during the holiday
invite card with a hole punch that can be used as an
season. The design for the Christmas experience
ornament on a Christmas tree as a reminder to join
needed to be accessible to a wide audience and
Centerpoint’s celebration of Christmas.
have a warm, inviting feeling.
Social Media Matters Centerpoint maintains an active social media campaign to stay engaged with church members online, to inform of special events and upcoming sermon series, and to share photos of folks enjoying themselves at Centerpoint events. Part of my duties in developing graphic suites for new series and events is the creation of graphics for Instagram and Facebook.
Left: Illustration detail
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TLC for the DLP We developed a dedicated landing page called “First Time” that gives a snapshot of the church, its beliefs, service times, and answers questions that are frequently asked by first-time guests like wardrobe, directions, and youth programs. Social media ads direct visitors to this informative page.
Strong Web Presence While the existing site was visually appealing, it lacked functionality and wasn’t accessible to older church members. We had to build a new website from the ground up. I spearheaded this project, building the new site with the Subsplash platform that the church uses for online giving. The new design focuses on simplicity and usability for all ages on both mobile and desktop platforms. Basic functions of the site include finding information about and signing up for events, watching past sermon videos, giving, and finding more information about the church. Left: Murrieta location mini-map Right: French Valley location mini-map
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1 // C E N T E R P O I N T C H U R C H
Counterclockwise from upper left: About, CP Youth, and Life Events pages
SEE EVENTS
SEE EVENTS
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Getting Around
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To improve the experience of guests and team members, I created environmental information
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graphics to ease navigation around Centerpoint Church. This included designing a map of the Murrieta church campus and parking lot, including all important structures as well as accessibility parking and restrooms, and mini-
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maps of the surrounding areas of Centerpoint’s two campus locations. In addition, I designed new environmental banners
BAXTER
LEON
NORTH
CAL OAKS
with arrows directing visitors to important locations.
MADISON
BR
P E N D R AG O N D E S I G N WO R K S
79 Left: Murrieta location mini-map
BRIGGS
KALMIA
LEMON 14
L. ALAMOS
GS
WASHINGTON
NORTH
IG
JEFFERSON
THOMPSON
Right: French Valley location mini-map
1 // C E N T E R P O I N T C H U R C H
Upper Left: Directional sign on campus (3×7') Lower Left: Backs of directional signs feature church values Above: Tagline banner on administrative office (10.5×14')
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Left: Centerpoint Worship sweater featuring lyrics from a song from their album Victory Has a Sound
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Face the Music
C ROW N E D I N V I C T O RY SHOUT V I C T O RY H A S A S O U N D H O LY I S T H E L O R D REWRITTEN MY ROCK ALL FOR THE ONE
Following in the footsteps of many other large churches, Centerpoint Church wished to develop a separate brand for their worship team for use in touring and concerts on promotional material and merchandise. This brand would stand by itself and represent the musical group but also maintain and represent the culture of the main church. The worship brand targets a teen and young adult audience, so would need to be flexible to accommodate more experimental applications based on current trends. Taking cues from the brand mark of the main church, an abstract compass, I kept the logotype consistent but designed a new mark as a reimagining of the compass concept.
Right: Centerpoint Worship projector slide samples
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Driftwood 2019 EDITORIAL DESIGN + ILLUSTRATION
driftwood 2019 creative arts journal, an annual publication by the Department of Literature, Journalism, Writing & Languages at Point Loma Nazarene University. This book showcases works of fiction, poetry, nonfiction, photography, film, music, and visual art submitted by students and faculty at PLNU. Driftwood 2019 needed to have a cover that was attention-grabbing and appealing to the college student target audience. This project also required a visual system and layout that would compensate and tie together the disparate genres of work.
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Inspiration images for the cover
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2 // D R I F T W O O D 2 0 1 9
The Roaring ’20s The style of the book is inspired by the Art Deco movement of the 1920s, drawing parallels between the spirit of the ’20s and today’s culture. I connected this celebration of literature to F. Scott Fitzgerald’s The Great Gatsby, a favorite novel of mine and one that is popular with many college students. The cover creates a sense of haven in reading and warm colors invite the reader to partake in this experience.
