Rachael Stamps Design Portfolio

COMMUNICATION DESIGNER RA C HA EL STA MP S

THERE HAVE BEEN GREAT SOCIETIES THAT DID not

use the wheel, but there have been no societies that did not tell stories.

-URSULA K. LEGUIN

A collection of images from places i have been and things i have seen. They are a glimpse of some of the best stories i have lived thus far.

i am a

DESIGNING

coffee loving

GLOBETROTTING CALIFORNIA DREAMING

storytelling

PHOTOGRAPHER

&

i want to hear your story Since I was a young girl I have always loved stories. Stories have the power to change our perspectives by giving us a sense of hope or despair, joy or GLVDSSRLQWPHQW $W DQ\ PRPHQW ZH FDQ ÀQG RXUVHOYHV KROGLQJ RXU EUHDWK in anticipation or rooting for an underdog. They make us empathetic by tugging on the heartstrings that make us human. They show us that we all deal with demons and we all dream of a better days; we all want to amount to something, and we all want to build a better future.

I believe the importance of design lies in its ability to tell stories in clear, simple, and often surprising ways. Products, processes, and spaces all have the ability to change people’s perspectives, improve lives, and bring people together.

My design process is about listening, internalizing, and communicating VWRULHV )RU PH GHVLJQ LV DERXW ÀQGLQJ WKH XQIROGLQJ VWRULHV WKDW WUDQVIRUP the way people do life.

R S 1985

PLACE OF BIRTH: SANTA BARBRA CA COUNTRY: U.S.A D.O.B: 08/5/1985

cultural & historical

001

08

influences

PEOPLE

[1]

[3]

Au

Po

en

fi

de

fa

author

politician

engineer

filmmaker

designer

family

[5]

ar

de

family

architect

designer

[4]

Au

architect

fi filmmaker

[6]

so

author

ar

[7]

fa

[2]

so social entrepreneur

[8]

en

social entrepreneur

Po politician

engineer

[1] arnold stamps grandpa

[3] frank loyd wright architect

[6] isambard brunel

[8] cliton global initive politicians

Every time I saw Grandpa, he had one question and one piece of advice.

“Now Rachael, what do you want to be when you grow up?” he would ask, to which I would answer, “I want to take pictures!” After giving me the scoop on how to make a profit by snapping shots for the Chamber of Commerce, he would lean in close and say, “Now, do you know what’s really important? Make lots of good memories, so when you’re old like me you have lots of nice things to think about.”

It was love at first sight when I saw Wright’s masterpiece house, Fallingwater. His ability to balance form and function has created some of the most meaningful spaces. My grandparents’ home was inspired

by Wright’s philosophy to bring the nature outside into the design of the inside. The home sits on a mountaintop in Berkeley, CA and is a beautiful example of using design to highlight existing assets..

One of the great British engineers of the 19th century, Brunel built twenty-five railway lines, over one-hundred bridges, including five suspension bridges, eight pier and dock systems, three steam-powered iron-hulled ships, and a pre-fabricated army field hospital. Brunel is a great example of asking big questions, keeping the whole world in mind, and creating solutions to change the way humanity lives for generations to come.

The 2012 CGI meeting in New York City was titled “Designing for Impact”. I’d always been a fan of the Clintons, but there was something about watching Bill sit down with world leaders that day that grabbed my attention. Each leader took turns explaining the issues their countries faced, and every audience member, along with the fellow leaders on stage, had a chance to gain new perspectives. There is no doubt that the Clintons have contributed an overwhelming amount of time, energy, and resources to third world development, but I think their real impact has come through creating opportunities for dialogue offering new chances for new beginnings and space to place new steps of change.

[2] madeleine l’engle

author

When I was thirteen, Aunt Pat gave me the children’s science fiction trilogy: A Wrinkle in Time, A Wind in the Door, and A Swiftly Tilting Planet. I didn’t read much at the time, but L’Engle’s writing style had me hooked. I was captivated by an imaginary world much different from my own on a faraway planet.

When I was older and about to move out on my own, Aunt Lorrain gave me L’Engle’s Walking on Water, a grownup book about art and faith.

Despite its grownup content, the writing style was just as effective, and it’s become my personal bible.

L’Engle challenges the artist to remain open, reminding us that we are not the creators, but rather vessels for creation to pour through: a philosophy I still cling to.

[4] paul polack social entrepreneur

In 2010, I had the chance to attend the “Design for the Other 90%” exhibition. As a humanitarian at heart who has spent time in the developing word, I was excited to see how designers were creating practical products for the 90% of the world that live on less than two dollars per day. Polack’s human-centered, design-based approach is something I want to incorporate in my work. I find nothing more exciting than design for the greater good.

engineer

[7] warren miller filmmaker

One mark of a great storyteller is the desire they plant in their audiences to go where they’ve been and experience what they’ve seen. Warren Millers’ action sport videos make me come alive in ways I can’t put into words.

