www.aiquarterly.com
WINTER 2009
Photography by Jake Drake Art Direction by Russ Bratcher This campaign was created by students at The Art Institute of Charleston Š2009 Models from left to right: Rebecca Ladd, Callie Vega, Tiffany Green, Angela Voyles, Russ Bratcher
You, happy... Very Happy!
contents AIQ WINTER 2009 On the Cover: Jake Drake photographs the first food issue for AiQ
editor’s letter 6 president’s letter 10 love story 12
18
Ai Culinary Arts dazzle you with lamb & love
tattoo 24 so you think you want my job? 27 “The Art Institute Quarterly is a publication “for students, by students” and reaches an audience of 600+ students, faculty and to the surrounding Charleston community. True Story.” The Art Institute Quarterly is printed at The Art Institute of Charleston’s in-house Print Studio.
4 | The Art Institute Quarterly
est. Summer 2008
Jonathan Katzenberg AiCSC Photographic Imaging
Cassie Schmitt AiCSC Interior Design
Mick Matricciano AiCSC Culinary Arts
aiquarterly TRUE STORY.
MODEL&TALENTCALL The Art Institute Quarterly is seeking students from all majors at AiCSC to become a part of the AiQ Family. We are expanding the quarterly to all media including print, video and web. Also, if you have an eye for styling, fashion or have a talent for modeling please contact AiQ. We are already in preproduction for the Spring & Summer 2009 Issues! CONTACT: Russ Bratcher • russellbratcher@mac.com
editor’s letter I remember the first time I spoke with Career and Student Services Director Terry Fox about a school publication calling forth the talents of the students here at The Art Institute of Charleston. Our conversations were very enthusiastic; we were filled with dreams and aspirations for such a project. I am so thankful to our leaders and supporters here at AiCSC, because Terry could have easily brushed the project off as a side note. He has never blinked twice at a thought or idea that I thought was too big or small. The staff here at Ai has been extremely supportive in this publication, and I could not be happier to see it alive and well. We have so many new guests in the AiQ house! Six of the leading artist in the Charleston Job?” (page 27). It was such a thrill to see such positive responses come back with meaningful and thoughtful answers! Thank you all. We are so proud to have the culinary arts program to join AiQ. With this week being The Charleston Food and Wine Festival, the timing was perfect to feature a food project on the
Photo by Des’ola Gunter
area have graced our pages with their wisdom and “know how” in “So You Think You Want My
cover (recipes start on page 18). On the day of the food shoot, the photographers and I taste
Editor-in-Chief Russ Bratcher
tested the dishes presented in this issue, and I must say they are outstanding. Winter is almost to a close (hopefully), and the chocolate sauce for the s’more hot chocolate is crazy good for a winter night snuggled up with your loved ones. Many thanks to Warren Albuna for stepping up to the plate and hitting a home run! Charleston Fashion Week is swiftly approaching (March 24-28), and AiQ will be there to cover and report back on the event through the Spring 2009 issue, which will be dedicated exclusively to fashion. We are actively searching for ladies and gentlemen of all shapes, sizes and ethnic backgrounds to share their time and talents by modeling to showcase this season’s latest trends. Please contact me if you have a desire to model, photograph, style and support us in the issues to come. If you wear clothes, you should feel you belong in this next issue! Jake Drake was at my side for every project that I needed photographed. We lived in the collaboration between many of us, and I hope they are all proud of our final happy ending. I am especially excited for Summer 2009...AiQ will be one year old! More later on things to come this summer. But, for now, sit back, relax, read and please respond to our family of artists. In the meantime, become a Facebook fan of the AiQ. The information on how to find us is located to the right. This is a great way to stay updated on the latest news from The Art Institute Quarterly. On to the next issue...see you in the spring!
russellbratcher@mac.com
Russ Bratcher
6 | The Art Institute Quarterly
Photo by Des’ola Gunter
studio every Saturday for a month to get this issue just right. Our “Love Story” (page 12) was a
Russ Bratcher and Jake Drake styling and shooting, “Love Story” for the Winter 2009 issue. Callie Vega and Mick Matricciano hold their dancing pose quite well.
search: The Art Institute Quarterly Charleston, SC
the artists Mick Matricciano is a culinary student currently in the Bachelors Program at The Art Institute of Charleston. He was born and raised in Charleston, SC, and would love to use his culinary training to travel, learn and experience as much as he can. In this issue, Matricciano was Romeo in the “Love Story” photo shoot, and he agrees this was an excellent experience. “I had a lot of fun, and it was great to meet and make contacts outside of the culinary program. A lot of hard work was put into it by everyone, and it’s nice to see the fruits of those labors.” AiQ is so grateful to have such an awesome male lead.
The Message is The Art Institute of Charleston’s weekly Bible Study.
I am probably the only Des’ola Gunter you will know in your lifetime, and, if you happen to find another, let me know! I’m a photographer majoring in photographic imaging, and my goal is to one day own my own studio that utilizes natural light. I also want to focus on conceptual photography and sell limited prints. I am excited to see where photography takes me upon graduation. As long as I’m making photographs and showing my vision to the world, I will feel personally fulfilled. My name is Callie Vega and my major is Graphic Design. I think that the quarterly is a great magazine and a great way for students to get some exposure. I have been modeling for a couple years now and i feel that the quarterly is a perfect opportunity for people that are interested in modeling to get some great pictures to use in a portfolio. Or even if you not serious about modeling its lots of fun and a great way to meet people!
Paul Bateman was born in Florida and has lived all over the country, but has always called South Carolina home. He has a degree in Fine Arts from Tidewater College in Portsmouth, Virginia and has also attended Virginia Commonwealth University where he majored in sculpture and philosophy. He is pursuing his BA in Photography here at the AI but dabbles in just about all art forms including pottery and glass blowing and is growing very fond of digital video. His ideal job is one that would pay for his adventures ie. travel or nature magazines. He plans to pursue a Masters in Fine Arts then teach on the college level.
About The Message: We are a non-denominational Christian study group, and we encourage all students to attend. Meeting days and times change quarterly. Be sure to check your student email at the beginning of each quarter for details. The Message is also involved with community service projects. If you are interested in helping out, please let us know.
Email Chad Treado at the following: ctreado@aii.edu for more information.
