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Everything is about becoming Niek Bisscheroux. Dean, ABKM

What sort of training have you had? I am an architect. In 1980 I started studying architecture in Delft. In the 1980s there was a comparable crisis in construction work as there is now. Nothing materi-

Architecture (Academie van Bouwkunst) Maastricht. This is how I came in contact with the Academy of Architecture. During this period, together with some fellow architects I wrote on the Architectural

alised. The neo-liberalism of Thatcher and Reagan emerged. Mortgage interest rates of 12 percent existed. After I rather successfully studied for some time, because of the limited job opportunities I entered regional politics and also became a member of the editorial staff of OASE. Currently, this is the most important magazine on architectural theory in the Netherlands. It occurred as an initiative by students. After my graduation, I have worked at Rotterdam and Maastricht architectural firms for some years. In 1991 I started out my own firm in Maastricht. In that same year, I was asked to carry out a quality survey for the Academy of

Guide (Architectuurgids) Maastricht 1897 – 1997. Young architects with modern opinions did not easily obtain a building/ construction approval. They were told time and again: ‘This is not Maastrichtlike’. That did not exactly motivate them. Together we agreed to demonstrate how un-Maastricht Maastricht is, and what is no longer recognised as such. We could for example show the Liège influence, or the American influence of F.L. Wright. If one does not have any knowledge of that, everything is ‘Maastricht-like’. Since 1991 I have held all sorts of positions at the Academy of Architecture: teacher, teaching coordinator, etc.

In 2006, I was appointed as director, and later in 2008 as director of the Maastricht Academy of Fine Arts and Design (Academie Beeldende Kunsten, abkm). Two years ago, I have discontinued my own

self-willed artist. Often, one has to take decisions in between those two interests. Although you all pursue a common goal. It is thereby important to find a balance of giving and taking. As a director, you

architectural firm.

often have to take the final decision. But what I regard as the real challenge is that together you work on the quality of education. That this institution is proud on what it creates. A rather important assignment. There is society that tells us: â&#x20AC;&#x2DC;here you have a bag of money, and see to it that our youngsters receive decent educationâ&#x20AC;&#x2122;. Then you do not want that the money ends up at the wrong places. You are always in search of efficiency and quality of teaches and programmes. It is simply your task to life that quality, or to keep it at a high level. I think that throughout the past years we have made a tremendous effort at that. The money

How would you describe the responsibilities of the position of director of the ABKM? The official duties of the director are that you are integrally responsible for the quality of the organisation and the education. You are the final person who is held accountable for the results. As a director, you are also ultimately responsible when it comes to security. Of course, one delegates. At an institute such as the ABKM, you always face contrasting interests, but there also lies a challenge in dealing with the creative,

should go to education. For some this

What does my work consist of?

might sound very strange, but it annoys me when a window is open whereas the heater is running at top speed. That is like throwing money out of the window instead of spending it on education. Within the framework of connections, it is important that you participate in the national and international debate on art. What is quality, what is your social responsibility, in the environment, in culture? I find that the hardest part. You are not assigned to do that, but still it is something you should do. You have to keep the foundation of your institution in touch with reality, in your social environment.

On the work floor, the day-to-day activities mainly consist of talking. The real work is to recognise perspectives, though. Stars at the horizon: where do we all want to go to? How can you get everyone in on that? That is the real work. The essence consists of formulating and motivating strategic objectives. That is not always easy, especially not when you have many departments. This applies in particular at an art institution, where everyone is educated to have his/her own opinion and to subsequently express that. An institution with different characters and opinions. One person wants that the director has an artistic vision, whereas

the other absolutely does not want that. Because: ‘I already have one myself’. Then it is important that you collaborate

correct for the cultural field in which we as Academy of Fine Arts and Design operate. I always call this field the ‘banana’

smoothly, that the relations are sound, the relations on the work floor are pleasant, and we respect each other. Which for that matter does not mean that one cannot address one another, or evade the professional debate.

from Antwerp to Basel. A Rhineland field with a different point of view, which distinguishes itself from the rest of the Netherlands. I have sometimes even asked at the Academy: with which country would we want to enter into connections? This resulted in: South America, Brazil, and India — and not the Anglo-Saxon countries or China. We also do a lot of business with Germany: we have many German students. This also proves how easy we operate within this field.

What are the strengths of the Academy? The strengths of this Academy are the work places and the diversity that we offer. Our scope is reasonably wide. We can offer a lot. We have many work places, which primarily consist of materials. However, the true value is the people, with their knowledge, skills, and experience. Take for example the gypsum, ceramics, or graphics work place. The knowledge behind those is always incorporated in the people. That is incredible, and for that matter the whole craftsmanship displayed is. Apart from that, I consider the atten-

Why should ambitious and talented students choose for the ABKM? There are three types of students: students that you only need to facilitate, that are extremely motivated and ask their own questions; students that you can lift to higher grounds in this institution; and students that do not belong here.

tion for the (designing) process a grand force of our institution. The way in which we time and again know how to transfer that to students, without spending too many words on it. One does not say: ‘we will spend a lesson on the process’. No: you let students do something and thereby provide them with feedback. Thus the realisation of the process ‘grows’ in students. Without you making it immediately explicit, or stating it rationally. In relation to connections, I can state that we are in a fantastic cultural environment here: the Southern Netherlands. As the saying sometimes goes: the North has the Word, we have the Image. This is also

Certain professions have a certain (high) cachet in the outside world, such as pilot or surgeon. But rarely someone thinks of a micro-surgeon, for example. To some extent, the artist also belongs to the higher cachet. The profession has a certain status. I for myself believe that choosing this profession is an emotional choice. You want to express something. By the time you want that, you also need to have talent! At this institution, we can further develop that talent. That is because we have all knowledge and skills that I just mentioned available here. That is present in the people that facilitate, stimulate, challenge, etc. the

students here. In that sense, I believe you can choose for this institution. You will not leave here before you have learned

at Fashion & Textile. Such transverse connections are extremely important, I believe. Whereas at the same time, each

something. ‘Lerne mit mir’ (Learn with me): a quote by Bertolt Brecht. Of course, one person knows more than the other. Knowing more about failure. The person who knows more about it can of course also decide quicker to cut off certain alleys. Although sometimes, you have to walk them yourself in order to experience them. As Samuel Beckett said: ‘Failure. Start over again, and then fail even better’. All knowledge and knowing are the byproduct of an evolution of failure.

Academy has its own solidly anchored core that is enhanced with domain-specific research. Of course, we faced heavy times in the field of art throughout the past years. Politicians believe that artists have become too dependent on society. It can indeed be an emotional decision to become an artist, but it should mean that you subsequently act as a dependent person. There we also made significant progress. By strongly integrating entrepreneurship in the curriculum, but also by taking away the fear of being independent. Therefore: providing the skills in order to be able to keep your head up in the outside world. This also includes networking, and establishing connections. That is something you can learn.

The ABKM in 2023 The Academy will then no longer exist. It will continue as a trademark though. In the past one and a half years, within the arts we have worked on a new directive mission. A plan was formulated on how we will continue with the ABKM. The ABKM will be split up into 4 Academies: •

• • •

Academy of Architecture (Bachelor of Interior Architecture, Master of Interior Architecture, and Master of Architecture); Academy of Arts Education: educating art (dbkv), in formation; Academy of Fine Arts and Design; Academy of Media, Design and Technology

At each Academy, one Master title is included or under development. The interesting thing will then be that a student of Viscom can very easily enter the metal work place, or that someone from architecture can then create fabrics

Do you look at the works of students yourself? Of course I do! I learnt a lot from Fashion design. Great department! In the beginning, when I just arrived here, I did indeed know who Lagerfeld or Gaultier were, but furthermore very little. Then, when it was our turn to receive the Hustinx Prize, it went to a boy from Fashion — I saw his collection and I was enormously impressed, I immediately understood what that profession is about. Architecture is my background, those departments are simple, and I see all works there. Jewellery & Product is also a bit of my background. My father had a contracting business and a carpenter’s workplace. We constructed garden furniture, bookcases,

and beds. With regard to ceramics, I had to learn a lot, but that went relatively easily. The most challenging department is the Autonomous one. I was raised rather

then return to architecture. In the agreements reached between the Arts and the Board of Directors, we have formulated important spearheads. One of them

classically. In my own graduation works, I made use of paintings by Max Ernst and LĂźppertz. The vision of colour schemes and the three-dimensional concept. I then translated that into architecture, so I can make connections with it. However, the current conceptual production is accessible, although not always easy.

includes how we will cooperate in this field of culture, with institutions such as the Jan van Eyck Academy, NAI, University of Maastricht, colleague institutions, the authorities, Marres, etc. What I also find particularly special is that we have developed far stronger relations with the intermediate vocational education in order to increase the outflow from there. I regard that as a merit in view of the framework of the development of talent. Once there are no options for expression, one can also not develop them. You wonâ&#x20AC;&#x2122;t

What are your plans for the coming academic year? After five years of service, in September I will quit as director of the ABKM. I will

easily see an ice-hockey player in Zambia. Talent is always sparsely available, as is intelligence. So, if you want that talent to be developed, there also must be a

tects. But we have so much technique here as well as knowledge with regard to educating architects, and indeed of artists. Then my thoughts are: why not export

closeness and appreciation of the arts. Where there are no museums, no crafts lesson at primary and secondary school, one can also not develop talent. Then you are the ice-hockey player in Zambia. Those are the connections as well. One has to do that with people who organise the educational field: the province, the authorities, the schools. This is of course all accompanied with a lot a talking and discovering common goals. The Dutch Architects Council for example wishes to educate fewer archi-

that? It is indeed important at that to choose, and if one makes choices, you also look at your partner: I believe in people, I believe in personal contacts, and that one must maintain contacts. That is what I wish to spread at the Maastricht Academy of Fine Arts and Design.

The Maastricht Academy of Fine Arts and Design offers a general foundation course (Propedeuse/Propedeutic). This means that in their first semester, students follow a common study programme, but are able to determine their own courses as their studies progress. Sound study advice and supervision allow students to gain a valuable insight in their own talents and capabilities.

Propedeutic Year

12 12

One big advantage of studying at the abkm is its small-scale character which means that students are given a lot of individual attention. The study programme offers a wide range of courses, in

own qualities and possibilities for further study. At the end of the academic year, a panel of tutors grades the studentâ&#x20AC;&#x2122;s portfolio and progress individually; in these meetings, decisions are made with

which an understanding of the specifics of several professions is deemed essential. Choices in the second semester are made according to personal affinities and sensitivity. In the second semester there are interdisciplinary projects in which two departments take responsibility for a project. The project provides the student with an increased insight into his or her

regards to continuation of studies in one of the available bachelors. The study also includes a great deal of scope for theory which should enable the student to determine his or her own artistic position. Qualities such as boldness, curiosity and ambition are important assets to studying successfully at an art academy.

Domino Vugts First-year student Who are you, and what do you do? I am Domino Vugts and currently attend the foundation course at the ABKM. Which work you created during the foundation course are you proud of? And why? I am very proud of the work I have made so far/is underway at the design lessons. During those lessons, they leave you relatively free in designing a new design for the fashion and interior design branches. During my previous education (ROC Eindhoven, Fashion) I was used to do this with a computer. Now we have to work by hand. And apart from that, a number of pictures from the photography lessons turned out well too!

Will you also follow the department for which you came to the ABKM next year? Yes. I came to this education with the idea to continue in the fashion branch and I certainly intend to continue that. Yet, I am still hesitating between Fashion and Textile. How do you view yourself at the ABKM in the coming 3 years? The coming 3 years, I envision myself at the Fashion or the Textile department. Obtaining ever more width and depth in the fields of fashion and textile. Where do you get your inspiration from? I get my inspiration from many things. For instance, moments you experience yourself, television, the Internet, friends, family, museums, etc.