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Fair and Square During my audit of previous editions of the Driftwood Creative Arts Journal, I noted that while most of the portrait-oriented books were ideal for reading prose, this format disadvantaged landscape visual art and photography—requiring these beautiful images to be either awkwardly rotated or scaled. I decided to make this book a square page layout, giving room for all entries to breathe. Additionally, while music and film entries are usually included on a disc packaged with the book, I decided to utilize QR codes to reduce production costs and integrate relevant technology into the reading experience.
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v E Cc Rr EE AA TT II V
These badges mark the placing of different entries.
a r A R TT SS
JJ o O uU rR NN AA LL
Driftwood logo (top) and seal (right)
Marking the Genre A unique ornament graces the pages of each new section. These take inspiration from art deco patterns and architecture.
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Monsters of the World BRAND DEVELOPMENT + PRINT DESIGN + ENVIRONMENTAL DESIGN
monsters of the world is a fictional museum that houses artifacts of mythological creatures from all over the world. This museum is the definitive place to go for enthusiasts of history and mythology,
MUSEUM OF UNNATURAL HISTORY
and appealing to a wider audience of fans of fantasy stories such as Harry Potter and Game of Thrones. Unlike other museums, Monsters of the World is not a museum of natural history, but of un-natural history.
Monsters of the World includes interactive displays deepening understanding of mythological creatures.
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Inspiration artifacts: paintings, statues, and pottery that could be seen in this museum.
Right: logo mark concepts inspired by mythological symbolism, medieval heraldry, and abstracted letterforms
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3 // M O N S T E R S O F T H E W O R L D
Serpent Tail | #034d60)
Pixie Wing | #753d97
Basilisk Venom | #bbd531
Dragon Breath | #e13a26
Mermaid Scale | #44b3b7
Breaking the Surface After experimenting with different styles inspired by different art and design movements from antiquity, I decided to take a modern approach on the brand with an abstract logo mark representing a sea serpent breaking the water’s surface. The logo is modular and
32785 Hanover St. San Diego, CA 92106
can be separated to present the names of different creatures in place of the logotype. The stationery set makes use of a repeating pattern derived from the brand mark. The Monsters of the World story is zany, intellectual, and wondrous. The beasts depicted in the museum are presented with awe and are always spoken of as real creatures. All information in the museum is historically accurate to the beliefs and tales of the respective cultures.
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Beneath the Skin The artifacts are supplemented with illustrations and anatomical charts to deepen understanding of these unnatural beings.
Clockwise from bottom left: Werewolf skeleton, Hydra, Mermaid skeleton, Basilisk 28 
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3 // M O N S T E R S O F T H E W O R L D
gashadokuro
Keeping the Experience Going The mobile app interface includes a pop-up
gashadokuro gashadokuro
menu with icons for each function. The app houses infromation about each artifact as well as the background of different mythological creatures featured in the museum. Users can buy tickets from the app and navigate the exhibits with a digitial map.
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You can almost taste it... Monsters of the World has a variety of tacticle applications that together form a more holistic view of the brand story. This includes large banners that use the tagline as the hero message, brochures for individual specialty exhibitions within the museum, and other ephemera such as t-shirts and branded candies.
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Mask of the Sentinels COMIC ART + ILLUSTRATION + PRINT DESIGN + CONCEPT ART
mask of the sentinels is a 100-page fantasy graphic novel I co-created with my twin brother, Toby Franklin. Toby and I have been reading comics all our lives, and this project is a passion project for both of us. Toby wrote the script for the book and assisted with preliminary coloring, and I did pencils, inks, colors, lettering, and other designs for the book. The project took over 1,500 hours of labor between the two of us. The book was published digitally on Comixology in April 2020.
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Creating a New World The world of Mask of the Sentinels was one containing multiple different fantasy cultures: each with its own architecture, fashion, and religious beliefs. I created hundreds of concept sketches studying sculpture and architecture of real world cultures in order to create authentic-feeling locations and people groups in this comic.
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4 // M A S K O F T H E S E N T I N E L S
Process of a Page Each of the 87 pages of artwork in Mask of the Sentinels started as a 4×6" thumbnail sketch based on the writer’s script for each page. I then drew the pencils on 11×17” bristol board paper and inked each page by hand. Each page was scanned and colored on an iPad using ProCreate. Dialogue, panel lines, sound and other visual effects like rain are added with Photoshop and Illustrator.
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4 // M A S K O F T H E S E N T I N E L S
The world of Mask of the Sentinels is colorful and diverse.