WINTER 2009 | 7
aiquarterly Volume 2, Issue 1 Editor-in-Chief Russ Bratcher
•
Lead Photographer Jake Drake
•
Graphic Design Representative Callie Vega
Web Design Representative Russ Bratcher
Photography Representative Des’ola Gunter
Fashion Reatil Representative Krysten Adams
Culinary Arts Representative Warren Albuna
Film Production Representative Ryan Holderfield
•
Copy Editor Terry Fox Elizabeth Rose Dan Crooks
•
Creative Consultant Shari Schleis Amy Reed Katherine Barbera
•
coming soon
8 | The Art Institute Quarterly
AiQ TV Ryan Holderfield Paul Bateman
JAKE DRAKE • is an aspiring American photographer who has traveled over much of the United States taking photographs. He first became interested in photography as a college student studying criminal justice, and this is the point when he discovered his true passion. He currently is working on his bachelor’s in photography. Upon graduation, Jake plans to move into photography full time. www.jakedrake.com
AiQ Lead Photographer WINTER 2009 | 9
president’s letter It’s hard to believe that this is the third edition of Ai Quarterly. Time seems to just fly
here at the Art Institute of Charleston. We now have more than 500 students enrolled in our academic programs. Graphic Design continues to be our biggest program, followed closely by Culinary and Interior Design. But all of our programs continue to have strong enrollments. All of this is having an impact on our facility. As most of you know, we started a new program – Digital Filmmaking & Video Production – this past fall. This spring we will start a new associates program in Wine, Spirits & Beverage Management. Both of these programs will tax our existing facility, and for that reason I’ve been looking for additional space downtown to accommodate our program growth and expansion. My goal is to find another location within walking distance of our 24 North Market Street facility, so that students can go back and forth
between the two buildings with relative ease. Our thinking now is that the new location will house our digital filmmaking & video production program, as well as our photography program. We will build a film studio, a control room and a digital editing suite in this new facility, as well as a digital dark room and camera studio. In addition, we will have a lecture room there, as well as faculty space and some admissions and administrative space. What this new space will allow us to do is add another PC Lab here at 24 North Market Street, as well as an additional lecture room and classroom space for our new Wine, Spirits & Beverage Management program. All of this should be in place by the fall. This spring will also see a number of community events that we’ll participate in. We’ll be a major sponsor of Charleston’s annual Food & Wine Festival, which will be held March 5th through the 8th, and we will be the title sponsor of Charleston Fashion Week, which will be held the week of March 23rd. Our students and faculty will be very much involved in these important and exciting events. It should be a lot of fun. In closing, I want to thank those of you – students, faculty and staff – who were part of the mural design effort at the Lowcountry Food Bank. The mural looks terrific, and all of us at The Art Institute of Charleston are proud of all of you who worked on it. I know the entire Food Bank family is very grateful for your efforts. I hope you enjoy this edition of the Ai Quarterly. I know I look forward to reading it each quarter. I hope you do too.
Rick Jerue
The Art Institute of Charleston President
10 | The Art Institute Quarterly
AROUND Ai text and photography by Paul Bateman
So, you are here at The Art Institute,
and you have already begun to encounter problems. Since your Mama and Daddy are not here (thank goodness), I thought I would give y’all some helpful tips to help you navigate around Charleston and The Art Institute. The number one concern seems to be parking. Let me just tell you that Charleston neither has nor ever will have enough parking. This is a major hub for tourism and, with the population growing daily, there just is not enough parking spaces to go around without turning the whole town into one big parking lot. I, for one, love this town just the way it is. So, what are your options? Well, if you live within a mile of the school I recommend using the two feet God gave you. With all the sitting we do in class, a little exercise won’t kill any us. If that is just too unreasonable, there are parking meters in front of the school and down Concord Street. The meters have been recently changed, without notice to anyone from the City, from 10-hour limits to 4 hours. Basically, if you have more than one class you will end up having to move your vehicle. What a pain!! The Charleston Port Authority offers parking passes for $100.00 a month. The lots are at the end of Market Street less than a block away, and you can park there 24/7. I like to park there because when there are things going on around town I always have a guarded spot to park in. These passes are good for one full month and can be purchased at the Port
Authority building on Concord Street on the 1st of the month. Harris Teeter occasionally has parking passes for $50.00 a month. However, getting one of them seems to be up to the mood of whoever is working the customer service counter that day. Last, but certainly not least, there are parking passes available for the garage on Queen Street. These are good for the entire semester and cost $160.00. They are available from the ever-helpful and happy Mr. Terry Fox. It would be nice to see a little more carpooling going on, but schedules are very difficult to sync. Those of you who live in student housing have the shuttle available, but it only runs a couple of times a day. So, if you ride it you may be here all day unless you find another way home. The items to the right are just a few things I thought might help make freshmen’s arrival to Ai a little easier. No one told me this stuff when I first arrived, or maybe I wasn’t paying attention, either way this is stuff that I have discovered and I hope it helps some of y’all. If you have a topic you would like me to address in future issues of the Ai Quarterly, please don’t hesitate to stop me in the hall and express your concerns or give me some good advice I can pass along. I am a student, too, and I know how much of a strain it can be moving to a new city or just getting out on your own for the first time. I am happy to offer any help I can! AiQ
NEED A JOB? • Smiling Mr. Terry Fox again is the man to see. A lot of local businesses inform him of job openings, and he can help you with that. You can contact him through the Career & Student Services Department or at tcfox@aii.edu GOT A PROJECT TO PRINT? • Print Inc. (the Ai Print Studio), located on the second floor. They offer a wide variety of printing options at competitive prices in comparison to the Charleston market. Please remember when you take something to be printed, it needs to be formatted by you in the size you want. The Print Studio is not allowed to make changes to students’ work for them. In addition, make sure all your files are in CMYK format for color compatibility. The Print Studio is not responsible for color problems if you don’t follow these basic instructions. There is a 24-hour turn around window for basic school projects. HUNGRY? • The Market Street Deli is located on the second floor in the newly designed student center. The Deli offers a fairly good variety of breakfast and light lunch items, but with so many dining options right outside the school door, you don’t have to stay in all day. Get a snack and recharge at the Market Street Deli & Snack Counter! NEED THAT PRISMACOLOR MARKER? • The Art Institute’s school store is located on the second floor across from the Deli and the student lounge. The store is getting in more and more supplies every day, and the prices are very reasonable. They offer just about anything you need to get your work done without having to go to two or three places for your materials. They also offer a great selection of Ai gear, so get a t-shirt or a baseball cap and show off your Ai spirit. TECHNICAL ISSUES? • The Art Institute’s I.T. center is located inside the Print Studio. Marlon Brown is our resident tech guru and can help out with those pesky problems like lost passwords and other good stuff that I don’t understand. Email Marlon at: mbbrown@aii.edu
WINTER 2009 | 11
photography by Jake Drake illustration by Russ Bratcher
food photography by Jake Drake
Lamb, Lobster & Love menu by Chef Christopher Stallard Salad of Lobster, Baby Arugula & Winter Citrus Vanilla Bean-Black Pepper Vinaigrette & Pickled Fennel Preparing Lobster For Cooking: Steaming or boiling lobster the old fashioned way may be satisfying to some people, but the reality is violently cooking the lobster with these methods will result in tough, under seasoned meat. The process of steeping the lobster offers you the chance to cook the meat in a variety of methods including: butter poaching, slow roasting, sautéing, deep frying, etc. The key is to work with the steeped lobsters while they are still hot. If they are allowed to cool before you remove them from the shell, the fat will solidify; the meat will stick to the shell and will be harder to remove. Method of Preparation for Steeping Lobsters: Measure enough water to cover the lobsters completely. Add ¼ cup of white distilled vinegar for every gallon of water used. The acid in the vinegar stabilizes the proteins in seafood, giving it a better texture. Bring the water to a boil and dump it over the lobster. Allow them to steep for two minutes for 1½-pound lobsters or three minutes for 2-pound lobsters. Remove the lobsters from the water but do not discard the water. Use 18 | The Art Institute Quarterly
“At eight years old when I saw my uncle chop a chicken, saute and flambe it - I wanted to be a chef.” -Warren Albuna
a towel or rubber gloves to handle the lobster and twist off the tail and reserve. Twist off the claw and knuckle and return to the water for an additional five minutes. While the claw and knuckle continues to steep, tend to the tail. Twist the tail fan off and push the meat through. De-vein the tail. Remove the claw and knuckle from the water. Break the claw away from the knuckle. Pull down on the small pincer and push it to either side to pull it off. Crack the lobster claw gently with the back of a chef ’s knife or a small mallet and remove the meat. Use scissors to cut the knuckle or gently crack it with the back of a chef ’s knife or a small mallet and use your fingers to remove the meat. Remove the feathery gills from under the lobster body and discard. Rinse the bodies thoroughly. Reserve the bodies to make stock or freeze immediately.