Do you have any suggestions for future first-year students?

fashion topics during the first two periods. Still, I will push through with the general

I myself had sometimes difficult moments during the general first year, since my choice for the Fashion department was already made before I came here. And if you know that well which direction you want to go, so many other topics only result in doubts on whether I had selected the right education. I dearly missed the

year since I encounter things I learn from every day, of which I believe that I can use them later in the fashion branch. My suggestion is therefore: think properly whether you really wish to attend a general (broadening) year, or immediately want to specialise in your own direction.

Sem Cuijpers First-year student Who are you, and what do you do? My name is Sem Cuijpers, I just turned 19, and currently I do everything I am being asked to do in order to obtain my foundation course graduation. Will you follow the department for which you came to the ABKM next year? At first, intention was to obtain my foundation course graduation at the ABKM, since I subsequently wanted to go to Antwerp. Around the time of my admittance I was however already registered with the teacher’s education, and throughout the past academic year it really has become and staid my favourite. I am still young (compared to many fellow students) and want to orientate myself as broadly as possible, and not stick to a specialised direction yet. Spe-

cialising is something I can still always do, and the package the teacher’s education offers me appears to be the best beginning for me. How is the bond between you and your fellow students and the teachers? The bond with my fellow students is rather good, thank you, and of course there is always a number of people you can get along with, and of course I stick with them. I do try to keep a little distance though when it comes to how I profile myself in the presence of others; I distanced myself a bit from the negative energy that others can give you. It is already difficult enough with the work load in order to get everything arranged at school, and as long as I stay in my own ‘bubble’ and keep myself busy with myself, I perform best.

16 16

How do you combine your private life with your studies? I try to combine my studies and my social

Do you have any suggestions for future first-year students? My suggestion for future first-year

life with each other as good as I can. Of course there is loads of work to do and you are engaged in school a lot, because of which you have less time for other things. But one has to set priorities and just follow your heart. There is certainly still time available for friends, parties, or a side-job. You only must be able to properly plan and combine those. And as long as you enjoy what you are doing, you certainly will get your satisfaction.

students is that they should be very open to learn new things, but also to discover new things at themselves. You will indeed be confronted with yourself and learn to know yourself better as well. Therefore, stay with yourself and donâ&#x20AC;&#x2122;t pay too much attention to others. Everyone has his own style and method of working, so donâ&#x20AC;&#x2122;t let yourself being made insecure, but indeed try to learn from each other!

‘Das Draussen bedeutet nichts mehr. Und sogar, höchstes Paradox, die Dimensionen der Körperlichkeit haben keinen Sinn mehr, weil eine neue Dimension geöffnet worden ist: Die Dimension der Innerlichkeit ...’ — Gaston Bachelard, Poetik des Raumes, 1957

Architecture

The bachelor education Architectural Design focuses on investigating existing architectural structures as well as the changing thereof.

The first 8 periods are offered in the form of the project education. The furniture and product design as an integral part of the space are addressed in the practice

Architectural Design is regarded as understanding (being able to ‘read’) and to change (design) the architectural substance into architectural spaces/ structures whereby the experience and the communicative aspects are at the centre point. By means of project education/problem related education, this is presented with mainly fictitious (practice) assignments. After obtaining the foundation course graduation, the student starts with the project education which is subdivided into education periods of 10 weeks, 2 educational periods per semester.

assignments. The technical aspects such as construction and architecture will be discussed partially as lessons and partially as part of the design assignment. The theory is represented as essential part in the educational programme and plays a dominant role in the reflective framework. After successfully completing the first four educational periods of architectural design, it is necessary to make a choice between one of the two outflow profiles, namely Architectural Designer or Interior Designer. The profile of Architectural Designer is based on the inflow qualifications of the Master Education Interior

Architecture Maastricht, and the thereto necessary development of the problemquantifying and problem-defining capacities. The profile of Interior Designer

sists of a practice and a theory part. The Architectural Design Department works with prominent professionals, interior architects, designers — so to speak with

focuses on the vacuum that came into being by the emergence of the Master Education and the legally required Professional Experience. There is a need for practice-oriented Interior Designers with Higher Vocational Education level which work as Assistant or Independent Designer in the executive servicing branch. After successfully obtaining educational period 8, this profile Architectural Design has an internship period lasting 100 business days. Once this internship has been successfully concluded, the student works on the final exams during the two last educational periods.The final exam con-

representatives from the field, for reasons of topicality, contribution of professional knowledge and professional experience. The Maastricht Academy of Fine Arts and Design offers, in succession to the profile of Architectural Designer, a two-year Master Education Interior Architecture which entitles to registration in the Architect’s Register after two years professional experience.

Tijl Beelen Third-year student 22

What are you currently busy with? Reconstruction of Klaasen home by architect Gerrit Rietveld. Actually it concerns an existing house that was once designed

What sort of internship would you like to follow, or have you already arranged for one? I would like to follow my internship at

by the well-known Dutch architect Gerrit Rietveld. The assignment included to adapt it into a house that is suited for a family of 4. What you then first do is to think up a family, since that is important for your design. Subsequently, you carry out analysis and finally think up a concept. My concept is currently to bring the house more in contact with the nature surrounding it. Apart from that, I liked to once design a large villa, you know, such a home with a wow effect. I think I was successful at that: I myself would want to live there indeed.

a large interior design company. In fact, I just completed my portfolio, which was an enormous amount of work, which I absolutely had not taken into account ... But well, I meanwhile made it all, so now I can start looking for a fine internship. I think that in future a large company also looks good on your CV, which is of course interesting in itself. Furthermore I believe that a large company offers far more opportunities and experiences as far as assignments and projects are concerned, which after all is the objective of an internship: acquire experience.

How is the bond between you and your fellow students and the teachers? Well, that is in fact quite good, of course between the students themselves, but what I especially appreciate is that you communicate with the teachers on an equal level. That makes the gap between teacher/student a lot smaller. No strict, conservative â&#x20AC;&#x2DC;Sir/Madam, may I please ask you somethingâ&#x20AC;&#x2122; scenes, no, just talk to each other like you talk to your parents or friends. Sometimes a little joke in between, that simply makes it all somewhat light-heartedly. Although I do find it important that it remains respectful. Where do you get your inspiration from? The Internet, magazines, tv/films, and just the things that you hear and see around you. Actually one can indeed use everything as a source of inspiration, but it comes to it to make the right choice. I just realise that I am almost always busy with my designs, when not on holiday and that sort of thing of course. For me simply applies that I completely indulge in something and also cannot let go of it that easily anymore, although I should sometimes. But anyway, that does often result in a lot of fine ideas, also from unexpected input such as discussions with my grandma or so ... I can find inspiration

in almost anything, so that is pleasant. The problem is often also that one cannot simply say: okay, now I am going to look for inspiration ... That very consciously searching for things does not work, as far as I am concerned, at least not for me. It has to happen from itself, suddenly just occur in your mind, and then you have to get going with it. With which programs you mainly work? Vectorworks, SketchUp, Photoshop, InDesign and Cinema 4D. But particularly with Vectorworks. I mainly use Vectorworks to draw my designs. Maps, cross-sections, views, details, you name it ... I all make them in Vectorworks. Actually, in that program you construct your complete design in 2D. From Vectorworks I also create my plots and presentation posters. Besides the 2D drawings, I also create 3D impressions and models. I use SketchUp and Cinema 4D for that. SketchUp is a program that is really easy to learn, and is still indispensable for me since it works so fast, especially when you are a bit better at it, as I meanwhile am. Cinema 4D is a somewhat more extended program in which you can also work with light and materials, because of which you obtain real-life ghosting.

Communication and Multimedia Design 26

Communication and Multimedia Design (cmd) is more than ever a field of expertise

an innovative approach towards multimedia. They integrate creativity, empathy

that walks the fine line between technology and (creative) design. The transition from an information society into complex communication society evokes a strong demand for professionals who can pick up the signals of societyâ&#x20AC;&#x2122;s demands and transform them into interactive media solutions! cmd graduates are creative problem solvers in Interactive Media.

and rationality, in order to effectively meet the needs of future users as well as the requirements of organizations. They use a variety of research and design methods and technologies. cmd graduates are what we like to call â&#x20AC;&#x2DC;T-shaped peopleâ&#x20AC;&#x2122;: they have a deep understanding of the field of Interaction Design and Multimedia Design, but also possess general knowledge in the broad fields of communication and media, marketing, multimedia technology and project management. This broad knowledge enables them to interact and work together in multidisciplinary teams, where they add value by bringing their own specific

Our view on the profession Graduates From the Maastricht educational program of cmd develop communication solutions for the global knowledge-based economy, with a specific focus on services, experiences and creativity. To that end they use

expertise to enrich the end result. Most graduated cmd professionals work in the

from peopleâ&#x20AC;&#x2122;s behavior, their needs and requirements. According to this set of

dynamic world of the creative industry in various jobs. Think of jobs like interaction designer, user experience designer, multimedia designer, webdesigner, multimedia developer, front-end developer, project manager, or art director. An increasing percentage of them start their own company or work as a freelancer.

requirements he/she determines to a design solutions by linking multimedia (text, photo, video, audio, animation) with interactive devices enabled by available technology. During the main course of the cmd program, students have been able to specialize themselves in a specific field of interest within the extended body of knowledge of Communication and Multimedia Design. It depends on their own ambitions, talents and skills, whether they profile themselves in the field of Interaction Design or Experience Design, or within the field of Multimedia Design. Interaction Design deals with the design and development of interactive media

cmd specializations Human-centered design is an important principle when developing interactive media solutions for communication purposes. Peopleâ&#x20AC;&#x2122;s experience comes first. During the creative design process the cmd professional thinks and works

for the publicâ&#x20AC;&#x2122;s daily usage with focus on functionality. This is closely related to Experience Design, in which the focus is placed on the quality of the experience while using new media and technology. It is important that users appreciate the use of interactive media as meaningful, useful, instructive, easy and sensible in their daily life. The ultimate goal is to provide them with an â&#x20AC;&#x2DC;optimal user experienceâ&#x20AC;&#x2122;. Multimedia Design deals with creating, designing and developing multimedia

applications that make sense. Applications that tell interactive stories or messages with which the user can interact or play in order to immerse him. These may be dynamic websites, but also animations, serious games, film or audio-video products. As a multimedia designer you will be challenged to be creative in designing meaningful content and to tell an interesting story using the strength of text, image, audio and video.

Fashion and Textile Design 32 32

The Fashion and Textile Design study programme at the ABKM has gained a high profile on a national as well as interna-

students’ work. Our department gives a lot of attention to the materials themselves and provides valuable advice to its

tional level. The programme is run by an ambitious team of lecturers and teachers. They are professionals in their respective fields who combine their own work with giving lessons in the department.

students. We encourage them to follow their own paths: they are certainly not clones of their teachers. They learn how to use their own strengths and weaknesses and develop their own visions. We encourage self-study and emphasise the importance of research, innovation and a modern outlook. To this end, we organize regular excursions to expand the students’ perspectives beyond their chosen field, for example, by visiting a variety of museums. The development of professional expertise is our first priority, both on a technical level as in terms of design. Students are provided with well-equipped working areas. They are taught there, and can use

Fashion and Textile Design The unique cooperation between both specialisations — fashion and textile design — offers great advantages. The two subjects keep their own individual characters whilst strengthening and influencing each other and creating a productive atmosphere for the students and the lecturers. This combination produces a high level of depth in the

the areas for working on their projects independently and under supervision. All of our students are highly motivated and hard-working, which explains why the department has such a good vibe. Perhaps this is also the reason why employers know where to find us when they are looking for future employees and interns.

then have to produce part of this collection. The students can choose to make anything from a collection of experimental designs to a practical, modern or consumer-based collection. Textile This specialisation trains students to

Fashion This specialisation teaches students to become fashion designers. Design is a central part of the programme which provides students with a modern and â&#x20AC;&#x2DC;fashionableâ&#x20AC;&#x2122; take on designing clothes. They are trained to communicate their work and ideas using sketches as well as presentation skills. Authenticity, and making your own choices are essential at that. We ask the student for his/her own vision on clothes and the identity of the person wearing them. Before graduating, students have to design their own clothing range. They

become professional textile designers, preparing them for jobs in interior design and fashion. We tend to work with semimanufactured products: patterns, fabrics and wallpapers etc, for the students to adapt. The students are expected to be able to work on set projects as well as their own individual ideas. They are encouraged to translate these into a range of products: materials, images, designs, fabrics and patterns. Before graduating, the students need to develop a feel for contemporary culture and contemporary trends and will be expected to implement this in their own collection of either interior or fashion design.