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Above: Map of the Guarded lands included
Above: Masks used on title pages for each
in the front of the book
chapter
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4 // M A S K O F T H E S E N T I N E L S
Above: Early concept sketch, composition and lighting reference, and pencils Right: Final cover illustration
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Spider-Man Symbol Evolution INFOGRAPHIC DESIGN
Being a lifetime fan of Marvel’s Spider-Man character, I have read hundreds of comic books—from the early 1960s to present day—and experienced adaptations of the super-hero in a variety of media. I’ve always been fascinated with the evolution of Spider-Man’s chest insignia through over 55 years of content. Unable to find an accurate and aesthetically pleasing graphic displaying this dynamic change, I endeavored to create an infographic compiling big trends and milestones for Spider-Man’s symbol in comic books, TV shows, movies, and video games.
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Above detail: Post-Gwen Stacy’s Death (1973) Adapted from artwork of John Romita, Sr.
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5 // S P I D E R - M A N S Y M B O L E V O L U T I O N
Going Viral This infographic has become a widely shared image with millions of impressions across a variety of sharing and social media sites including Twitter, Instagram, Reddit, and Pinterest. It has been shared on Twitter by Bill Rosemann, the creative director of Marvel Entertainment, Insomniac Games, the developers of the 2018 smash-hit Playstation 4 Spider-Man game, and Dan Slott, the writer of the Spider-Man comics for over a decade. The graphic was also featured in an article by Jenna Anderson on Comicbook.com, a major news site for fans of comic books and their movie and TV
Finding the Big Changes
adaptations. My infographic has been shared by comic book fan pages with huge followings, and
I sifted through hundreds of comic book covers
many have engaged with this graphic in picking their
looking for meaningful changes in the spider icon,
favorites. This infographic started a conversation with
like the size of the body and the direction and shaping
hundreds of thousands of fans among Spider-Man
of the legs. While the symbol is drawn differently
fans and design lovers alike.
by every artist—and even in every comic panel by a single artist—I kept the major changes that had a lasting impact of the appearance of the character. For some costumes that had a symbol wrapping around Spider-Man’s chest onto the shoulders and back, it was a challenge to decide how this would translate to a flat one-color symbol.
Above detail: Adapted from artwork of Eric Larsen (1990)
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Ashlyn Craig Art & Embroidery BRANDING IDENTITY
ashlyn craig is a local artist in San Diego who works in colored pencil, paints, linoleum printing, and embroidery. She sells embroidered patches and other pieces on her Etsy store. Ashlyn’s work highlights the beauty of nature through subject matter of produce, plants, and landscapes. Ashlyn needed a brand to supplement the presentation of her work on social media and to her online customers. Ashlyn hired me to develop a brand mark and business card design.
Opposite: Colored pencil printed postcards by Ashlyn Craig Above: Embroidered hoop by Ashlyn Craig RICKY FRANKLIN
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Above and below: Concept sketches for Ashlyn Craig logo mark
A Pinch of Nature To best represent Ashlyn’s work, I experimented with images of fruits and vegetables which characterize her work. Thinking these might be misleading as to the nature of the brand, I ended up with an AC monogram that was placed within an organic container shape Below: monogram logo drafts
inspired by these natural food forms that characterize her work—specifically the shaping of artichokes, avocados, and eggs.
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6 // A S H LY N C R A I G
Below: Business card design, featuring a colored pencil piece by Ashlyn Craig
An Artistic Experience I simplified the monogram mark and used a complementary serif type-face set in lowercase to communicate a friendly yet elegant personality. The brand mark can take a subordinate role when used in white as a simple stamp on her artwork, letting her work speak for itself. For the business card I used one of Ashlyn’s colored pencil pieces of an artichoke, using a clean layout to provide contrast to the artwork’s detailed style. For her Etsy clients, Ashlyn delivers packaged art and embroidery with a business card and stickers of her brand mark, encouraging word of mouth promotion.
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V A L K Y R I E
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Avenir Norse TYPEFACE DESIGN
For years I’ve been fascinated with Norse mythology and culture. One of the most intriuging developments of this people group was their written language. Second-to-12th Century Scandinavian peoples in what is now Norway, Sweden, Denmark, Iceland, and Finland used a runic alphabet carved on the surface of large stones. The runic alphabet died out following the spread of Latin but lives on today in fantasy franchises like Lord of the Rings, Harry Potter, Marvel’s Thor movies, How to Train Your Dragon, and videogames like Skyrim and God of War. While these runes are prevalent in popular culture today, there weren’t any well-designed typefaces bringing these ancient runes into the modern world... Until now!