the heat to just below a simmer about 170ºF. Gently poach the lobster in the liquid until the meat is done, about 2 to 3 minutes. Remove the lobster from the pan and plunge into an ice bath. Remove and allow to drain after chilled. Reserve in the refrigerator until ready to plate.
For the Lobster:
Combine all ingredients, except oil, black pepper, and chive in a food processor. Process ingredients and drizzle in oil until emulsified. Season with salt and pepper and adjust the acidity with the honey. Refrigerate until ready to use.
2 each Chick Lobsters 1 quart water 1 Tbs. pickling spice ½ each lemon
Use the instructions for steeping lobsters from above to remove the meat from the shell. In a heavy bottomed saucepan, combine the water, lemon, and pickling spice. Bring the liquid to a boil and reduce
For the Vanilla Bean-Black Pepper Vinaigrette:
½ cup rice wine vinegar ½ each lemon, juiced 1½ tsp. dijon mustard 1 each egg yolk 1 each vanilla bean, split & scraped (pulp only) 1½ cups salad oil Kosher salt and fresh ground black pepper to taste Honey to taste (balance acidity) 1 Tbs. chives, chopped 1 Tbs. black pepper, coarsely ground
For the Garnish and Assembly of the Dish:
2 each blood oranges, cut into supremes
2 each meyer lemons, cut into supremes 2 each grapefruit, cut into supremes 2 cups baby arugula 1 cup shaved pickled fennel (can substitute raw shaved fennel) Fennel frons as needed Fresh ground black pepper as needed
Spoon some of the Vinaigrette on four chilled serving plates. Arrange the citrus supremes and arugula on the plates. Place the lobster pieces on top. Each plate should have a claw, half of a tail, and knuckle meat. Place pickled fennel and fennel frons around the plate and finish with black pepper. Serve immediately. *Chef ’s note: Supremes are essentially peeled citrus segments. Fennel frons are the green leafy part of fennel often used like an herb. The pickled fennel is made by pouring a basic pickling brine over the fennel and allowing it to sit overnight.
Cocoa Nib Crusted Lamb Loin with Sun-dried Cherry Glaze Butternut Squash & Braised Swiss Chard For the Butternut Squash Puree:
3 each (1½ pound avg.) butternut squash 2 Tbs. light brown sugar ½ tsp. ground cinnamon WINTER 2009 | 19
Pinch ground nutmeg ½ tsp. ground coriander 1 tsp. ground ginger Kosher salt to taste 6 Tbs. butter ½ cup Brandy 1½ cups water Tabasco sauce to taste
Split the butternut squash lengthwise with a knife and scoop out the seeds. Combine the brown sugar, cinnamon, nutmeg, coriander, and ginger. Place the squash face up in a baking dish and season with the brown sugar spice mixture and salt. Place 4 Tablespoons of the butter on top of the squash and pour the water and brand in the pan. Cover with foil and bake in a 400ºF. oven until tender, about 1 to 1½ hours. Remove from the oven, remove the foil, and allow to cool slightly. Scoop the flesh away from the skin and place in a food processor. Process in the food processor adding the remaining butter and some of the cooking liquid (if needed) to achieve desired consistency. Adjust the seasoning with salt, Tabasco sauce, and more brown sugar if desired. Keep warm until ready to serve. For the Braised Swiss Chard:
2 bunches Swiss Chard Leaves, cut into half inch ribbons & blanched 2 Tbs. Blend Oil 1 Tbs. shallot, minced 1 cup chard stems, thinly sliced ¾ cup vegetable stock 1 Tbs.white wine vinegar 2 Tbs. butter Kosher salt and Fresh ground black pepper
In a sauté pan over medium-high heat, heat the olive oil until just before it begins to smoke. Sauté the shallots and the chard stems until lightly caramelized. Add the vegetable stock, vinegar, and butter and cook until the butter melts and begins to emulsify into the stock. Add the blanched chard and warm through. Season with 20 | The Art Institute Quarterly
salt and pepper and serve immediately. For the Sun-dried Cherry Glaze:
1 Tbs. blend oil 2 Tbs. shallot, minced 2 cups port wine 1 cinnamon stick 1 cup sun-dried cherries 2 cups veal stock Kosher salt and fresh ground black pepper 1 sprig thyme
In a heavy bottomed saucepan over medium-high heat, sauté the shallot in the oil until translucent and soft. Add the port wine off the heat and return to the flame. Burn off the alcohol and add the cinnamon stick, and cherries. Cook until the cherries re-hydrate and the mixture thickens slightly. Add the veal stock and thyme sprig and reduce the sauce until it coats the back of a spoon. Remove the thyme and cinnamon stick and season with salt and pepper. Keep warm until ready to serve. For the Cocoa Nib Crusted Lamb Loin:
2 each lamb loin, silver skin removed Kosher Salt and Fresh ground black pepper ½ cup cocoa nibs 3 Tbs. blend oil ¼ pound (1 stick) butter 4 thyme sprigs “Sel Gris” or “Fleur de Sel” as needed
Season the lamb loin with salt and pepper and roll in the cocoa nibs. Heat a sauté pan over high heat and add the blend oil. Sear the lamb loin on both sides allowing each side enough time to develop a golden color. Remove from the heat and add the butter and place a thyme sprig on top of each loin. Use a spoon to baste the lamb loin with the butter, turning once and cook to desired doneness. Allow the loin to rest before carving and serving. To assemble the dish: Spoon some of the butternut squash puree in the center of WINTER 2009 | 21
22 | The Art Institute Quarterly
*Black & White Photography by Des’ola Gunter
each plate. Place the Swiss chard on top of the puree. Slice the lamb loin and place over the top of the chard. Season with the sel gris or fleur de sel. Spoon some of the sauce around the plate.
S’mores Hot Chocolate Spiced Hot Cocoa, Cocoa Nib Graham Cracker, Marshmallow Fluff
and chill for at least ½ hour. Remove the top sheet of parchment paper and cut into desired shapes and prick with a fork. Sprinkle the cocoa nibs over the graham crackers and gently press them into the dough Bake at 325ºF. for 18 to 20 minutes or until golden brown. Cool and keep in airtight container until ready to use.