Lisa Bekelaar Fourth-year student Textile Design 34

Did you start out in the direction that you first chose for at the ABKM? I simply did not have a clue what I wanted

frequent a department, the better your work becomes. You keep growing time and again. The teachers take the highest

to do when I arrived at the Academy. Also during the first year I didnâ&#x20AC;&#x2122;t know. That year has an orientating nature, and indeed I found everything interesting! But yes, I was often busy with weird and funny materials, in order to create new surfaces. Only by the end of the 1st year I started to look into all different departments. And there was only one that really stood out for me, and that was Textile Design.

possible out of you. Sometimes that is not easy, and you need a lot of endurance. But in the end, I am thankful to them that they were not easily satisfied with me. The project I am completing now during my final exam is indeed the highlight of it all. Because of all the assignments and lessons of the past years, one finds out where your strength lays.

Is there a work you are proud of, which has been a highlight during your studies? I have always been proud of the work that I make/have made. But the longer you

How do you look back on your time at the Academy? My time at the Academy has been very instructive for me. It means working hard and always asking the utmost from yourself. Once in a while you are confronted

with yourself. In the end, that only made me stronger. All in all, I am very happy I chose for this department and know that

wallpaper by myself, and create colour variations. It was great to finally be really able to apply everything you learnt at the

I was at the right place.

Academy.

Where did you complete your internship? How was that? At textile design, many people only think about cloth. But once you have chosen for this direction, you can choose whether you design for interiors or for fashion. At interiors, one can also think of for example carpets, walls, curtains, etc. My preference has always been interior design. Therefore I followed my internship at Arte-International, a company that manufactures high-end wall-covering. I did very diverse work there. For instance, modifying existing designs, design

How did you experience the transfer from the Academy to the work floor? I found it very pleasant to finally be able to apply the things I have all learnt within a company. Knowing that you are at the right place somewhere. That all the hard working and strong criticisms had not been for nothing. And of course: to earn recognition for what you can and what you do. It also provided me with security. What you learn and do at the Academy that indeed that happens in business life as well. And I had a nice left-over too ... a job!

Bregje Cox Alumnus Who are you? And what do you do? My name is Bregje Cox and I have my own fashion label: Noir Near Future. What makes your job so unique? In order to start up your own company, you must be enormously versatile, and be able to very creatively deal with the problems that you face. You need a great deal of perseverance, but each time you are successful at achieving new objectives this gives you a great deal of energy as well. Which direction did you attend at the ABKM? The Fashion Department.

art are some inspirational sources. Furthermore I try to use colours as leading factor when designing, by time and again selecting unusual colour combinations. Which part did the ABKM play in your current career? At the ABKM I have learnt to trust myself, and to make use of the liberty one obtains in order to develop your own identity. How do you look back on your time at the ABKM? A period in which I have learnt what my own capacities as well as my weaknesses are.

What was your motive to achieve where you stand now? The need to be visually renewing has always been strongly present inside me.

Which suggestion can you give to future students? See to it that you do not lose your own identity: that is what makes you unique and which will provide you with the

It is absolutely stronger than me, and in order to obtain creative autonomy, you will have to become your own boss.

chance to acquire your own position in the world of arts. Also be prepared to work very, very hard.

Where do you get your inspiration from? Science fiction, technology, and modern

www.noirnearfuture.com www.bregjecox.com

Sanne van den Hoogen Alumnus Who are you? And what do you do? My name is Sanne van den Hoogen and I am a textile designer. After my graduation, I started out my own design studio together with my classmate Katie Jacques: TAF9L. During our final year, we often collaborated and found that we greatly complemented each other. Therefore we continued together as a little company. During our education it already occurred to us that textile has a rather dull image. We indeed used traditional handmade techniques in our designs — but in a new manner. We are always in search of surprising combinations between technique, colour, material, shape, and print.

Where do you get your inspiration from? My inspiration originates from everything around me. I do not work with complicated concepts, but want that my work is clear. There must be a logical and clear development from inspiration to product. Colour, material, and shape play the main role at that. Moreover, it must be accessible. I want to get people to want to touch it, that interaction occurs. Textile is a material that is very close to us: you wear it on your skin, and surround yourself with it in your interior. Yet, many people keep forgetting that. Textile can make life even more pleasant, and offer comfort.

Katie Jacques Alumnus Who are you? And what do you do? By the end of June 2012, I graduated from the Maastricht Academy of Fine Arts and Design at the Textile Design Department. My graduation collection consisted of six carpets, whereby the emphasis laid on new shapes and techniques in (among other things) the rim finishing of carpets.

knitting table at the Academy of course! Under our own label TAF9L, we have designed and developed a concept for an interactive carpet for Ventura Lambrate 2013 (Design week in Milan). We hope that this will result in nice reactions and brings a lot to look forward to in the future.

My carpet collection is based on the film Metropolis from 1927, in which an inside view on the city in the future is depicted. My graduation collection is now three months on display in the Artemis Design Hotel in Amsterdam. Currently, I am following an internship at D/Dock design development in Amsterdam. Over there, I design wallpaper, graphics, and are partially involved in (interior) styling. That variety is very good for me, just like that team in which I work at D/Dock. Apart from following my internship, I have founded my own company with alumnus Sanne van der Hoogen: TAF9L. Guess three times on which that name is based ... on the best

What makes your job so unique? The fact that I can both use my creativity at TAF9L and learn more in the interior branch, hopefully with the option of a permanent position as designer. Which direction did you attend at the ABKM? Textile Design, my greatest passion. What was your motive to achieve where you stand now? Before I came to the Academy, I followed graphic design at the Media College in Amsterdam. I have completed that, but after my internships I knew for sure that

I wanted to learn more. Actually, already from a young girl it was my dream to attend the art Academy. I did not know then that there was an education for textile design, and I would never have been able to make that choice should there not have been a general year. That first year

combining the designing for TAF9L with a job or internship, as currently at D/Dock. I find that variety very pleasant, although it sometimes does make it pretty tough indeed. I then for example have a deadline at D/Dock for a design, but at the same time the carpet for TAF9L has to be

really opened my eyes and showed me how much of my creativity I could express in textile design. The motive to found TAF9L actually really emerged after my travelling through Southeast Asia, which took place after my graduation. During my studies, I already often thought about setting up my own label, but starting up something all by myself I found too big a step. During my graduation, teachers convinced me that I had enough talent in order to make that step and to really start out for myself. Sometimes I do secretly have the feeling that one should have more experience in order to start out your own company. Therefore I gladly keep

completed. Then it is a bit of slaving, but indeed with a result. Once you want to do the work as I like it, sometimes one has to give up something. Fortunately, this always really results in something, and hopefully in the future there will only be more of that. Where do you get your inspiration from? Immediately after my graduation, I went travelling for 3.5 months through Asia. During my travels, I acquired a lot of inspiration. So many colours, different people, styles and cloths: great! I also visit many blogs and frequent fairs and (art) exhibitions. It has become some sort of second

nature to look at the world as a designer, and in that way I sometimes also walk through town with my ‘inspiration glasses’ on. I collect everything I find interesting in a folder, and I write down my ideas. So that, once I start out with a new project, I can review my ideas folder and in that

How do you look back on your time at the ABKM? It was a great time where I have made friends for life. However this might sound like a cliché, it is really an important phase on your way to working life. You experience so many things together: both ups

way acquire inspiration once again.

and downs. At the Academy I learnt a great deal, and you can always fall back on that.

Which part did the ABKM play in your current career? The Academy offers its students a platform in order to establish your name. They provide you with the opportunity to visit the Design Week in Milan as alumnus, and they are always prepared to provide you with advice when necessary. Because of the high demands and sound counselling during the graduation period, I was able to complete a beautiful book and graduation collection, because of which I also obtained confidence in myself. I now dare to approach companies more easily.

Which suggestion can you give to future students? Take everything out of it that you can! And that is a lot. Be open towards all the different people, enjoy the designing, the work places, and the sound, stimulating atmosphere with all creative studies under one roof! You will really surprise yourself in what you can all do. Go for it!

Linda Friesen Alumnus

Who are you? And what do you do? I am Linda Friesen, and I am a fashion designer. Currently, I am working on two labels: Linda Friesen for my high fashion work, and 4 O’Clock for my Lolita clothes. What makes your job so unique? I wouldn’t call it unique: there are so many fashion designers. Of course it is an immensely nice job, almost a girl’s dream, but it is only in reach for those who really want it. However, what makes my work so unique is that I stay close to myself. All my designs are very recognisable, I have a rather outspoken style, and something like that immediately sets the tone. Which direction did you attend at the ABKM? Fashion design.

What was your motive to achieve where you stand now? There simply wasn’t anything else that I could imagine doing. I have always felt the urge to shape and realise the ideas that I had. I always wanted to be noticed and prove myself. Therefore I participated in the Catwalk Project two years after my education. And despite the second place I was awarded, it did put me in the spotlights. Yet, I am still not where I want to be, but I am on the right path. Where do you get your inspiration from? Inspiration can come from anywhere, but above all my preference is still fairytale situations, sometimes historical, sometimes dark, and sometimes enchanting. My interests are very broad, but can always be traced back to fairytales. Furthermore I love craftsmanship tech-

niques and technical skills. As a result of that, I am also capable to provide the sound quality that I am known for. Which part did the ABKM play in your current career? It has made me stronger; people should not think that an art education is easy. I was always a bit of a dreamer; the ABKM forced to look more realistic at the fashion industry. The style that I had was not taken from me, but indeed broadened and deepened. That is what I like about the ABKM: I was able to remain who I am, but yet still having to develop an improved version of that person. How do you look back on your time at the ABKM? A really fantastic period during which I was able to discover and develop myself.

It has helped me to think further, as well as to expect more from myself. I still develop myself further, and when I sometimes get stuck, I often think back to the advices the teachers provided me with. Advices that I didnâ&#x20AC;&#x2122;t understand and use until now, since back then I was too stubborn to accept something from someone else. Which suggestion can you give to future students? Stay with yourself, but be open to criticism and advice, and especially be open for your own development.