Every winter season is started with my own personal screening of my favorite Warren Miller videos. I have a dream of taking my own aerial photography someday.

[5] alexy brodivitch

designer

Brodovitch worked for Vogue and was a master of using typography to support photography. He would align the text to curved lines taken right from the featured model. His blend of type and photography is chic, sophisticated, and highly effective.

“ There is noth ing orig ina l ab out me.

I am the c omb ine d effor t of e ver yone I have e ver met .”

- ukno wn

table of contents REFUGE BOARDS Brand identity | packaging

INTERNATIONAL DESIGN ENTERPRISE Technical illustrations

CAFE MAX

Brand identity | website

CREATE

Brand identity

NEW STUDENT ORIENTATION Art direction | illustrations

OLD COMPASS BREWING Brand identity | system

ZEROMILE

Integrated production director

AGAPE MERCY CHILDREN’S CENTER Public interest design

6 | GRANT HILLING RIDER

REFUGE BOARDS BRAND IDENTITY | PACKAGING

Refuge Boards is a skateboard brand that aims to create a nostalgic connection between the rider and the sport. Using strategic photography and branding, I conceptualized and created the Refuge Boards brand to connect with older riders dreaming of days gone by.

project one

MIND

BODY

SOUL

[A]

8

[B]

[D]

[C]

[ A ] The three main compartments contained within the cube that makes up the mark visually represent the brand’s philosophy about a rider’s relationship to skateboarding, implying that action often serves as a refuge for the body, mind, and soul.

[ B ] I designed the mark to be set in a selected color palette Ì VÀi>Ìi yiÝ L ÌÞ Ü i applying the identity to various products.

[ C ] Photography and image treatment play an important role in Refuge Board’s brand.

Photographing the featured rider was my favorite part of this project.

[ D ] A model store front represents how the brand could be displayed in a retail space.

9

[E]

[ E ] Stationary + business card [ F ] Catalogue cover [ G ] Product applications

10

[F]

[G]

11

12

INTERNATIONAL DEVELOPMENT ENTERPRISE TECHNICAL ILLUSTRATION I had the opportunity to intern at International Development Enterprises, D QRQ SURĂ€W GHGLFDWHG WR HQGLQJ SRYHUW\ LQ WKH GHYHORSLQJ ZRUOG E\ helping farm families access the tools and knowledge they need to be more successful and better their lives, not by handouts.

While at iDE I worked as a technical illustrator on end-user guides for a handful of products. I designed pamphlets that used these illustrations and could be printed on standard, low-cost 8.5 x 11 inch sheets of laser paper.

These pamphlets are currently distributed with the products.

project t wo

[D]

14

[A]

[B]

[C]

[E]

[F]

[G]

PROCESS My process began by interacting with the products I was asked to illustrate. I spent a good amount of time in the testing plot setting up irrigation and sprinkler kits. Once I had iÝ«iÀ i Vi` Ì i «À ViÃà v À myself, I set out to simplify the user guide. I often interacted with iDE’s Irrigation Engineer to verify accuracy.

[ A ] Treadle pump in action [ B ] Digital sketches of treadle pump components [ C ] Digital sketches of drip irrigation components

[ E ] Drip irrigation micro tube in action [ F ] Mini Sprinkler head in action [ G ] System operation schematics

[ D ] Compiled pamphlets 15

16

CREATE MSU DENVER BRAND IDENTITY

&5($7( 068 'HQYHU LV WKH ÀUVW YLUWXDO LQFXEDWRU IRU FUHDWLYH entrepreneurs in the United State. They provide business advisement, an 1100 square-foot showroom, and a marketplace site to over 60 creative industries and professions.

They approached MSU Denver’s Communication Design program to create an identity for their organization. We met with the leadership of CREATE MSU Denver several times in trying to land on a solid positioning for their visual brand. Ultimately, the mark I designed was chosen by the organization from the selections provided by each student in the class. They continue to use it in their marketing materials and online presence.

project t h r ee

[A]

[B]

[ A ] Stationary + business card [ B ] Window sign 18

PRO CES S SKETCHES PROGRESSION

Virtual Incubator F O R C R E AT I V E b u s i n e s s e s

19

20

CAFE MAX

BRAND IDENTITY | WEBSITE , ÀUVW PHW 0D[ +RSHZHOO $UL]PHQGL ÀYH \HDUV DJR +H KDG D GUHDP WR open a small European-inspired cafe in Denver. I started collaborating with him to create an identity that would represent his values for beauty, quality service, and to recognize his journey as a budding business owner.