For the Spiced Hot Cocoa:
Marshmallow Fluff:
12 ounces/weight dark chocolate 65%, cut into small pieces 1¼ cups heavy cream 2 cups whole milk A pinch kosher Salt A pinch cayenne pepper 1 each cinnamon stick 1 tsp. black peppercorn 2 tsp. granulated Sugar
In a heavy bottomed saucepan over high heat, bring all ingredients except the chocolate to a boil. Remove from heat and let stand for 15 minutes. Return to the heat and bring back to a boil. Strain the mixture over the chocolate and whisk until smooth. Serve immediately or reserve in a double boiler until ready to use.
2 each egg whites 1 cup light corn syrup A pinch kosher salt 1 cups 10X Confectioners sugar 1 tsp. vanilla extract
In an electric mixer with the whisk attachment, whip the egg whites, corn syrup and salt until it is like a meringue. Add the confectioners sugar and vanilla and whip until smooth. Refrigerate in an
airtight container until ready to use. To assemble the dish: Pour the hot chocolate into serving cups and place some graham crackers on the edge of the cup. Spoon some of the fluff on top. Carefully use a blowtorch to toast the marshmallow and serve immediately. *Chef ’s note: You can buy prepared graham crackers and marshmallow fluff if desired and prepare the hot cocoa the same way. You can also use a broiler to toast the marshmallow. Special thanks to Chris Medlin, Christian Zehntner and Chef Instructor Christopher Stallard.
AiQ
For the Cocoa Nib Graham Cracker:
½ pound (2 sticks) butter, softened 2 Tbs. light brown sugar 2 Tbs. dark brown sugar ¼ cup granulated sugar ¼ cup honey 2 cups all purpose flour ½ cup wheat flour 1 teaspoon kosher salt ½ teaspoon ground cinnamon Cocoa Nibs as needed
In an electric mixer with a paddle attachment, cream the butter and sugars together until light and fluffy. Add the honey and mix until incorporated. Combine the flours, salt, and cinnamon and add to the butter mixture. Roll out between two sheets of parchment paper
Above: Warren Albuna perfecting his lamb dish. He has finished his Associates of Culinary Arts Degree and is now working on his Culinary Management Degree. Warren plans on work hard and learning much more after school. He is very excited about 2009 The Food and Wine Festival.
WINTER 2009 | 23
tattoo tat⋅too /tæˈtu/ [ta-too] -noun, plural -toos, verb, -tooed, -too⋅ing.
1. the act or practice of marking the skin with indelible patterns, pictures, legends, etc., by making punctures in it and inserting pigments.
text and photography by Des’ola Gunter
KT Jeffcoat Being my second tattoo, I spent 6+ hours getting this piece on my back in Georgetown, D.C. Some may see it as just a piece of regular artwork, because I designed it to appear that way, but every color and line were put there with a purpose. All 10 tattoos appear to have a regular “I got a tattoo!” feeling, but have extensive meanings to them that I don’t share with many. My back, I designed to look like a “cutesy” girl, but with a devil shadow, giving her a wide array of colors and stars in the background. The overall meaning is this: Some things just aren’t as they seem. It’s my ode to the regular: “Don’t judge a book by it’s cover”, or the “Don’t assume, we all know what it makes.” All of my tattoos have vibrant colors and stand out because I want them to be very lively. To me, life is full of color, so why get a black and white tattoo? When someone asks about my tattoos, my generic response is: “I’m just trying to make the world a bit more colorful.” In all of my artwork, as well as my life, I strive for this daily.
Paul Bateman The upper portion of my arm is traditional Japanese. It symbolizes my constant struggle to keep my foot on the neck of my own demons. The lower part, the stripes, is derived from ancient Pictish. The Picts, so called because of all the pictures on their bodies were the predecessors of the Scottish. They were known for their tattooing and used tattoos as a way of frightening their enemies. The stripes on my arm are not connected meaning I have brothers and no sisters. The way that the stripes radiate outward and then back in again is a karma type thing that means my energy and life force extend out to others then come back to me. I had to do a ton of research to find this stuff, and I have written a couple of research papers on the art of tattooing. The oldest known tattoos are on the body of the Ice Man, a thousand year old mummy. He has dots tattooed on his knees and joints; researchers think it was for medicinal purposes.
“In the beginning when I was brainstorming ideas for making these photographs, I wanted them to all look similar with the same feel and composition. As I photographed each person, I realized it was truly about them and I was just making a moment with them, being invited into their world for a while. Just like every person is different, every photograph is different, and how the tattoo begins to not just be a part of them, but IS them. I had to adapt to what the person was making the photograph to be, and that was beautiful. This experience taught me something powerful, and I’d like to quote a line from the song “I’ve Seen All Good People” by Yes: Don’t surround yourself with yourself. A great thank you goes out to the people who shared their inked stories with me. Present me a person with a tattoo and I’ll present to you someone with an intriguing past: this is proof.” - Des’ola Gunter
Des’ola Gunter Both of my tattoos were placed at a significant time in my life. The one of my left forearm started on June 15, 2007, just two days before I left for Florida to go to The Art Institute of Fort Lauderdale, with my mother and my friend since first grade who designed the tattoo also being there for me that day. The peacock feather ultimately signifies my mother because she has always been there beside me supporting me, and also in a general sense the peacock is a symbol of openness and acceptance. The moon symbolizes the quote by Les Brown, “Shoot for the moon; even if you miss, you’ll land amongst the stars.” I chose to place this tattoo on my forearm because I wanted to see it any time I wanted, to show where I came from and who has supported me always. My most recent tattoo is the one on the right side of my ribs. Learning and growing with photography, I started with 35mm film, and now I use mostly digital. I represented that with a roll of film spiraling down and at the end the last negative is
pixelating. In photography, I feel it does not matter what kind of camera you have, but the person who is behind that camera, so I did not want a specific camera brand or body. Instead, I just wanted one that generally looked similar to the camera I use now. The style of photography I love the most is the unposed and candid – the photographs which Capture the Moment, showing the rawness, emotion, and moment of when the photo was made. I chose to put this tattoo on the right side of my ribs because underneath that is where the liver is located, and the human body needs the liver to stay alive, and I feel like I need photography because when I’m making photographs – I am brought to life.
Kate Hohorst I got my tattoo the week after I turned 18 and came home from Disney World. My tattoo is of the blue bird from Cinderella. Cinderella says, “You can’t order me to stop dreaming.” I think those are very powerful words. I found my tattoo in a coloring book, and when I found it I had to have it.
Josh Breland Josh’s grandfather and he as a kid used to watch Alfred Hitchcock films. Breland took two years of film in high school, and realized the important impact of Hitchcock in the film industry. In remembrance of his grandfather and their times together, Breland got a Hitchcock portrait tattooed on his right forearm.