Projects and prizes 2011 â&#x20AC;&#x201C; 2013 Fashion

Textile

Projects Start of project with Niek Pulles Moulage workshop with Gerrit Uittenbogaert Drawing week with Kate Harreveld Collaboration project with Innofa stretch textiles

Projects Kick-off project Colour Collaboration project with Innofa stretch textiles

Exhibitions Ventura Lambrate Milan 2013 Excursions Salone del mobile Milan Visit to Textile Museum in Tilburg Fashion Museum in Hasselt and Kunsthal Rotterdam Te[ch]x(t)iles in the MOTI in Breda Participation Lichting 2012 Amsterdam Participation in Woolmark competition Events Final exam film by Onat Hekimoglu Exhibition of work by final-year students with all other departments

Exhibitions Graduation show textile alumni 2012 in De Ploeg in Bergeijk Ventura Lambrate Milan 2013 Excursions Salone del mobile Milan Visit to Textile Museum in Tilburg Te[ch]x(t)iles in the MOTI in Breda Visit to Mefil (spinning mill) in Maaseik, Belgium Visit to Arte (Wallpaper) in Zonhoven, Belgium Fashion Museum in Hasselt and Kunsthal Rotterdam

Fine Arts 50

The Autonomous of Fine Arts Department educates from a multitude of media and mentalities within the larger whole of the

At the beginning of the study during the main phase, the work places are still at the centre point, then comes the atelier

Fine Arts, both in the fields of practice, research and theory. In order to be able to obtain the professional profile that the education envisions, the Fine Arts education focuses on creating a learning environment that functions as some sort of ‘play ground’ in order to express the aforementioned multitude of various media and mentalities. This is all supported by the heterogeneous composition of the team of teachers. As an artist and/or theoretician, the teachers have a practice with proven qualities and play an active role in the work field as organiser, curator, committee member, or publisher.

and working at various external locations (linked with the urban environment). Contemporary meanings of the concept ‘autonomy’ are investigated, assuming that each autonomous artistic practice is in essence interdisciplinary. The challenge is to link these artistic practices to the ends of cultural and social realities in such way that they obtain a unique added value. Attention for tradition — ambitions for the future. The atelier premises of the Autonomous Fine Arts education is literally embedded between the Crutched Friar’s Monastery building from the 12th century, which radiates tradition and

history, and the image of innovation and orientation on the future that the building of the Academy evokes. As self-

entices the discussion on the necessary of taking in autonomous positions. The recent economic crisis socially

evident as ever this situation might seem for students and teachers, as much it also influences the thinking and acting of both students and teachers. On the one hand, they attach value to concentration and profundity; on the other hand, they are flexible and heterogeneous. In the EU region, where the ever changing European contact visibly determines the social-economic reality, there is some sensitivity for an intercultural collaboration in which artists hold special positions. Putting this ‘interculturalism’ on the agenda constitutes in turn the framework for interdisciplinary collaboration in the field of the arts, and at the same time

results in a revaluation of possessions, well-being, health, and environment. Precarity is a comprehensive concept that first emerged during the protests for labour rights in the suburbs of Paris, where the term especially acquired meaning with regard to the ideal of ‘a thoroughly disrupted society’. Precarity means that ‘structural insecurity’ will prevail, a concept that has rooted in ever more layers of the social and political reality of mankind. Artists observe a relation between being an artist and this social reality. Professionalising and positioning The Fine Arts education reacts to these

developments by putting meeting with guests from within and outside the world of artists first and by regularly collaborat-

Also because of this collaboration, students and alumni are regularly challenged to search for new working environments

ing with independent artistsâ&#x20AC;&#x2122; initiatives, research centres, presentation institutions, and museums in the EU region, as well as with the Maastricht University. In 2012, the final exam candidates participated in the project Kunstpodium T (Art Podium T), a nationwide project in which a selection of all final exam students in autonomous Fine Arts in the Netherlands participated. Concretely, this means that the student as he progresses with his/her studies, has to take the initiative more and more and shall have to react from his/ her artistic vision on ever changing conditions, situations, locations, and presentations.

within the rapidly changing conditions of the EU region, apart from their activities in their studio and work places. As a result of this, often unique situations occur that give content to the survey on the field of tension between the studio and the streets, or in other words: between autonomy and publicity. The Academy dedicates itself to creating a learning community, commitment, and autonomy, and expressly wishes to operate in a verbal culture. Concentrating on a learning community means concretely that learning does not have to take place in accordance with a documented curriculum and academic timetable, but is moreover related

to the creation of situations. It is essential at that, that everyone both learns to listen and to express him/her self, as well

it originates from somewhere and leads somewhere. The games does not stand on itself but interacts in its most radical

as learns to pay respect to the fact that a learning community will always be a multiform situation; i.e. multi-voiced. The main condition for making the learning community into a success is unconditional commitment with the situation, location, or condition within which is being learnt. In the current political-economic constellation, ‘the autonomous’ can best be described as ‘acting about nothing and for nothing’. Such action, which places itself outside the social requirement of being useful or being functional, appeals on the original capacity to play the game itself, as well as the pleasure therein. This game recalls a (mental) space in its experience,

form indeed with something outside the game itself: it is open towards the world and is related to it. An isolated position can therefore never be concerned. In this form, autonomy incites engagement, since no human being is an island but is shaped in and by the world. With full conviction, the Academy chooses an oral culture as didactic model. An oral culture is the best guarantee for an environment in which mutual trust reigns and in which there is always room for statements that are a mixture between knowing and not knowing, securities and insecurities. The arts and science can learn from each other. The research in the arts asks criti-

cal questions with regard to common opinions on concepts such as knowledge and meaning, and can therewith

It is clear that at the Autonomous Fine Arts education it is not only about professionalising, but especially also about the positioning

cause an inspiring broadening of the art discourse. The increased attention for research within the arts also means that more space occurs to combine theory and practice.

of being an artist. This leaves unimpeded that the creation of images comes first at all times. However: creating images is an activity, but not necessarily art. The latter is something that occurs after the creation.

Niels Verheyen 56

Fourth-year student What should people know about your work?

applicability. For instance, my strict lines on paper, scale model studies, and struc-

Before I ended up at this Academy, I already went through a whole course in the world of architecture. My current work is of course a consequence thereof.

tures in space can directly be traced to my background, but the final image has a new shape — autonomous.

How did this Academy change you as a person? As a person I have not changed: my ambition and inspiration are still the same. The huge change is a different way of thinking: I learnt here to use my knowledge and insights (practical/academic) in a completely different manner, in order to obtain images in a class of their own. At the Fine Arts Department it is neither about functionality nor about

What are you currently busy with? In short: I am doing research on space(s). We are increasingly liberated from our natural bindings. The paradox is however that meanwhile we live under circumstances that constitute the contrary of those for which we were created. We have namely learnt to live independently from natural forces: earth, water, weather, heat & cold. We develop ourselves without end. Our life can be reduced to modules: houses, cars, artificial parks,

etc. Yet still this all has an origin. It is for example interesting to see how we try to

image. I rather look back at my time at the Academy as a highlight. An interesting

shield off our endless nature/living space during our lives. A primitive drive deeply routed in mankind. Think for example how you could transform a cupboard into a house when you were a child, or marking out your first garden, etc. We try to frame off our spaces, both in our minds and in everyday life. In my work I search for this origin to expose our culture of modules and marking out, and to make this tangible.

time, and above all a completion of my learning course. I am ready to prove myself to the outside world, starting with our final exhibition!

Is there a work you are proud of, which has been a highlight during your studies? I regard my work as a process - I would therefore prefer not to recall a single

Projects 2012 – 2013 Paraphrasing Babel

Inside the artist’s studio ..., 2013:

Participation 2nd year students in annually recurring project on video and film in relation to the urban space, in collaboration with the Viewmaster Foundation. Workshops and visiting artists (among others: Jeroen Offermans, Katarina Zdjelar, Imogen Stydworthy).

4th year students in collaboration with students of Maastricht University.

CoLabs, 2012 3rd year students (Thomas Hütten, Charlotte Koenen, Vera Gulikers, Dennis Munoz Espedina, Simon Weins, Maarten Davids, Jerome Bucquet and Emanuel Riksen participate in collaboration with students from Gent, Utrecht, and Münster in an in-residency project at artists’ initiative in Maastricht. Kunstpodium T, 2013 4th year students Angelika Fernandez Ortiz, Nina Kuka, Myrthe van Hezik, Susan Zwambag, Arek Laskowski, Astrid Mingels, Lucy Hannen and Sanne Vaassen participate together with a selected amount of 4th year students of other academies in the Netherlands and Belgium in a nationwide project with renowned visiting artists, workshops and presentations. Angelika Fernandez Ortiz, Arek Laskowski and Sanne Vaassen are on the shortlist to conclude the project with a summer exhibition at the De Pont Foundation in Tilburg.

Intro | In Situ Project 2nd year students on audio art under the direction of Paul Devens. TEST, 2013 3rd year students participate in an inresidency project at TEST in Hoensbroek. Le réseau de la Jeune Création Européenne — autumn 2013: Sanne Vaassen (alumnus 2013) Prizes 2012 – 2013 2012 Alumnus Keetje Mans wins the Royal Prize for the Free Painting. 2013 Alumni Jeroen van Bergen, Chaim van Luit (2011), Keetje Mans, Ramon Schoonbrood 2012 Aline Oosting, Lukas Kramer (2010) were nominated for the Parkstadprijs 2013. Jeroen van Bergen was selected as the winner. 2013 Alumnus Chaim van Luit is nominated for the Dutch newspaper Volkskrant Visual Arts Prize 2013 2013 Alumnus Charlotte Lagro is nominated for the Hermine van Bersprijs 2013.

Sanne Vaassen Kunstpodium T De Pont This group exhibition takes place within the framework of Kunstpodium T (Art Podium T). Kunstpodium T is an annually recurring collaboration project by final exam students from the Netherlands and Belgium. Exhibition June 8th 2013 â&#x20AC;&#x201C; September 22nd 2013 www.kunstpodium-t.com www.depont.nl www.sannevaassen.com

Lecturer of Fine Arts and Design

The bachelor Lecturer of Fine Arts and Design offers, next to a thorough expressive and cultural training, a preparation for modern teaching and lecturing. It is important that students are educated in several different fields as this is what modern lecturing requires, due to a

achieve the teaching certificates. During the studies, students can take part in several projects that are offered from year two onwards. They include minors in Youth Culture, Nature and Environment (Cradle to Cradle), Utopia and several other projects in cooperation with regional

growing diversity in educational methods and tasks. Practical training at the department is designed from the angle of how to best approach ‘arts’. Characteristic to the study program is the interdisciplinary cooperation with other faculties such as the Conservatory and the Theatre Academy. Graduates are allowed to use the title of Bachelor in Education (of Fine Arts and Design) and have acquired full competence in teaching on several levels, but are also able to work outside the school environment, in Arts and Museum education. The Academy also offers a fast-track program for art graduates in order to

municipalities and institutions of higher education. Excursions to museums in the ‘Randstad’ region in the Netherlands, and Berlin, organized by students themselves (cultural entrepreneurship), are only examples of the fascinating annual cultural trips that took place in the last year. Students of the bachelors Lecturer Music and Education (Conservatory) and Lecturer Drama (Theatre Academy) and those following the program at the Academy follow a (partly) common curriculum, which creates a very interdisciplinary atmosphere and adds value to all respective programs.

Alexandra Hoesen Fourth-year student BEE Please tell us something about your profile? Fulltime students can choose from three profiles by the end of the 3rd study year. Two profiles (KPD and KCE) put the emphasis on theory, and one profile on your visualisation capacities/practice. I chose the Beeld en Praktijk (Image and Practice, BEE) profile. This profile encompasses that you select three practice topics and thereby write two theses for the fixed theory topics (Art & Cultural Education, and Art Pedagogy & Didactics). Those theses concern theoretical research into a subject of your choice; you therefore do not have to carry out research in practice.