Following many conversations, online video-conferences, and several photo sessions taken to capture the desired tone for the cafe, he and his SDUWQHU ODQGHG RQ WKH QDPH &DIH 0D[ DQG WRJHWKHU ZH VROLGLÀHG D PRGLÀHG lotus for the mark.

I proceeded to design and develop a website in line with Cafe Max’s clean, modern visual appeal.

Today, Cafe Max is open and thriving on East Colfax. It is a surprising breath of fresh air in an underserved part of town

project four

22

CAFE THE MARK

+

MAX PHOTOGRAPHY

The lotus is considered a sacred plant in many Eastern religions. It is an aquatic plant that is honored because of the way it pushes up through the mud to bloom on the surface of the water. Lotus are often found in less desirable places such as swamps. They are a surprising source of beauty to all who come across them.

The story of the lotus is symbolic of Max’s choice to open his doors in an underserved part of town believing that these communities are the most deserving communities We selected Century Gothic for Cafe Max because of its architectural nature. Max comes from a fashion design background and possesses a love IRU PRGHUQ LQWHULRU GHVLJQ DQG IXUQLWXUH 7KH VSDFH UHà HFWV KLV PXVH ZLWK a wide variety of designer chairs, lighting, and an entire wall dedicated to Wallpaper Magazine. .

23

[A]

[B]

24

[C]

[ A ] Store sign [ B ] Printed menu [ C ] Website

25

26

NEW STUDENT ORIENTATION ART DIRECTION | ILLUSTRATIONS

The Metropolitan is MSU Denver’s student-run newspaper. It’s produced E\ DQG IRU WKH VWXGHQWV RI 068 'HQYHU WKURXJK WKH 2IÀFH RI 6WXGHQW Media and has served Auraria since 1979. :KLOH , ZDV ZRUNLQJ IRU WKH QHZVSDSHU ZH ZHUH DSSURDFKHG E\ WKH 2IÀFH of New Student Orientation to create an engaging campus guide for incoming students.

I was placed on the project as Art Director. I created an illustrative visual ascetic and cool color palette that would stand out from the rest of the newspaper. I also produced all the illustrated assets for the project.

project five

28

My job was to cast my vision for the project in a clear and concise way, making it easy for other designers working the project to produce. I did this by creating mood boards that captured the desired tone, a design guide that ëiV wi` V ÀÃ] ÌÞ« }À>« Þ] and image treatment along with simple wire frames that communicated the high iÛi y Ü v v À >Ì ° / i foundation I laid allowed my team to work smoothly while consistently capturing the vision throughout their work.

PRO CESS MOOD BOARD SKETCHES PROGRESSION

WELCOME TO

Welcome Smart Traveler!

METRO CITY

(Talk about the smart traveler here)

The Smart Travelers guide to the best of Metro

“A tightly edited and ruthlessly reseatched guide for the discerning studentwho wants a true taste of the best Metro City has to offer”

How to use this guide Talk about icons and here

“Includes the ultimate places to enjoy healthy life styles, academis success, career planning and more!”

Follow these icons for holistic sucess

Loooking for something?

Places to be, sites to see and things you won’t want to miss City map Hear it from the locals Easy to follow guide!

Cover

Introduction

METRO CITY

City Rivews Get the local vibe

CITY MAP 1.The Tivoli

6 1 3

8

7

Before you travel Build your dream team

icon img

icon img

5

icon img

icon

2

2.Student Sucess Building

img

4 “This is the Tivoli where you can...”

3.Health Center

4.PE Building

5.Emmanule Gallery

9 6.Library

7.Art Building

8.King Center

9.Science Building

MAP + KEY

29

30

OLD COMPASS BREWING BRAND IDENTITY | SYSTEM

Denver, Colorado has a vibrant and evolving microbrew subculture PDNLQJ LW RQH RI WKH WRS GHVWLQDWLRQV LQ WKH 8QLWHG 6WDWHV WR ÀQG unique craft brews.

This subculture was the inspiration for Old Compass Brewing &RPSDQ\ D ÀFWLWLRXV EUDQG EXLOW DURXQG WKH FRQFHSW RI VRXUFLQJ XQLTXH à DYRUV IURP DURXQG WKH JOREH I designed the brand identity and system to support multiple series of products tied together by exploration and forms of navigation, such as the stars and Galileo’s sextant.

The brand is designed to be highly narrative in nature because, after all, there isn’t much in life that feels better than experiencing a quality brew and sharing life stories with good friends.

project si x

[A]

[B]

32

[C]

[D]

O L D C O M PA S S

B R E W I N G C O.