KT JEFFCOAT
aicsc photographic imaging major
PAUL BATEMAN
aicsc photographic imaging major
DES’OLA GUNTER
aicsc photographic imaging major
KATE HOHERST
aicsc photographic imaging major
JOAH BRELAND
aicsc interior design major
Ai Library News Having trouble finding what you need in our library? Try Interlibrary Loan!
What is interlibrary loan? Interlibrary loan allows you to borrow items from AiCSC Attends the Leadership Academy at the Art Institute of Atlanta, GA
Lauren Williams, Ryan Collins, Cera Reaves, Terry Fox (AiCSC Career and Student Services Director), Tiffany Green & Patrice Plowdon
other Art Institute Libraries through
the joint library catalog or from 1000s of libraries across the country through OCLC Worldcat (Online Computer Library Center World Catalog). Who
is
eligible
for
interlibrary
loan? All Art Institute students, faculty and staff are eligible to borrow material through interlibrary loan.
How do I request an interlibrary loan?
New Atrium Banners! Students presented their designs for the Art Institute of Charleston’s
1. Search the online catalogs to find the resources you would like to borrow.
marketing banners that hang throughout the school. Students explored typography, imagery and color to create a family of panels. The winning designs will be hanging about soon!
Art Institutes Online Catalog http://63.146.164.58:7288/
OCLC Worldcat http://www.worldcat.org/
2. Fill out an Interlibrary Loan Request Form which is available at the Art Institute of Charleston Library circulation desk or through the library website.
HOURS • Mon-Fri • 8am-4pm PAPER SIZES 11”x 17” tabloid 8.5”x 11” letter
Custom oversized prints available on rollpaper
PAPER TYPES Plain • Digital Gloss • Cover Stock • Card Stock Glossy • Semigloss • Luster • Matte • Vinyl For more information on all your printing needs CONTACT: Jovena Mouzone at jmouzone@aii.edu
26 | The Art Institute Quarterly
3. The Librarian will notify you when the item has arrived. Contact Maureen Meyers, Librarian if you have any questions about these services. email: mmeyers@aii.edu phone:(843) 727-3465 website: http://mm601.aisites.com
PETER FRANK EDWARDS PHOTOGRAPHER PFE PHOTOGRAPHY
* by Russ Bratcher All photographs provided by artists
The stars. We all see them from time to time. In publications across the Lowcountry, gazing on a screen at your favorite star’s web site, anticipating their next Charleston Magazine spread or you feel them as they inspire your own work. Think about the first time you heard the phrase, “When I grow up I want to be...” normally, you’ll hear teacher, doctor, fireman, nurse or maybe artist. In my wildest dreams, I never thought that the path I am on would lead me to write an article about my favorite artists and talents in the Charleston community. My path does involve this article, because I have chosen for it to be so. I want to say thank you to all of the guest artists who reached back to The Art Institute Quarterly for this article. We are truly grateful for a peek at your worlds. We wish you and your careers the best in 2009.
Tell us a little about yourself. I’m from Charleston, SC. I went
to The College of Charleston, and
to graduate school at Florida State University. Studied Anthropology and Underwater Archaeology, respectively. I’m forty years old and have been in the Photography business since 1998. I shoot primarily travel, people and food locally and nationally. I am currently working on two books.
Why did you want to become a Photographer? When did you know that it was what you wanted to do?
I wanted to be a Photographer since I was twenty years of age. I had a girlfriend who liked to take pictures. I set up a darkroom in the bathroom and started doing my own thing. I assisted a few photographs, but was intimidated by the amount of gear needed to shoot commercially. Then, I went to graduate school, hated my studies and knew I could not waste away doing something I did not love. I put together a crummy portfolio, met some people and started to pick up some little magazine jobs, mostly because I was younger and eager to please.
If a student wants to become a Photographer, how should he best prepare? What’s the best route into the job?
Practice constantly and shoot what you love. Meet and talk with as many people that you admire as possible.
How competitive is it to land a job as a Photographer?
National level photography is very competitive.
What is the best part of the job?
Overcoming constant challenges,
traveling and meeting people.
What is the worst part of the job? Overcoming constant challenges, traveling and meeting people. Sometimes people really hate photographers and place you in the same category as paparazzi and exploitive people. Travel sounds great to most. But it can wear you down no matter how much you love it. Often things are never like what you’re led to believe they will be like when being told about an assignment and you’ve got to figure out what to do on the spot. Being creative on demand can be tough.
Are there any misconceptions that people have about the job?
Yes, it takes constant work. Taking great photographs is a relatively small part of the business. You also need to be a great editor, good listener, understand the business side of things.
What is the work/family balance like?
I work constantly. That means I’m working on stuff in my head at dinner, in the shower,constantly, but I love it. Can’t stop and I won’t stop. I don’t have kids.
What’s the hierarchy like as a Photographer? How does one “move up” in the job?
Be sincere. Do what you say you’re going to do. Never be late. Every job can lead to another. AiQ
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AMY REED GRAPHIC DESIGN HELIUM INC.
offline creative - I jumped out on my own and started Helium.
If a student wants to become a Graphic Designer, how should he best prepare? Tell us a little about yourself. I was born in 1964 (do the math) and grew up in a Detroit suburb. When I was a kid, I collected business cards. I would sort them out by graphic type: embossed, thermography, foil-stamped, color (it was the 70s/80s). I had hundreds of them. I began college at as an architecture major. After winning a logo competition there, I realized that my heart was really in graphic design. I spent a year at a local community college taking art classes, then began a four year degree program at The College for Creative Studies in Detroit. I came to Charleston on a vacation not long after graduating. I had my folio with me and showed it to a few ad agencies. I got projects right away, and before long I had a moving van packed. I started my own illustration and design firm here in 1989. I kept it going for a year, and then realized that I still had much to learn. I took a position with one of my clients as a designer and art director. I spent several years at that agency and then went on to art direct several local magazine publications. In 1997, I had the opportunity to run creative for a small web firm. Internet marketing and site design was a relatively new field, so I took the chance. After several years successfully developing logos, and online/ 28 | The Art Institute Quarterly
Treat your classes and instructors like clients. The skills and habits you learn in college will make or break you in the real world. Show up on time, and realize that your future and income depend on your success and dedication. Work on school projects as if they are for real-world. Internships are a great way to gain some real-world experience and build up some real-world projects for your portfolio. I am more likely to call back someone with a fresh, real-world portfolio than one that is full of obvious student projects.
How competitive is it to land a job as a Graphic Designer? The graphic design field is very competitive.
You graduated from The College For Creative Studies. What’s the application process like there? What sets applicants apart? Any tips? The College of Creative Studies, requires a GPA of 2.5 or higher out of high school, and submission of a 10piece portfolio for review/acceptance. Being selective in the admissions process created a strong creative student base.
What sets a candidate apart from others when he’s seeking a Graphic Design position?
Portfolio, references and portfolio. And did I mention the portfolio?
What the average starting salary for a
Graphic Designer? A graphic design specialist can earn $30,000 - $60,000; an art director or creative director, $60,000 - $130,000
What is the best part of the job?