I chose for the practice topics 2da (drawing and painting, 2dt (Graphic Design), and 3dt (Jewellery and Product Design). One makes this choice based on your theme for the graduation process and topics that suit you best. You acquire this experience during the 2nd and 3rd study year, and you soon realise what is your preference. Apart from the topics, you also choose for a theme or several themes, for both the practice topics and the theory topics. You can select one single theme that comes back in everything, or several themes. It is advised to link both theory and practice to one single theme; this provides more rest, and in that way the topics support

each other. I for myself have chosen for one single theme of the practice topics, but for all three topics they went a different

Where did you complete your internship? How was that? During your studies, you actually attend

way. For the theory topics I had two other themes, since I had difficulties myself thinking up one central theme. I prefer to orientate myself broadly, on more subjects than just one. I chose for the Image and Practice profile since I like to be busy practically. Thereby – in my opinion – it is very important that as a lecturer you orientate your visual education broadly in the field of working visually. As a lecturer, it is important to be visually strong and have sufficient techniques and skills available to counsel students in their own process. If you yourself are namely busy with three practice topics, you carry out broad and diverse research (tests, sketches, theoretic research, etc.). This experience and these outcomes one can use well during the preparation and giving of lessons, as well as when thinking up assignments. It helps you to aid students who got stuck during an

several internships. During the second study year, you have an internship at primary education. During the third study year, you first come in touch with secondary education, and during the fourth study year, you also have an internship at secondary education. Thereby one can choose to follow a profile internship during the fourth study year (e.g. at an illustrator, photographer, etc.) or at the intermediate or higher vocational education. I for myself have chosen to attend both internships during the fourth study year at secondary education. I have chosen for that, since I would like to teach at secondary education, and in that way one acquires a lot of experience. Among other things, I had an internship at the Uden College in Brabant Province; that was my first internship during the fourth study year. This school drew my attention so I could orientate myself in another prov-

assignment; you can help the students faster on their way, thanks to your own experience. Apart from appealing to your visual capacities, this profile also offers opportunities to improve your theoretical knowledge, researching sources, and processing that. Three important issues that a visual design lecturer should possess as well. In short: I am very satisfied with this profile, since you orientate and develop yourself broadly, both in the theoretic and the visual field. One ‘minor point’ is the quantity: it is a heavy profile indeed since you have to complete 5 different topics. One therefore has to make a sound planning, and that is not always that easy.

ince, since the amount of pupils in the south of Limburg Province is rapidly going down. Just like the other internships, this one felt really well for me. During an internship one acquires most experience for the profession and come in touch with everything that is linked to being a lecturer and the visual arts topic and CKV (cultural and artistic education). I have experienced this internship as very positive since it was in an enthusiastic team of teachers, and the atmosphere was therefore very pleasant. Thereby, at the Uden College there is also a lot of structure with regard to planning of activities, tests, meetings, etc. Because of that, I could

estimate the competences that I wanted to achieve. The professional section was a very open team with interesting lessons and original assignments. They provided proper feedback with tips and sugges-

once again emphasised that I indeed wish to teach in secondary education.

tions, so that I could develop myself further. At that, teachers provided me with sufficient space in order to develop myself, such as reviewing tests, take over classes (under counselling), think up assignments, and adjust the lessons to my own â&#x20AC;&#x2DC;tasteâ&#x20AC;&#x2122;. Most classes were very pleasurable to teach to, especially the first yearsâ&#x20AC;&#x2122; pupils. They were mostly happy pupils that do enjoy a joke now and then and gave me a secure feeling as I was teaching. During this internship I had 11 classes and therefore a rather busy teaching schedule; it was tough, but through that I indeed learned and really experienced what it means to be a teacher. This internship has

These studies can be recommended since they are very broadly orientated in the field of art education. Not only are you crammed for the educational field as a visual arts teacher, but also you develop your own artistic skills. The nice thing about these studies is that you do not orientate on one single topic, but on several topics: from photography to painting, and from art history to professional didactics. And although you are presented with a broad range of topics during the 2nd and 3rd study year, you can still adjust the 4th study year to your own interests and skills. You namely choose a profile (orientated more theoretically or on the other hand

Why would you recommend these studies?

more practically) with (a) corresponding theme(s) up to your choice. The 4th study year is therefore totally focussed on you, with your interests and skills, whereby you therefore select the topics

by I also feel the need to talk with fellow students, teachers, and family about my process and work. During the final exam, the starting point for the practice topics was gaming. During the process, per topic

within which you can develop yourself most. Thereby these studies offer plenty of opportunities to acquire internship experience, because of which you obtain a complete picture of the profession, and they also help you to develop yourself in your own profession (pedagogically or with regard to the contents of the topic). In short: vary broad and varied studies!

I explored sideways within the theme, since I always let myself being inspired by what comes on my way. What specifically stimulates and inspires me during the process is searching for visual material; thereby I search for paintings, photography, product design, architecture, fashion, etc. I use all sort of key words and in that way try to collect a sketch book/dummy full of inspiring material. In my head, I create an image on what I am searching for with the feedback I was given, or core words that in my opinion are of importance. Those I then use for creating tests or sketches. During this year, I also acquired inspiration outside the walls of

Where do you get your inspiration from? I get my inspiration from various sources, such as exhibitions, the Internet, films, etc. Thereby I try to keep themes as close as possible to my own interests, such as gaming, Tim Burton, and fairytales. There-

the Academy, namely at CHILL (Chemelot Innovation and Learning Labs). Over there, I have created my light objects with techniques that were completely new to me. But they have indeed opened up the ways to a new concept. By stepping away from my familiar surroundings, my concept was broadened, and the final result has become completely different than I expected — in a positive meaning. I started looking differently at my sketches, and opened myself up for new techniques, combined those with my own vision. Chemistry and art have met in a concept

completely felt at home and dared to come out of my isolation. The 1st year was namely still a general foundation course so that one could still orientate oneself. As that year progressed, things all went better. During the lecturers’ education, I developed my own artistic skills and certainly acquired more experience in giving presentations and substantiating my own work and vision. The internships were also of essential importance since I acquired so much experience with what one cannot learn from books. They have thus changed me and made me a lot more self-assured. I

for light objects that may be in the future can be elaborated further.

feel good when I am teaching — of course not with every class, but that comes with the job. My passion for teaching has enormously grown during my studies. When I was still at secondary school, I never thought I would stand on myself in front of a group of pupils. In short: from the quiet, rather insecure pupil at secondary education I have within a reasonable period of time grown into a more self-assured future teacher. I back my own opinion, vision and decisions that I take ever more. But not only decisions during internships, also during the creative process. I let my interests prevail, it has more and more become my own personal work.

How did this Academy change you as a person? This Academy certainly changed me as a person. Before I started studying, I was very shy and did not dare to step into the foreground. During my secondary education, I did not attend a class where I felt at home, which shared my interests and way of thinking. After I had completed secondary education, I immediately went to the Arts Academy. Upon entering this environment, I immediately felt good. Especially during the 2nd study year, I

Annick Vleugels Fourth-year student KPD 71

Please tell us something about your profile? The profile with which I graduated is the

What are you currently busy with? At the moment, I am following an internship at a school for secondary education.

KPD or Art Pedagogy and Didactics profile. In this profile, the focus is on the education-related visions, target groups, and methods. For my graduation I carried out a survey in professional practice. I have developed a new drawing method for primary education; my survey consisted of the testing of this method in primary education and looking for possible improvements. Apart from the fact that you get the opportunity and support to carry out a nice survey in education, you also write a thesis for art history and create a piece of visual art for the final exhibition. A nicely combined profile from which you learn tremendously!

I had the luck there that they needed a replacement for the topic drawing. This replacement was awarded to me and I am currently independently teaching 7 classes drawing! It is an extremely educational internship, and I have noticed that the pupils and colleagues really value me. They give me enormously good suggestions and are very involved. Why would you recommend these studies? In my opinion, the lecturers’ education is the most ideal choice; it provides you with the opportunity to combine the thing you like — creativity — with real job opportuni-

ties. Thereby, the nice thing about lecturing is that you can share your creativity with others and entice the others’ creativity. You learn more every day! How did you experience the transfer from the Academy to the work floor? Perfect! At the lecturers’ education you follow an internship in the educational field several times. During those internships, the lecturers’ education sees to well-structured counselling. After each internship, you know your good sides and issues for improvement. You can time and again work on this during your next internship. By the end of the curriculum everyone is really ready for it.

What was your nicest experience at the ABKM? The interest from the teachers in the wellbeing of the students. I have experienced this in several ways. Teachers are involved in the complete process and they support you. Furthermore, during assessment moment you always receive sound feedback from the teachers. May be that sounds self-evident, but they still do a lot more. By the time that teachers know that you are interested in a certain subject, they all search and look for it along with you. Subsequently they come with articles, books, websites, etc. where they have found information for you. Super!

Nancy Janssen Fourth-year student What are you currently busy with? With my graduation internship. Logically as a result of the education for Fine Arts and Design Lecturer (DBKV), I currently

according to my feelings it is not finished yet.

attend an internship at SG Groenewald in Stein. There I teach to pre-vocational secondary education, higher general secondary education, and pre-university education classes, from the first year up to the final examination classes. Apart from that, you can regularly encounter me at the Academy in the ceramics workplace, the graphics workplace, and behind the computer. My graduation project for the Autonomous Department may already be completed and assessed for the final exhibition, but

Everywhere and nowhere; from books, magazines, on the streets, museums, films, games, theatre: you name it. I love stories, especially when they concern voyages of discoveries, the future, new/other worlds, plants and animals, and anything that is linked to that for some reason or another. All information in texts and images I subsequently keep in a work book that serves as a travel guide for my visual work.

Where do you get your inspiration from?

Please tell us something about your profile?

Depending on the personal preferences and your future plans, one chooses at the Fine Arts and Design Department

for a graduation course. For me it was self-evident to choose for art and culture education. In this way I only had to write a small thesis for education and all go up in a subject on art history. And let’s not forget: since in this profile one can choose only one visual topic, I was able to engross myself in Autonomous just like in my research on art history. For my art history research I have chosen one of my inspirational sources: the project New Babylon by Dutch artist Constant. Out of dissatisfaction with society becoming ever more mechanical, Constant was in search of social engagement. In about 12 years time he created a new image of the future in the shape of a nomadic camp on world scale, a classless environment for homo ludens (the playing man). He elaborated this project by the name New Babylon into hundreds of designs and scale models, whereupon around 1970 he returned to painting. New Babylon regularly appears in various exhibitions, and even has its own room in the ‘Haags Gemeentemuseum’ (the Hague Municipal Museum). It also still

inspires many artists. In my research I tried to find the reason why New Babylon is still relevant. Is there a work you are proud of, which has been a highlight during your studies? Now that I look back at my research for art history I cannot deny that I am very satisfied about that. Never before have I investigated a subject from so close-by, in so many detail, and yet I have not found or discussed everything that can be found on New Babylon. And secondly, I am very satisfied with my ongoing research and voyage of discovery of the New World. Do you have any suggestions for future students? Following art education is an essential urge. 24 hours a day, 7 days a week, and 365 days a year you are busy to explore and improve your own visual qualities. That can not only be done during the lessons and by doing your homework. Start to investigate yourself, visit exhibitions, read books and magazines, and communicate with your teachers and fellow students. In short: go for it 100% and then it will all be fine.