[E]

[ A ] Beer bottle labels

[ D ] Identity

[ B ] *À Ì > yÞiÀ

[ E ] Packaging artwork

[ C ] Staff t-shirts

33

34

ZEROMILE MAGAZINE INTEGRATED PRODUCTION DIRECTOR ZEROMILE is a student-run magazine that is produced and published by the MSU Denver’s Communication Design program twice a year. Each issue is unique to the class that creates it. The class decides the content, visual feel, and overall structure of the publication. The only limitation put on the magazine is the amount of funding that the class can generate to produce it.

I enjoyed serving as the production manager where I was responsible for supporting the creative team by overseeing production of the printed magazine and website.

project seven

[A] [B]

[ A ] Front [ B ] Back 36

[ C ] Letterpress belly band

[C]

37

38

AGAPE MERCY CHILDREN’S CENTER PUBLIC INTEREST DESIGN

$JDSH 0HUF\ &KLOGUHQ·V &HQWHU $0&& LV D KXPDQ VHUYLFH QRQ SURÀW FKLOGUHQ·V KRPH FXUUHQWO\ FDULQJ IRU WKLUW\ ÀYH RUSKDQHG DQG DW ULVN children in Kenya by providing them with shelter, food, and access to school. These basic needs provide some of Kenya’s most vulnerable citizens a chance to break out of the cycle of poverty and become contributing members of their communities. , ÀUVW OHDUQHG DERXW $0&& DW D FKXUFK VHUYLFH , DWWHQGHG GXULQJ WKH IDOO of 2009. I quickly got involved with efforts to raise funds, build awareness, DQG H[SORUH RSSRUWXQLWLHV LQ .HQ\D IRU $0&& WR EHFRPH ÀQDQFLDOO\ VHOI sustaining. After a series of failed projects I took a ten day trip to Kenya to YLVLW $0&& DQG REVHUYH WKH VLWXDWLRQ ÀUVW KDQG

project eight

[A]

After my trip to Kenya, I returned to MSU Denver to do a ` ÀiVÌi` ÃÌÕ`Þ Ì v VÕà iÝ« À } Ƃ

Ì À Õ} Ì i i à of human-centered design. I started this case study by asking, “How can design thinking play a role in equipping the AMCC children to overcome poverty and become contributing members of their communities?”

During the study, I compiled a seventy-page book that takes an honest and careful look at how AMCC came to be, why it iÝ ÃÌÃ] Ü Þ Ì Ã « ÀÌ> Ì] Ü Ì «iÀ>ÌiÃ] >Ã Üi >Ã ÌÃ } > Ã] limitations, and assets. [ A ] Compiled research These analyses of AMCC led to a recommendation for design thinking to be taught to both the staff and students through a series of workshops and hands-on projects. I will be returning to Kenya in 2014 to conduct these co-design activity workshops 40

[ B ] Photos I took at AMCC [ C ] Website, HTML CSS

[B]

[C]

41

THANK YOU I would like to thank my family and friends who have patiently supported me during the pursuit of this degree. You have all filled the last seven years with more love and beautiful memories than I deserve.

To my husband, Dan Laffin, thank you for the countless late nights, being with me through the grunt and making our day-to-day life so beautiful. You are gift to me. I love you more than I can say.

Thank you to Ed Popovitz and Walter Brekel at The Art Institute of Colorado for seeing a flicker of potential in me and pushing me to explore it.

Thank you to the Communication Design faculty at MSU Denver for your dedication to design and making the MSU Denver program one of the bestkept secrets in design education. I have learned so much from each of you and enjoyed our time together immensely.

A special thank you to Pete Laffin of Write On for last minute copy editing.

CREDITS BOOK DESIGNED BY RACHAEL STAMPS PHOTOGRAPHY CAPTURED AND EDITED BY

RACHAEL STAMPS COVER LOGO ETCHED BY

JOSH HARVEY ATTACHÉ HANDCRAFTED BY

ADAM BOVE CLAMSHELL BOX CONSTRUCTED BY

JONATHAN WILEY BOOK BINDING PROVIDED BY

PINA ZANGARO CONTENT DIGITALLY PRINTED BY

INTEGRITY PRINTING GROUP IN DENVER, COLORADO PHOTOS OF IDE USED WITH PERMISSION FROM

INTERNATIONAL DEVELOPMENT ENTERPRISES THIS BOOK FEATURES

AVENIR FOR THE HEADERS + GARAMOND REGULAR FOR BODY COPY PAPER USED IN THIS BOOK

80LB COVER OFF WHITE BY MOHAWK PAPER CO.

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