Meeting new people and learning about what they do. The creative process...as far as the teaching, the best part is watching students improve. I love to see it “click” inside their head.
What is the worst part of the job?
Creative block in the creative process.
What is the work/family balance like? This is a great question. One of the reasons I started Helium, was so that I could be at home more for my young girls. I am able to take some time away from the office and visit with them after the school bus arrives each school day. We look through their book bags and discuss their day. This usually means that I work several hours after the kids are in bed.
What’s the hierarchy like in the graphic design industry? How does one “move up” in the job?
Production artist – designer – art director – creative director.
Any other advice, tips, or anecdotes you’d like to share?
You can’t do it all right away. Many students think they can start their own business right out of school. This is backwards. (and – yes – people told me the same thing when I was a student, but I didn’t listen. Instead, I started my own studio and flopped after a year) Learn by working for someone else. Hone your skills. Build your network. AiQ
AYOKA LUCAS STYLE EDITOR CHARLESTON MAGAZINE
Tell us a little about yourself. I am originally from New York City, but raised in Charleston. I graduated from American College for the Applied Arts now called American Intercontinental University. I’m 36 and I have been working as a full time Style Editor of 3 publications (Charleston, Charleston Home and Charleston Weddings) for 4 years. I also write a Style Blog and do fashion reporting weekly on the radio and occasionally TV. I am the creator and creative director of Charleston Fashion Week, a Charleston Magazine event now going into its third year!
Why did you want to become a Style Editor for a magazine?
I always, since I was very young, wanted to be a supermodel. I collected magazines and watched anything on TV that had to do with fashion, style, and celebrity! When I did not grow to meet the height requirements or even close, I decided to work my way into the industry anyway. Styling wardrobe was something that came very naturally to me. I was raised on modest means so I had to be creative with my non-name brand clothing and such. In college I chose to express myself through my wardrobe by being very fashionforward and brave but on a college student’s budget wearing only thrift store finds. I managed to get an unpaid job in the music industry as a promoter, graphic designer, and hospitality runner for the talent. During these years I would often run into influential people who would comment on what I was wearing and I
would always seize the moment to pitch myself by offering to style them for an event or organize their closet. It worked! This is how I met my best friend (who now works for InStyle Magazine) and realized that I was a stylist!
If a student wants to become a Style Editor, how should he best prepare? What’s the best route into the job?
I am a strong believer in two things... gaining experience in EVERYTHING and networking. Since it’s not always about what you know, but instead who you know, networking is my number one piece of advice. For me, I graduated with a degree in Commercial Art but in all honesty gained as much experience as I could working for major events, music promotions, interning at magazine, radio stations, and more. I gained knowledge of event planning, how to broadcast, working with high-profile people, magazine layout, editorial writing, and the list goes on! At some point I was gaining so much experience I thought I would never have an actual paying job! I used all my resources to get my foot into many doors and once I gained this experience I began to network. I would go to the right parties or events and mingle with the right people. I would casually pitch ideas or suggest a meeting when the time was right. It is all about selling you at any moment, during any situation or conversation. With all the experience I gained, it was easier for me to talk about a variety of things making it seem that I was knowledgeable in many areas! This
was a plus! Find out who the “right” people are and get to know them casually, not by harassing or forcing yourself on to them, but strategically being in the right place at the right time.
How competitive is it to land a job as a Style Editor?
Extremely competitive! The Fashion Industry is a cutthroat, dog eat dog world! Again this industry is about who you know! A lot of the competition depends on the location. NYC of course is highly competitive with so many aspiring fashion industry hopefuls like designers, models, stylists, and editors. I think the best course is to start trying to tackle being a big fish in little pond before you go to a bigger pond and start out as an even smaller fish. This way you get experience, certain titles, and accomplishments under your belt. It will be easier to cut through red tape in the industry with this backing you up! You have to be ready to work and thoroughly understand the business. This means reading everything you can get your hands on that has to do with Fashion, Pop Culture and the Fashion Industry!
What’s the application process like for a Style Editor? What sets applicants apart? Any tips? The thing that sets an applicant apart for this line of (continued on page 33)
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RENNE ANTHONY INTERIOR DESIGN HAUTE DESIGNS
Tell us a little about yourself. I grew up in Columbia, SC for most of my childhood. I attended the College of Charleston, where I obtained a biology degree in 2004. I am 29 years old. I have been working at my mother’s interior design firm on and off for most of my life, but for four and a half years full-time as an Interior Designer and Project Manager. I work at a high-end residential and commercial full-service interior design studio on Upper King Street named Haute Design. I am currently enrolled at The Art Institute of Charleston, working on my BFA in Interior Design.
Why did you want to become an Interior Designer?
My mother owned and operated an interior design firm since before I was born. I worked in her studio mainly throughout high school and through college part-time. When I was 18, I moved overseas and worked in the fashion industry for 3 and a half years. I returned to the U.S. in 2001 and moved to Charleston where I attended school. I graduated in 2004 with a BA in Biology from the College of Charleston. I had originally intended to attend nursing school at Trident Technical College, where I was accepted. I was on the waiting list and had 8 or 9 months to wait before I could take classes. I spent 30 | The Art Institute Quarterly
the time working at my mother’s interior design firm as a designer’s assistance. She needed the help and I needed a job. I had not ever considered working for my mother as a full-time position. For anyone who has had a family owned business, you may understand. Not everyone can work with his or her family members. I saw my mother’s blood, sweat and tears build her business while raising three kids. I knew being a designer was not a nine to five job. There was often nights and weekends to get projects done and jobs installed. When you walk into people’s homes, the boundaries come down a bit. They come to town on holidays to their vacation home and expect for you to cater to them. They pay you a lot of money to be there when it’s convenient for them. After a few months of working at my mother’s design studio, I really began to enjoy the job and had a strong desire to stay rather than going to nursing school. When it was 6 o’clock in the evening I did not want to go home, I wanted to finish my task. For once in my life, work did not feel like work. I loved it. My mother offered me a job and it was truly an offer I could not refuse. To have her show me the ropes, so to speak, was an absolute honor. I have been here at Haute Design as an Interior Designer and Project Manager for the past four years full-time.
If a student wants to become an Interior Designer, how should he best prepare? What’s the best route into the job?
I had an unusual path to get here today,
but I definitely recommend attending a design school and getting a Bachelor’s or Masters in Interior Design. You can learn a lot of traits in design in the industry; however, the technical part of the job will limit the level of clients you can obtain. You will find yourself doing more decorating then designing. You need to be able to understand blueprints, work with space planning and floor plans and AutoCAD. School will help you in those areas. Once you get out of school, there will be a lot to learn in respect to budgets, ordering, tracking, etc. At least you will be prepared in most things from school to hit the ground running once hired.
How competitive is it to land a job as an Interior Designer?
We receive several resumes a week from designers with a degree looking for a job in Charleston. I think it is a competitive field to break into. There are a lot of people who have a desire or like interior design without knowing how it operates besides the decorating part. I would recommend trying to get an internship or work part time as an assistant in a design firm for experience to make sure it is what you want to do, and to help with work experience, which is always a bonus. I think it is a tough market right now, especially with people cutting back. We are truly blessed with having work and being steady. We understand this is not the norm and appreciate where we are.