Jewellery and Product Design

The Department of Jewellery and Product Design offers two specialisations and gives students an insight into the aspects of the independent and industrial design (although this course does not train

this way, the students are given the opportunity to explore, methodically, a way of designing, learning self-reflection through practice. They work on interrelated projects, external assignments and

industrial designers). Designing products and collections for future users is going to be a primary aspect in this profession in the future. This is why the students are encouraged to embrace current and new developments in order to shape their artistic identities. In order to gain valuable insights into the depth and scope of the disciplines, and to guarantee a good affinity with the profession, the students are coached by a team of professionals working in the very same disciplines. In the 2nd and 3rd years, we encourage students to work within the various disciplines in order to develop their own artistic identity and vision. In

take part in competitions. Each discipline offers special practical and technical training and by experimenting in this way, the students can discover the respective fields and develop his or her own personal style and identity. This practical element to the course is supported by theoretical components such as concept development, design theory and art history. Jewellery Design The specialisation focuses on contemporary jewellery: unique pieces for which the student develops his or her own independent vision and researches the limits of wear ability and function. The

design, the materials and its context are important aspects of this discipline. They are also challenging ones. We also focus on fashion jewellery; jewellery that is manufactured in limited editions, and make

are encouraged to embrace current and new developments in order to shape their artistic identities. We also encourage our students to strive for professional independence

sure the students keep contemporary trends, the human body and the social context in mind. The students are also expected to do research into the positioning of their creations.

throughout this course. Every year, the Department presents the work of its alumni during (inter) national exhibitions and presentations, such as our presentation this year at the Salone Internazionale del Mobile in Milan. This presentation focused on interaction between the designer and the user and presented Jewellery and Product Design under the theme ‘Hygiene’. The exhibition explored the role of the designer beyond that of conceptual artist; that of creator and contractor, in single and interdisciplinary projects. During the International Trade Fair Schmuck, we presented ‘just jewellery’, an exhibition in which 2nd and 3rd year

Product Design Product Design at the ABKM introduces students to independent as well as industrial design (although we do not train industrial designers). An important part of this is how to handle new and innovative materials. Designing products and collections for future users is going to be a primary aspect in this profession in the future. This is why the students

students presented their take on jewellery. With this presentation, we provided our opinions on the way we consume by presenting jewellery in an unconventional way. This gave the new wearers an opportunity to have a piece of jewellery which is unique. Another project we presented there was â&#x20AC;&#x2DC;Eigentijdsâ&#x20AC;&#x2122; (contemporary), which addressed the questions: what is jewellery? What is a multiple, and

when is something a One off? For the past few years, we submitted annual contributions to Talente (talents), an international design competition in Munich in which young and talented artists take part who have a strong affinity to crafts and more specifically, experimental design. This is also where the Product Design Department distinguishes itself from other art schools.

Joske Schim Fourth-year student Did you start out in the direction that you first chose for at the ABKM? I came to the Academy with the idea I would attend Interior Architecture. After I followed a ‘bulb’ project in the first year with, among other things, interior architecture, I knew that I do not want to do that. The second ‘bulb’ project was therefore a combination between Fashion/ Textile and Jewellery/Product, whereby I became convinced the Product Design was my direction. Then at the final assessment of the foundation course graduation, just before the summer holidays, I was still advised to choose for Textile. I did not do that, since I was never involved in or focused on that. So, in September I started at the Jewellery and Product Design Department where after the first period we were provided with an advice which once again did not fit in with my thoughts. Still, I followed the advice, and I am currently already in the final year of my studies: Jewellery Design. How is the bond between you and your fellow students and the teachers? I am very happy that I am attending this class; I receive a lot of support from my fellow students that I meanwhile regard as friends. I find it very special that everyone in our class can be who he or she is — everyone is accepted. Also in private we get along very well, and we regularly visit each other for a drink or to go out dancing in town. I will surely miss them if next year everyone will go his or her own way!

As far as the contact with the teachers is concerned I find it very pleasant that the student is reasonably equal to the teacher. Of course they are the ones that direct and assess you, but it is also very nice to just organise our ‘famous’ Christmas party, just like during our study trips to Milan and Munich. How do you combine your private life with your studies? Private life? What is that? Just kidding ... I have experienced that this studies actually take up all the time I have. That private life is in fact incorporated in the studies. There are days — especially in the weeks before the assessments — that you can find me at school from 10am through 9:30pm. In between you ‘run’ to the supermarket for supper; French bread with herb butter, and when that is finished, you get going again! Where did you complete your internship? How was that? I had my internship in New York at a one-man business called ‘HookandMatter’ in Brooklyn. She sells her jewellery via the Etsy web shop, and that is how I found her. At first it didn’t matter too much to me where I would follow my internship, but when I realised that many fellow students were going abroad, I thought: I would be crazy if I don’t take the chance, I also want to go away! And that is how it went, suddenly I was in New York! Besides that it is of course a cool city, I also found it very interesting to see how it is to run

your own company. I also found it very nice to work for someone else and not to be responsible for the final decisions. I can recommend to anyone who gets such an opportunity to accept it with both hands! You will certainly not regret it!

ing up, since I for example started living on my own. If you are assessed on your projects then it quickly feels as if you are assessed as a person, and sometimes it is difficult to put this into perspective. You are constantly confronted with opinions of teachers, and you are looking for con-

How did this Academy change you as a person? The Academy has certainly changed me as a person, but that also has to do with becoming more independent and grow-

firmation that you do not always receive. Step by step I have learnt to come up for myself and create steadier ground under my feet. Something that I will certainly need once I have graduated.

Romina Hermans Third-year student 84

What are you currently busy with? I am currently busy with a number of projects at school. One of those is the

Is there a work you are proud of, which has been a highlight during your studies? I am rather proud of the work I am cur-

project for Jewellery Design. Thereby we received the assignment to create a piece of jewellery in relation to the topic â&#x20AC;&#x2DC;hygieneâ&#x20AC;&#x2122;. For autonomous idea development we had to design a WC with our group, and we are currently making it on a 1:1 scale for the fair in Milan. So you can see that sometimes we must also create or design other things! In that project you therefore collaborate with people from the Product Department.

rently working on, Jewellery Design. I have been busy with laser cutting for a while already, and have finally found a shape whereby I can properly combine the jewellery and laser cutting. The collar is made of 3mm triplex. How is the bond between you and your fellow students and the teachers? A very sound bond, really great fellow students and teachers! We even organise parties at the Department a couple of times a year. And your fellow students

can also support you, for example the students from another department can help you with taking pictures or creating

What is so far your best experience at the ABKM? The opportunities the school provides you

videos for your products.

with to participate in competitions, and to exhibit on fairs abroad. By participating in a competition of the CBM (Sector Association Interior and Furniture Design) even a piece of lounge furniture for seriously ill children that I designed was produced, and now being used in the Catharina Hospital in Eindhoven.

What should people know about your work? They are not everyday pieces of jewellery, they are body-related objects, and it is in between fashion and jewellery. Sort of fashion accessories. With which programs you mainly work? Illustrator, Photoshop, Indesign, Rhinoceros.

Theatre and Costume Design

The starting point for every student should be their fantasy. They have the chance to explore and expand personal borders in order to develop a new visual language and their individuality.

is given to the final presentation of the design, as it is a moment when student and teacher team can examine whether the student has come up with a proposal that matches the plot and style of

In this study programme, the design projects scenography and film are at the central stage. Related subjects are taught at least three times a year with the help of varying drama performances, scripts etc. The execution of a project, an idea, or a concept for a drama performance, an opera, or a film script takes place step by step. First students conduct research and analysis of texts and music, gather material and sketch the stage design, including a storyboard and provisional models; all under supervision of respective professionals. Finally, a definite model is designed, sometimes followed by an actual realization of project. Attention

the drama, which entails a responsible dramaturgic concept and which accounts for directorial consequences, practicality and budget. In the last year of the programme, the Department of Theatre Design cooperates with students from the programme Technology & Theatre as well as Production and Stage Art which are offered at the Theatre Academy from the Arts Academy Amsterdam. Under lecturersâ&#x20AC;&#x2122; supervision, students exchange their knowledge and experiences about technical realisation, budget and production of the theatre designs. During the programme, students are also assigned to work on the construction, execution

and production plan of their designs and ideas. The specialization Theatre Design includes a set of subjects next to the main subject of design. These are dramaturgy, textual and visual research, painting (dĂŠcor and perception), drawing (anatomy, model, perspective, technical), theatre, history of music and opera and general art history, as well as theatre techniques, light and

tion Theatre Costume Design focalizes on design projects within the study, which take place at least three times a year. Visualization of their fantasy and ideas is always important. During the course of their studies, students have the possibility to develop and explore their capabilities to reach a new level of personal visual solutions and their individuality. The actual execution of a costume concept

projection techniques, computer-based applications, model forming etc. Further, more specific subjects that deal with the development of new media are being worked on. In order to introduce students to the reality of the working market and to give an added value to the specializations within the department, guest lecturers offer an insight into their work and expertise. Doing this, the programme continues to follow most recent developments in the international scene. However, the overall goal of the programme is to educate creative theatre designers and similar autonomous art disciplines for the future. The specializa-

for theatre, opera, ballet etc mostly takes place in several steps. First, the student analyses the text and/or the music of the piece with the help of a theatre expert or a musicologist, paying attention to the historical and contemporary setting, the zeitgeist and the characters. All these aspects are reflected in the costume. Next, students are supervised by professional costume designers when collecting material and producing first sketches, models, scale drawings etc. They take into account material research and technical aspects of execution. Finally, the actual costume is realized, which means that either all

or one particular costume is carried out. This is the moment when it becomes clear whether the student has established a good connection with the piece and the

of costumes. Technical subjects on software-applications, light and projection technology are complementing this set, while subjects concerning the new media

characters and knows how to account for an responsible dramaturgic concept, directorial consequences, functionality for the actors, material and technical practicality and budget. The bachelor Theatre Costume Design consists of several subjects next to the main subject design and includes dramaturgy, text and image analysis, painting and drawing (anatomy and model), history of theatre, music and opera, general theories of arts, and history

are under development. Guest lectures add value to the programme by bringing in their professional and practical expertise, in order to keep the department on track with modern developments and innovations on national and international level. The programme aims to educate future professional theatre costume designers and other related disciplines such as dance, opera, film and television.

The ongoing digitalisation and use of media means that a great deal of changes have been taking place with respect to the professional image, the fields of application and the interrelationship between these. Professional profiles are developing apace and changing constantly in line with the needs of users, the available technology and the requirements of the market. Where previously there were clear dividing lines, these have now been blurred, bringing about new interpretations of such terms as photographer, filmmaker, graphic designer and illustrator.

Visual Communication 94

The current trend is for the integrated use of the diversity of media which have a

that choices must always be made in relation to the specialisation, the context

communicative goal. In the meantime, it has become apparent that online and offline media can exist perfectly well alongside each other, the one medium supporting and strengthening the other. Nevertheless, we must not lose sight of the fact that the specific requirements of the medium a professional works with, and the context in which it is used, has to be mastered. In addition, basic know-how and skills must be possessed so that these can be used within a wider media palette. We train professionals in a number of specific communication-related media. This is based on an assumption that the specialisation must develop meaning

of the application and current social trends. These specialisms are: the applied photography image, the applied graphic design image, the applied illustrative design image and the applied film image, and their (possible) strategic crossmedia applications. With the aid of applied research, these professionals are capable of analysing, developing, designing and effectuating innovative and new visual communication solutions and professional know-how with the aid of research, conceptual development and use of media. They are able to grow simultaneously with the very latest developments, insights and technical possibilities. They are aware of

the social context and development, the changing culture in image and media and

acquires form through personal imagination (on the basis of authenticity and

the economic circumstances in which the medium has to operate, seen from the authenticity of the professional. The future professional develops his or her specialisation after having acquired a broader general knowledge and skills in the various media and having applied these in practice. By constantly being provided with the opportunity to make choices, to set accents and ultimately, to put together his or her chosen (customised) study programme, helped in part by their careers adviser, he or she will discover their specialism. He or she will shape his or her own specialism, the student being the actor. Of course, the creativity which

authorship) is key to this. Tied in with this own vision vis-Ă -vis professional, technical and social developments, and carried by a personal ambition and mentality, the future professional is given the scope to excel. Communication is a process through which a specific concept, a message, an idea, a vision, an emotion, etc, is transferred. Recent developments in communication have shown that it has become increasingly interactive, interdisciplinary and cross-medial. These are the consequences of ever more advanced digital developments and ease of use. It has a major impact on the way we communicate.