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Reviving a Dead Language This alphabet is a combination of Elder and Younger Futhark runes used by ancient Norsemen carefully adapted to the form of Avenir, a popular geometric sans-serif typeface in modern Scandinavian design.
Above left: Scandinavian manuscript written in runes Above right: Viking runestone
The Sincerest (Letter)form of Flattery I printed out a type specimen of Avenir Next, marking the baseline, cap height, and x-height, noting the subtle curves and angles of the Latin letterforms. Starting with pen and pencil, I sketched out the runes, simplifying their forms while imitating the modern design quality of Avenir.
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7 // AV E N I R N O R S E
The first 6 letters of the runic alphabet
Uses for Avenir Norse This unofficial font expansion for Avenir Next is perfect for use in fantasy and Viking movies and shows, video games, books, comics, or tattoo designs.
Comparing runes with similar Latin letters
Thor
Loki
Valhalla
Fenrir
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Fé
(f)
“wealth”
Haglaz
(h)
“hail”
Týr
(t)
“Tyr”
Úr
(u)
“rain”
Nauðr
(n)
“need”
Bjarkan
(b)
“birch”
Thurs
(th)
“giant”
Isa
(i)
“ice”
Ehwaz
(e)
“horse”
Ansuz
(a)
“Aesir”
Jēra
(j)
“harvest”
Mannaz
(m)
“man”
Reið
(r)
“ride”
Perþo
(p)
“pear tree”
Lögr
(l)
Kaun
(k)
“ulcer”
Eihwaz
(Ï)
“yew tree”
Ingwaz
(ng) “Yngvi”
Gebō
(g)
“gift”
Algiz
(z)
“protection”
Dagaz
(d)
“day”
Wunjō
(w)
“joy”
Sol
(s)
“Sun”
Ōþala
(o)
“inheritance”
“lake”
Each rune represents a vocal sound, but also holds the meaning of a word or god.
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AV E N I R N O R S E
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Lindfors Farms BRANDING IDENTITY
Lindfors Farms brand mark in use on roasted chili pepper flakes product package. Packaging and photo courtesy Christian Lindfors.
lindfors farms is a small farm in San Diego owned and maintained by urban farmer Christian Lindfors. Lindfors Farms offers a variety of homegrown organic vegetables, spices, and other produce to local restaurants and farmers’ markets. Christian approached me needing a brand mark that could be used as a stamp on packaging and labeling materials as well as in digital marketing and social media. Christian desired a mark that captured the essence of a homestyle American classic, something that appeared timeless but also relevant in the digital world. Lindfors Farms had to feel homemade, not machine-made.
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Above and left: Concept sketches for Lindfors Farms logo
Right: Completed logo mark
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8 // L I N D F O R S FA R M S
#999966
#1b524f
#373b48
#478d95
A Homestyle Farm
Roots in Retro
In the sketching phase I started out with literal
I took stylistic inspiration from pop art advertise-
interpretations of “homestyle” and urban farming
ments from the 1940s and 50s with intense lights
with images of California houses as illustrated marks.
and darks. The color palette is muted and earthy.
I also tried out Art Nouveau-esque letterform marks
I developed both a full color trademark for social
with leafy motifs, which would be successful as
media and other advertising purposes as well
stamps. I took inspiration from iconic food industry
as a black and white version for use on simple
mascots that give that “comfort food” feeling, and
labeling and packaging. The illustrated logo is
sketched a few possible mascots. I tested the use of
intricate but the image is simple and bold.
Christian’s own image as a mascot as well as a jolly scarecrow—both offering a sense of a “classic farm” and a versatile icon usable on a variety of products. The concept we decided on was a simple icon of a fistful of kale being picked from the ground and being handed to the customer.
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Thank You To my professors Wendy Belt, David Adey, and Courtney Mayer for teaching me everything I know and pushing me to strive for the best I can do.
To my family and friends For supporting me in my creative endeavors and putting up with my big dreams.
To you For taking interest in my work and the stories I have to tell. I'd love to work with you!
Design Ricky Franklin
Printer Blurb
Paper Proline Uncoated 100#
Typeface Sofia Pro Bold Farnham Display
Software Adobe Creative Suite 58 
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show your story. 951 973 3767 rickyfranklindesign@gmail.com rickyfranklin.myportfolio.com @rickyfranklindesign