What sets a candidate apart from others when he’s seeking an Interior Designer’s position? (cont. on pg 34)
JOSH NISSENBOIM CREATIVE DIRECTOR FUZZCO
Tell us a little about yourself. From St. Louis, MO. Age 27. Went to Macalester College in St. Paul, MN studied mathematics. Fuzzco Inc, Partner/Creative Director/Designer, etc. Fuzzco started in January 2005, so four plus years.
Why did you want to become a Creative Director?
Best forum to get paid to have and execute ideas. I knew I wanted to be selfemployed from an early age. I’ve always had a strong desire to improve upon things around me, and to come up with things to have around me to constantly try to improve upon. We define Fuzzco as a creative studio, which is a perfect match for that desired job.
What’s the best route into the job?
It’s based in attitude. It’s important to be willing to ask 1000 questions and to try to answer 1000 questions in as many different ways as possible. Continue to be in touch with people. Don’t be scared to pick up the phone always. Overcommunication is better than undercommunication. Do what you promise to do, and try to do better than you think you can do it. Share your ideas without fearing loss of ownership. Always think from your clients perspective before you think from yours and then think from yours, but think back from their perspective before finalizing and presenting an idea to them. Important to find competitive hobbies and distractions when you need a break. I guess staying competitive with everything including yourself would be
the main theme.
How competitive is it to land a job as a Creative Director? n/a. For us we just started our own business and spent a few years developing relationships. Word of mouth is critical, so developing a healthy network of people who have seen you bust your ass to do something for them that you both are proud of is the most important thing in advancing yourself. Have a good attitude throughout. Resist every urge to complain. Don’t be scared of your personality.
Tell us about your college experience. What’s the application process like there?
Graduated from Macalester College with a BA in Mathematics. Great school rooted in close relationships with professors and internationalism (20% of student body was international). Application process was normal. I guess personality is the main distinguishing factor. Grades/testing is important as always.
What sets a candidate apart from others when he’s seeking a Creative Director’s position?
Personality, energy and honesty - and of course, proof of the ability to think creatively and to communicate well.
What is the best part of the job? Getting to think and develop relationships. We have some truly wonderful clients.
of 12 hours a day, and 6 hrs a day on weekend - we like it, but many would consider that bad.
Are there any misconceptions that people have about the job?
That your ideas are king. Client is the boss, so you do what they let you. You just fight for what’s right, and you pick those battles. Also, there is a lot of the work is executing an idea which can be less exciting than coming up with it.
What is the work/family balance like?
If we had a family it’d be different, but my business partner, Helen Rice, and I are in a relationship outside of work for over 8 years now. We see each other about 23 hrs a day. So the balance has a nice overlap.
What’s the hierarchy like as the Creative Director?
Not sure. Above I gave myself a title of Creative Director. I’m not certain where that is on the totem pole, maybe the neck? I don’t know what I did to earn that. There are probably creative directors out there that would read that and think it was ridiculous that I didn’t do any agency-level ladder climbing.
What is the worst part of the job?
Any other advice, tips, or anecdotes you’d like to share?
Eyes twitch sometimes, not a lot of on-the-job exercise. We work an average
Don’t forget to eat meals and try to exercise. It’s subtle but critical. AiQ
WINTER 2009 | 31
especially before applying to a school.
Tell us a little about yourself (Where are you from? Where did you go to school? How old are you? My name is Sean Brock. I grew up in a tiny coal-mining town in Wise County, Virginia. I am 30 years old. I graduated Johnson and Wales University in 1999. I have only held positions that involve cooking my entire life. I suppose you could say it is my career. I am currently the chef/ farmer at McCrady’s Restaurant in Charleston, South Carolina. I have been at this job for three years. In the morning I operate a 3-acre vegetable farm and raise a handful of heritage breed pigs for the restaurant. In the evening I operate a 400-seat restaurant.
Why did you want to become a Chef?
I have known that I wanted to be a chef my entire life. When I was 10 years old I was telling people that I was going to be a chef. I grew up cooking and eating out of my grandmother’s enormous garden and became inspired by the delicious food and how happy it made people. Although I am now realizing that I would also be very happy at pursuing a career in agriculture.
If a student wants to become a Chef, how should they best prepare? What’s the best route into the job?
My advice to all young chefs is to stage at as many restaurants as possible, 32 | The Art Institute Quarterly
What sets a candidate apart from others when they’re seeking a Chef’s position? For me, it’s all about the person’s attitude. I can see it in their eyes and hear it in their voice.
What the average starting salary for a Chef? 12 dollars per hour.
What is the best part of the job? The reaction you get when you grow a vegetable and serve it to a guess that is appreciative.
What is the worst part of the job?
The reaction you get when you grow a vegetable and serve it to a guess that is unappreciative.
Are there any misconceptions that people have about the job?
It’s a lot harder than Rachel Ray makes it look. This career is more demanding than you can ever imagine.
What is the work/family balance like?
There is no balance; you must dedicate yourself to this profession if you want to succeed at a very high level. Sounds terrible, but it is the truth.
Any other advice, tips, or anecdotes you’d like to share?
Don’t become a chef just because you like watching the TV Food Network. This profession will eat you alive. Read Kitchen Confidential from front to back before you fill out your application for school. AiQ
AiUnfiltered
SEAN BROCK CHEF MCCRADYS RESTAURANT
AiUnfiltered is AiCSC photography group that meets every Tuesday from 4:30-5:30PM in the Student Lounge. All students are welcome to attend. This is a great way to network and get to know new friends. Email aiunfiltered@yahoo.com for more information.
What is the best part of the job? So You Think You Want My Job? Ayoka Lucas - Cont. from page 29 work is experience and knowing someone. I can’t say this enough. When your opening line is that a certain key player suggested that you apply, that opens doors. Also, if you know an editor, stylist or an existing name in the business often times they are willing to do the introductions for you and then you take it from there already starting on a good foot. A person that shows up for an interview in this industry should have knowledge of designers, fashion terminology, Pop Culture, and all things fashion. When I interview someone who says “Fashion is my passion” (never ever say this by the way), then I ask them to name designers or give them a pop quiz. I may throw out a few words from the fashion dictionary during the conversation. If they don’t have an answer I am looking for I am immediately turned off. They may come to interview with me and have not done research on the magazine or me, in that matter, I am turned off. In this competitive industry where there are a million people waiting to take your place, you MUST be prepared! You must understand that this job is not often so glamorous as those outside of the industry may think! Most importantly, you must possess your own amazing sense of style. Your wardrobe speaks before you even open your mouth!
What sets a candidate apart from others when she/he is seeking a Style Editor’s position?
Knowledge of all things pertaining to this industry is key. Knowledge of the person they are interviewing with or the company! Style! Confidence!
What the average starting salary for a Style Editor?
A Style Editor can start out with making thirty to forty thousand dollars a year.