In doing so, we are increasingly seeing that the diverse media are being deployed with their specific imagery in relation to

distribution channel on those who look at it, what does it conjure up? What is the role of the designer, the client and the

each other. To this end, use is made of various output media, such as print, triple play (Television, Internet and Telephony), the web, mobile devices, apps, etc. What’s more, the importance of communication for ‘social networking’ is on the increase. This development will have a significant effect on how communication — and with it, visual communication — will be disseminated by image carriers, for example, paper, the internet, etc. The ultimate objective is application. When, how, within what context and via which distribution channel must the image be sent to the recipient? What is the effect of this interplay of images, text, sound, context, time and

user? The relationship between ‘text and image’ has become essential today. Not only in art, but in communication too. It is important to develop this talent. Education must climb down from its ivory tower and respond to the needs of the market. For that reason, it is vital to keep (constant) track of developments and trends in the market. Of course, we should not renounce our academic and social responsibility here, and ensure that we do not simply become an interis deployed. The Visual Communication/ ABKM profile is based on the fact that diverse media – whether in relation to each other or not — assume a preconceived commu-

nication goal. This can be determined by external factors, or by a goal which has been set oneself. The combination of the-

she must be able to make his or her contribution as part of a team effort in order to attain the communication objectives.

ory and practice are of vital importance in the course of study. In so doing, applied research and an imagination in relation to a problem and/or theme come up for discussion. Indispensible is a knowledge of what the effect of images and media has on our culture; contemplating and reflecting on specific social and cultural developments. Choices must be made and contexts created. Visual is all to do with the â&#x20AC;&#x2DC;imageâ&#x20AC;&#x2122;, the visual object with which communication is made. At VISCOM you will create communication through images, text, sound, time and interaction and this mediary for the field. What is important is to continue working together on the basis of common objectives.

Social developments, the issues of the day and the reality form the starting point. The creation of an image with oneâ&#x20AC;&#x2122;s own signature, whereby authenticity, image strategy and communication are at the foreground.

Specialisations in the applied image The course of study makes a clear-cut choice in the study profile based on the application, professional expertise and communication objectives. In view of the increasingly cross-medial context in which the image is going to have to communicate, it is vital to acquire a basic know-how and skills in the photographic image, the illustrative image, the film image and the graphic image, motion graphics, text in relation to image, new media and web applications in an ever changing context. The professional is able to link up his or her intentions with interested parties by means of image, technology, image strategies and to deploy the contextual coherence for communication purposes. To do this, these skills with and in his or her photographic image. He or

The applied graphic image The contemporary graphic designer exerts a control over the visual elements which he or she deems necessary for communication. He or she organises and collects both image and text elements, as well as the necessary specialists around them. she is required to carry out applied research in respect of the themes he or she wishes to visualise, so that an image and communication concept can be arrived at. He or she will have to set out an adequate image strategy and publicise this by means of a presentation and by means of a preferred channel of presentation. The area of application might include editorial, documentary, illustrative and commercial domains. An investigative mind and a non-aversion to experimentation in content, professional technology and application, is all part of his or her professional outlook. Social involvement, an affinity with issues of the day, vision, authenticity, ambition and deployability in various realms are also part and parcel of this. The applied photographic image It is important for the contemporary photographer to use a variety of modern-day output media and resources.

In order to achieve this, he or she, as a professional in photography and digital techniques, has a subject-related know-

composition and visualisation of thoughts and stories with limited means. For this reason, the basis of the profession will

how of photographic image strategies, imagery and the applications. He or she can apply their theoretical know-how of image and media culture, visual art, communication strategies, history of photography, media theory, image analysis, narratology and semiotics. Furthermore, he or she also has a knowledge of communication and image strategies, applied research and presentation techniques. Of course, this must be with the aim of applying. He or she has become a â&#x20AC;&#x2DC;directorâ&#x20AC;&#x2122; whereby he or she is no longer constrained to print and the two-dimensional media. This dimensional limitation has sharpened him or her in the hardhitting

always be a training in the two-dimensional. This attitudinal change brings responsibilities with it; a know-how of his or her core business, working with text and image, whereby he or she is able to show an affinity for both; knowledge of communication and communication strategies; knowledge of target groups and markets; knowledge of media and cultures; knowledge of production and organisation; knowledge and/or awareness of other visual disciplines; knowledge of history, current affairs, society and other contexts. Within this context, he or she will have to seek out or create the inherent tensions between his or her

personal story preferences and conveying the stories of third parties, between his or her autonomous artistic urge and his

can be effectuated at a high level in a subject-related, technical and production-related context. The director is in-

or her task as intermediary between the client and the target group. The way in which he or she deals with these responsibilities and opportunities will determine his or her identity as a designer. Showing awareness and taking responsibilities is a sign of the professional.

volved throughout the process, from conceptualisation to final production, and is fully aware that his or her product serves as an independent means of communication, or forms part of a strategic media mix. The crossovers with other visual disciplines, such as photography, graphic and illustrative design are of intrinsic importance both for the film product as well as for the total communication process. The film director is in control of the entire team (crew, actors, designers). The ability to function in a team and to provide leadership within this context is part of the professional profile. The contemporary director will not only possess knowledge

The applied film image The film director is responsible for the artistic and strategic design of a camera production. He or she generates stories, gives shape to these in a timeline for a predefined communication goal. To do this, he or she draws together knowledge and expertise to create a product which

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of the professionally intrinsic aspects, but also of other closely associated disciplines. Camera work and technique, montage, au-

invariably takes place in a concrete or open context which is essential for it to be an illustrative image. A relevance which

dio-techniques, narratology, production organisation, communication strategies, market-orientation and the financing of it all, are parts of the total package of skills which the future director must possess. In addition, his or her product can provide a reflection on the social relevance and on the evolving technical possibilities. With respect to all of the above, the film director will continue to seek out his or her own artistic and technical boundaries, in order to accentuate his or her visual identity in his or her own productions, as well as in a team. The applied illustrative image The contemporary illustrator has a wide palette of techniques and instruments at his or her disposal, which range from conventional techniques to other disciplines (e.g. photography, visual art, animation and typography). Despite

relates to the issues of the day and social trends often forms the starting point, but the finishing point is heavily dependent on its creatorâ&#x20AC;&#x2122;s profile. The illustrator is constantly in search of his or her own imagery, because he or she thinks in pictures, and is therefore aware of both the narrative quality and the visual impact of the image. In doing so, he or she can easily go beyond the bounds of reality, a quality of the profession which can be deployed to special effect within visual communication and strategy. The illustration â&#x20AC;&#x201C; when it is not used autonomously â&#x20AC;&#x201C; forms part of the communication strategy. As such, the illustrator often supplies part of the final product which will be deployed within the various media. A prerequisite is conceptually strategic thinking in a team or project-related context. In order to achieve this, in addition to, technical and subject-related skills, a theoretical

the overlaps with other media, illustrative design is characterised by an almost omnipresent subjectivity on the part of the designer. It is his or her vision, interpretation and style which characterise the finished work. In addition, illustration

knowledge is required of: image and media culture, history of art and images, media theory, image analysis, narratology, graphic and illustrative communication and image strategies, applied research and presentation techniques.

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Renee van der Zanden Third-year student illustration

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Where do you get your inspiration from? Inspiration is something with which as an artist you always stay in touch with. It is healthy to open your eyes for the things that interest you. You can search for that far away, but also close to yourself. I for myself try to explore the current events as much as possible and like to look at what keeps people busy. Like young artists, but also people from my personal circle, and even people on the street. Cities inspire me, but also the news is a great source of inspiration for an illustrator. In fact I regard everything that fascinates me as inspiration, it is just what crosses my path or catches my eye. How did this academy change you as a person? As I arrived at the Academy 3 years ago, I was mainly motivated by looking at interests, techniques, and thoughts behind it in a different way, and especially to look for depth. For me personally this was a different way as I was used to do it before, and in fact it has broadened my whole view, not only at work but also at me personally. I look in a different way at for example the current events or the people around me, and I also deal differently with

that. In every field I look more for depth in stead of staying on the surface. Is there a work you are proud of, which has been a highlight during your studies? There has certainly been a highlight during my studies of which I am enormously proud. That is the prize-winning language concept that I have designed for the South Limburg culinary festival in Maastricht, Preuvenemint. Each year this event is included as assignment at school for 2nd and 3rd year students Visual Communication. The task is to design the means of payment for this event. In April last year (2013), my design was selected by the professional jury and it was great to experience that! I did not see it coming, but as a result my happiness was greater. My design depicts the road map to 2018 (the year in which Maastricht is in the race to be declared Cultural Capital) as well as the road to the Preuvenemint. The road is central in all notes en is combined per note with various construction works that can be found in the city of Maastricht. What should people know about your work? Despite the fact that my work is versa-

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tile and I create work for various target groups, my work often still remains very

lot with materials such as water paint, gouache, fine liner, crayon, etc. But ever

recognisable. The first thing one can always notice in my work is the passion for the profession. I have been drawing since I was a little kid, and especially that passion is expressed well and sees to the result. Furthermore my work is always very positive and cheerful. Another characteristic of mine are the characters I make up. They often recognisably return in many of my works.

more often I try to combine this with digital work, or I work completely digital and try to make it look analogue. I especially want to explore my limits and see how far I can go at that. By experimenting with that combination, surprisingly often new and for me yet unknown techniques occur that see to a completely new language of images. It is good to really continue with this and to thus find out which other are your strong points. The unknown often works very inspiring to me, and in that way you can apply various techniques for various assignments. Currently I mainly work analogue in 60% of the assignments.

Does your preference lie in analogue or digital work, and what are your thoughts behind that? For a long time, my preference lay in analogue work. For instance, I work a

Sanne Willemsen Fourth-year student photography

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Did you start out in the direction that you first chose for at the ABKM? I came from an MBO Product Design, and graduated there with three triangular wooden cupboards and three lamps in the same shape and material. One of my teachers there personally accompanied me at the open day of the ABKM since he was convinced that this is the best Academy in the field of Product Design. So now I am graduating at Photography. In hindsight after all good, since all cupboards and furniture I created at the MBO have meanwhile collapsed, and with my weak hands I cannot even hold a sanding machine under control anymore. When I look back, it is not very strange that I chose for Photography. I have always been busy with photography already. As I was seven or eight years old, I won the second prize at a photography contest. My first internship for the MBO was at a photographer’s. I was always busy bundling my pictures in self-designed books (then still with coloured paper, collages, cuttings and drawings, but most of all it had to be different) and before I made the choice for Photography, a picture of mine was already on display at an exhibition in Amsterdam I took a little while before I realised what I could all do with photography. It was so normal for me that I took

pictures, that it could not be special or something like that. Is there a work you are proud of, which has been a highlight during your studies? Since I make photographic material I can honestly say that I am really satisfied with my work. However short-lived because a couple of months later I always think: ‘That can be done better!’ Also, I only have 1 of my works hanging at the wall at home; the highlight of my studies. It may sound strange, but this picture originates from the first period of the first year. It was the very first time that I have made a series of self-portraits, and I discovered the power of the photographic image. And, not unimportantly, that I apparently have a talent for that. I am therefore very happy with the general first year at the ABKM. Chances are high that otherwise I would now not be busy with photography. How did this Academy change you as a person? I remember very well that during the very first introduction before the start of the foundation course, I declared my mentor crazy as he stated that we should inform our family and relations on what was about to happen in our lives, since we would rapidly change a lot. I had followed

an education whereby I really did not change that much, so I found it all rubbish. That was a very huge mistake, and 2 months later I was sitting in surprise in front of the mirror, thinking about what had happened to me. Especially the foundation course is very heavy and requires a lot of energy from you. You are presented with an enormous amount of topics for which you have to create a lot. Some topics are easier than others, and the difficult ones even require more time and energy from you. Almost every day from 9AM through 5PM lessons, then home and eating, and continue to around 11PM/midnight. During the assessment

living at a social relief location. The men originate from a detention clinic, kick-off clinic, or psychiatric institution and were redirected to this location in order to be made ready for their return in society. I see them almost every week. We take walks, go to the park, sit in their rooms, or in general smoking areas, and above all drink a lot of coffee with each other. There is a lot of laughter, but also discussion about sad and awkward things. Our meetings, their life stories, the discussions, the texts they write me, the text messages they send meâ&#x20AC;&#x2030;â&#x20AC;&#x201D;â&#x20AC;&#x2030;I all record them and bundle them in a multi-disciplinary book. People often have a too one-sided

weeks this became even worse. Back then I lived in Belgium with 2 other ABKM students, and I will never forget the moments on which we brought each other a cup of coffee at 3AM, came to borrow pencil sharpeners, or asked for advice. But man, I was proud when I once again passed an assessment week well! Proud of all the hard work, and the discipline to go on. It makes you a lot stronger as a person.

judgment on men like these. They are regarded as hindrances to society, and therefore excluded on forehand. With this book, I want to provide a human face to those judgments. It is not my intention to justify their actions. Explaining does not mean justifying. Understanding is not forgiving. But I want to show the flip side.