The fashion! Attending NYC Fashion Week. Working on photo shoots styling and bringing to fruition a concept that was originated in the mind and pulling it together through wardrobe, the crew, and great vision! Samples and free clothes on occasion are a plus. Helping people discover their own personal style which in turn helps them with their selfconfidence. When you look good you feel good. Working with the local fashion community and growing as it grows!
What is the worst part of the job?
Long hours as shoots can go into fourteen-hour days, and can take place in some sketchy places like swamps, mud and bug-infested outdoor locations. Dealing with and time-managing multiple deadlines that never let up. Receiving what feels like hundreds of press releases, phone calls, and emails a day! Finding good interns and assistants, because they are very hard to find.
Are there any misconceptions that people have about the job?
Yes one MAJOR misconception is that this job is glamorous. Yes, it has its glamorous moments, but for the most part you are rolling up your sleeves and doing hard manual labor, running to a dozen stores in one day to pick up merchandise and then taking it all back, and shooting fashion in horrible conditions. I have had to work out of a van with over 50 garments and 20 pairs of shoes and endless amounts of accessories. There is a lot of problem solving from day to day that must be done. Not to mention time management as I work on multiple publications and more!
What is the work/family balance like?
It’s difficult as I am a single parent and often have to juggle my schedule. With long days, school plays, deadlines, field trips, sick child, event and radio/ TV appearances, and more it can all seem impossible to get through 24 hours.
Many people ask me “How do you do it?” My reply is, I don’t think about it as a whole! I just get through each hour! I really depend on faith and know that God will help me with what I can’t do. He has never let me down. Sometimes we can be our own worst obstacle especially in this fast paced fashion life!
What’s the hierarchy like as a Style Editor?
How does one “move up” in the job? As I did, starting off freelance is a great way to break into the business. You do a few jobs for multiple publications (in some cases you spend several months offering your services for free) and then you let your work speak for you. If the publication or company is pleased with your freelance work when something opens up they may offer it to you full time as the case with my position. New ventures are great! When someone is starting a publication or fashion-related business and you get in at the beginning you can define your position and gain a great title! Sometimes gaining a title is more important then pay! The titles will open the doors for you to get into that great paying, fulltime position. Make the sacrifice and in the meantime, KEEP NETWORKING! Never get complacent in any positions. Instead always be thinking about a new venture, project or pitch! You will soon become indispensable!
Any other advice, tips, or anecdotes you’d like to share?
Being a Style Editor means you are trend-tracking 24 hours a day. You are reading fashion magazines, fashion blogs, watching fashion television, and keeping up with the ever-changing Pop Culture. Fashion changes so frequently that you have to keep up with it daily! Set up an inspiration wall of clippings from magazines or create a look book so you can always be inspired by style! You really do in the end have to have a passion for fashion (just don’t ever say that). AiQ WINTER 2009 | 33
So You Think You Want My Job? Renne Anthony - Cont. from pg. 30 Probably personality and how they mesh with the current employees. You spend most of your days with your co-workers; you need to be compatible with their personalities. Another trait would be how well they can pick out fabrics and finishes with confidence and in the style of the client, not their own. Also, being an adapter and being able to multi-task several projects are a plus. A candidate needs to bring their work from school (projects, renderings, etc.) to the interview. They are presenting themselves and what skills they have to offer the company.
What the average starting salary for an Interior Designer?
The average salary for a designer fresh out of school with limited work experience with a Bachelor’s Degree is twenty-five to twenty-eight thousand dollars a year in Charleston. An average salary for a designer fresh out of school with a Master’s Degree and limited work experience is thirty-five to forty dollars a year in Charleston.
What is the best part of the job?
The most rewarding part of the job is having your design come to fruition. You spend 4 months to a year designing a home or space and then you install it and see your vision. There is nothing else like it. It makes all the hard work and long hours worth it. I could not imagine doing anything else. I absolutely love what I do.
What is the worst part of the job?
The paperwork. In my opinion, being a designer is about seventy percent paperwork, twenty percent design, and ten percent psychology. I think most people who come for an internship, job shadowing, or to work at our firm are surprised how much math (budgets, and estimates/invoices) and paperwork (with purchasing, acknowledgements, tracking, 34 | The Art Institute Quarterly
receiving, etc.) is involved with running a project. It can be overwhelming at first. You get used to it. It is imperative to make sure the products ordered are right, on time, and more importantly in budget.
Are there any misconceptions that people have about the job?
That it is “so much fun.” Most people think all we do all day is pick out fabrics and paint colors. We have a lot of correspondence, paperwork, budgets, estimates/invoices, and tracking/receiving besides the fabrics and paint. That is a portion of what we do. The budgets, the estimates/invoices, purchasing, tracking, receiving, and installing---there is a lot we have to review and manage. People can make mistakes in the industry, and it is your job to catch it and make sure they fix it. You have to make sure they entered your order right, charged the right price, and set it in the right timeline you requested, along with keeping up with shipping dates and tracking it to its destination. It takes the most out of you dealing with vendors all the time. It is truly difficult being at their mercy to get the goods to your client. The psychology comes to play because building a house can be stressful on clients. Understanding delays and dealing with couples and their disagreements with style and the costs of goods (budgets) can catch some designers off guard. Sometimes you have to be the mediator to help the couple come to a compromise, or deal with a panel of decision makers in a bank or with a synagogue. Helping manage the meeting and keeping on task can be tricky but using your people skills and how to handle a difficult situation is helpful.
What is the work/family balance like?
Well, I feel incredibly blessed to have such an incredible husband who understands my career is not a nine to five job, as well as the fact that I juggle eight to twelve hours at The Art Institute of Charleston and dealing with homework/
projects due. He helps me tremendously. I think if your loved ones understand you love what you do then they will support you. You just need to make time for them. Time management is absolutely crucial in this business especially if you have a family or extra activities; you are constantly multi-tasking projects. Taking one day at a time trying to get as much as you can done in a day is all you can do.
What’s the hierarchy like as an Interior Designer? How does one “move up” in the job?
Everyone who comes to work at Haute Design spend a minimum of six months working under another designer before they can take a project alone. The first few weeks, the new employee will spend his/her time putting away fabrics and tear sheets and helping a fellow designer price out goods so they can get used to how the price of a fabric fits into budgets, as well as becoming familiar with the names of the vendors we use. They need to learn the fabrics, the vendors, pricing goods within a budget, purchasing, tracking, how to manage a project, installation procedures, and final billing to make sure all items are billed to the client. The rest is up to the designer. How well you do your job correctly and in budget is key.
Any other advice, tips, or anecdotes you’d like to share?
This is not a field you should choose if you do not have a passion in design. It is not only having a flair for design and interior decorating. There needs to be talent blended with education and skill. Otherwise it will be an uncreative position which will show in the products you show the client. It is a strenuous, sacrificial job and without having a passion for it, it will not be rewarding and fulfilling. It would just be another job. Nothing is worse than having a job you do not love. As my mom has always told me, “Do what you love and the money will come.” I couldn’t agree more. AiQ
last page photography by Jake Drake www.jakedrake.com
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