What are you currently working on? Currently I am still very busy with my graduation project. Since December 2012, I am an active part of the lives of 3 men

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Bas Jacobs, Underware Alumnus

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Who are you? And what do you do? Bas Jacobs, co-founder of design studio Underware. The Fin Sami Kortemäki and the German Akiem Helmling, started out in the previous millennium with creating and selling their own font types. Underware’s font types are distinguishable by a combination of creative and technical innovation. Apart from their daily activities such as designing font types, Underware regularly organises workshops on font designs at art academies, as well as lectures and presentations at conferences all over the world. Furthermore they publish their own books and have co-founded the radio broadcaster Typeradio. A nonvisual medium that deals with visual issues. As the slogan reads: ‘Type is speech on paper, Typeradio is speech on type’.

Which part did the ABKM play in your current career? Both at the ABKM and the Royal Academy for the Visual Arts in The Hague where I attended my follow-up studies designing fonts, one can state that a lack of education was the best that could happen to me. In The Hague we had plenty of free time, so that together with some fellow students I started up own projects. We have simply continued those after our studies, and thus Underware emerged in a very natural way. Thanks to the lack of lecturers. If we would have had more education then Underware may never have originated. The reason to attend this follow-up studies font design was my personal frustration with the designing of fonts. At the ABKM, in the 3rd year we were given an assignment to design a font type, the typography teacher lacked

Which education did you choose at ABKM? Visual Communication/Graphic design.

the knowledge to guide me on that. So, I starting sorting it out for myself, and thus ended up in The Hague. The best that therefore happened to me at the ABKM.

What was your motive to achieve where you stand now? Follow my interests, and not give up before satisfied. And before I was satisfied, some new interests were the result.

How do you look back on your time at the ABKM? Kept nice friendships through it.

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Which suggestion can you give to future students? • Think big; • It is okay to be ambitious, but stay relaxed; • Crush your heroes; • • • • • • • • • •

There is always more than one solution to a problem; Others have knowledge that you don’t have. Ask them. Age does not matter; Have fun at what you are doing; See to the people around you; Two people can do more than one; Surprise yourself, explore new directions; Be better than the previous time; See to it that you are relevant; Be critical; Invest. Spend money.

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‘Architecture is always the spatial expression of a spiritual commitment’ — Ludwig Mies van der Rohe

‘Recognizing the need is the primary condition for design.’ — Charles Eames

Master of Architecture

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Mies’ definition effectively describes the intrinsic relationship within architecture between reflection and theory on the one hand and design and practice on the other. Without an attempt to reflect on the knowledge, tools and design strate-

through a single design principle, or ‘concept’ as we like to call it, that defines its own necessity. The master’s programme therefore places an emphasis on cultivating a sensibility to spacial aspects of our surroundings, through hypothetical

gies of architecture, any proposed design process or intervention would be mere formalistic. Each architectural project is measured by both its spatial aspects and its theoretical and critical intent. But, as Eames points out to us, without the recognition of the need for such a relationship there is no basis for a design process at all. Architecture is about the necessity of design, about building as an act of culture. Architectural design differs from building design in that it is the translation of an idea into a physical structure: an idea for the solution of spatial, programmatic, economic, technical and social problems

assignments (project education/problembased learning and artistic research). In due course students learn to moderate the parameters of spatial quality to such an extent that they become experts in spatial practices. The intellectual instrumentality of architecture can by then be applied for creative virtuosity that leads to the final project completely defined by the student him/herself. During their study students compile an online portfolio. This, combined with the experience gained through working in an architects’ office, makes it possible for a graduate student to directly start a practice of their own.

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‘Perhaps it is this ‘inner substance’ where the true essence of architecture really lies ... by giving this ‘hollow space’ an ultimate shape, it’s creating an own world ... If we consider it right, it’s a big miracle that the space inverted outside in.’ —Henri Foçillon, Vie des Formes, Paris 1943

Master of Interior Architecture

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Architectural design or interior architecture is understood as transforming an architectural structure or an architectural space because of changing needs and requirements. It is seen as understanding (being able to read) existing architectural substance and changing (designing) it into an architectural space with a central focus on the experience and the commu-

master’s programme provides an explicit knowledge of these phenomena as well as what we call competence in perception and expression. These ‘aspects’ are dealt with as chronologic topics for several projects in the first year of the two-year full-time programme (analysis). Within this programme theoretical research and analysis plays a key role (Space and Soci-

nicative aspects. The master’s programme places an emphasis on the exploration of existing architectonic structures and changing them in response to factors such as changing needs. This is done didactically using hypothetical assignments (project education/problem-based learning). Students are given their own atelier where they have free access and where the Staff evaluates the design process one on one. The architectural space is a complex phenomenon that comprises different aspects like materiality, light, time, scale and composition. These phenomena do not influence the space in a chronological order but in a synchronized way. The

ety). In the second year, students focus on their thesis and final project (synthesis). The programme can be seen as a specialism within the context of the subject area, as it underlines the research and phenomenology of the architectural space. This specialization is challenging, which is why several entrance requirements are to be met to make sure that the students possess the necessary competencies and qualifications (for this master level). The entrance requirements are necessary in order to guarantee the desired quality of education and this specialization in the short and long term.

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Joep Esseling Second-year student MIA What are you currently busy with? Currently, I am busy with my graduation project on the River Geul Valley at the Master Study Interior Architecture. This is a continuation of the study Architectural Design at the Maastricht Academy of Fine Arts and Design. At the Master study we explore even deeper on the research aspect. The final result is of secondary meaning. Does your preference lie in analogue or digital work? My preference lies with working by hand (analogue). Crayon lines on paper. Scale models cast from plaster. Cardboard cut with a breaking knife or booklets that are bound with needle and thread. They keep having much more feeling and personality than scale models from 3D printers or drawings from computer programs. What should people know about your work? To obtain an overview of the River Geul Valley, I departed from a large scale in

order to thus understand the area as good as possible. From there I kept increasing the scale, until I arrived at the details of the landscape, such as an oak tree, a small river that emerges after precipitation, or a buttercup. The regional scale is the starting point, and the human scale is the end point. During a journey I visit places I know from my childhood; back then, those locations served as outside rooms, where I could â&#x20AC;&#x2DC;come homeâ&#x20AC;&#x2122;, now they are places that I pass by during a walk with my parents. These locations together constitute the interior of the landscape. I have transformed the philosophy, the memory, and the geology of the River Geul Valley into a path, a path that guides you along locations and characteristics of the land, in order to thus come closer to the essence of the landscape. The path offers the opportunity for various insights; how the land is built up and how it functions, what the influence of among other things time and mankind are on landscape, a journey, and a path.

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‘The fundamental principle of Medical (Scientific) Art is service. It is not a career for the artist who wants primarily to express his own ideas, but it is a rewarding one for the person with high technical and artistic skill, which he enjoys using in the service of others’ Guidelines for Candidates, Medical Artists’ Association of Great Britain.

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The Master of Scientific Illustration (MSI) is a joint project of the Maastricht Academy of Fine Arts and Design (ABKM), a faculty of Zuyd University of Applied Sciences

cal and clinical topics, using a wide range of media. The programme focuses on applications combining traditional visualisation techniques with photography

and the Faculty of Health, Medicine and Life Sciences of the Maastricht University. The discipline of scientific illustration is concerned with the visualisation of topics from the life sciences. Scientific illustrators work on a wide range of topics, and may work as freelancers or are employed by institutions like universities, hospitals, audiovisual service agencies, scientific publishers, broadcasting companies, journals, etc. The Scientific Illustration programme is the only study programme of its kind in the Netherlands, attracting students from the Netherlands as well as other countries. Its alumni are expert visualisers of biological, biomedi-

(including digital photography), video and computer techniques to produce accurate two-dimensional representations of three-dimensional structures. It also includes plastic modelling. Students are provided with a solid theoretical basis, and gain practical experience in working with medical and biomedical techniques like dissection, processing microscopic and macroscopic serial sections and the products of modern medical imaging techniques like Computer Tomography (CT) and Magnetic Resonance Imaging (MRI). ‘Morphological insights have evolved through the ages. In the past, many illustrations have been produced

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which clearly do not reflect modern views, but which are still being used. Many concepts arising from the use of modern morphological techniques have not yet been adequately visualised. This discrepancy between current views and outdated images has led to many misunderstandings. The traditional ‘artist’s impression’ is now often didactically counterproductive. It is the combination of the latest morphological methods, modern visualisation techniques and training based on modern morphological concepts which creates the ideal conditions for this programme for scientific illustrators, which is up-todate and didactically sound, and which

is closely geared towards professional practice’. (Prof. J. Drukker, late professor of anatomy and embryology) The programme is offered in two variants: fulltime and part-time, taking 2 and 4 years, respectively. A maximum of 6 students per year are admitted to the programme (full-time plus part-time variants). During the final stage of the programme, students can specialise in medical, biological or biomedical illustration. Since these subjects overlap to a considerable extent, the practical and theoretical teaching programme up to the final stage is identical for all three specialisations.

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team m

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Suzanne Janssen is a young graphic designer studying in Maastricht, The Netherlands. Her main focus is on graphic

When Swen Van der Sangen was young, his father worked as a truck driver. He often took several paper samples of vari-

design, typography and illustration; sheâ&#x20AC;&#x2122;s also interested in broadening her skills, venturing into photography. Janssen loves spending her time on drinking lattes, reading interior design magazines, baking and listening to old records.

ous printing companies. With this paper Swen made â&#x20AC;&#x2039;â&#x20AC;&#x2039;a lot of booklets. Even his own paper furniture. From that moment on Swen knew he wanted to be a graphic designer.

Contact Suzanne Janssen suzannejanssen@outlook.com www.suzannejanssen.com

Contact Swen Van der Sangen info@prikkeldesign.nl www.prikkeldesign.nl

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I am a third-year graphic design student. I try to use as many different techniques as possible to communicate (typography,

Since 2006 Stefano Falco is a parttime teacher at the Maastricht Academy of Fine Arts and Design, Department Visual

photography, illustration, animation, webdesign) and want to keep expanding it. This way my work is varied and I get to know all the possibilities. Iâ&#x20AC;&#x2122;m way to curious for other things to do the same thing over and over again.

Communication. Member of the management team Department of Visual Communication. The courses he teaches are typography, graphic design, and interactive media, design and technology. He is also member of the academyâ&#x20AC;&#x2122;s Public Relations Team and participates in real-live projects.

Contact Dirk Zwaneveld dirk@zwaneveld.be Behance: dirkzwaneveld www.dirkzwaneveld.nl

Contact Stefano Falco stefano.falco@zuyd.nl

Colophon Published by ABKM, Maastricht 2013 Supervision Stefano Falco (project coรถrdinator) Student team Swen van der Sangen (graphic design) Dirk Zwaneveld (graphic design) Suzanne Janssen (graphic design) Photography Swen van der Sangen Dirk Zwaneveld Suzanne Janssen Archive ABKM Portrait photography Marcella Coppen Laura Geradts Special thanks Verena Lukas Translator UrgentVertalen Printed by Andi Druk

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