CO LLEGEFO RCRE ATIVE STU DIE S . EDU
AMINA HOROZIC
Concept watch design by Amina Horozic (‘04, Product Design). Photo courtesy of Nordic Design Lab.
INDEPENDENT DESIGNER
COV E R TO COV E R How we do it in Detroit: a Photography alumna captures the face of Detroit hip-hop. One Illustration alum paints portraits that speak to our times, and another is the brainchild behind murals that reveal our spirit. Two alumni from Crafts and Fine Arts build a Fortress where artists can live and work, and two Communication Design alums put ideas in motion in the city they love.
T H E S E A R E CC S A LU M N I . O N E DAY, YO U W I L L B E O N E O F T H E M .
COLLEGE FOR CREATIVE STUDIES offers 12 undergraduate majors and a Teacher Certification program, but as you’ll see, the possibilities are limitless.
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“I don’t let anything stop me from making my work,” says painter MARIO MOORE (’09, Illustration), a native Detroiter who is now based in Brooklyn, New York. “I grew up at CCS. I spent a lot of time with my mom [CCS alumna and multimedia artist SABRINA NELSON (’91, Fine Arts)] and her friends, and I would even sit in on her classes sometimes. I was always around it,” says Moore. “The museum was close, obviously, but it wasn’t necessarily about going to the museum. It was about seeing people make things.” And Moore, who received his MFA in Painting from Yale University in 2013, is utterly dedicated to making art. His figurative paintings — often of black women — reveal his training in illustration but also a certain thoughtfulness around history, the black figure and the human encounter with art. “People have asked me, ‘Do you think that you paint in a Eurocentric way, like the Italian Renaissance or the Baroque period? Why do you do that as a black person?’” Moore says. “But as human beings we take inspiration from all over and put it together. It just makes sense to me. “I want my paintings, from a distance, to feel as if you could walk right into them. I want the narrative of the work to invite the viewer in and offer a kind of insight. But when you get closer, you realize that it’s just lines that come together. Because it’s not just about what is being depicted; it’s about how it’s depicted.” That concern for materiality in painting (visible brush strokes, for example) and, on the other hand, for how black people are represented in art, have brought Moore’s stunning work increasing attention. A painting from his copper series, “Queen Mother Helen Moore” (not pictured), which depicts his grandmother holding photographs of her three living sons, was exhibited in the Detroit Institute of Arts’ “Art of Rebellion: Black Art of the Above: “That Beautiful Color,” oil on canvas, 2016. Opposite: “Yeah G-Ma Don’t Play,” oil on copper, 2015.
Civil Rights Movement” in fall 2017. “When you see black mothers on the news,” he says, “they’re usually crying holding a photo. But I wanted to contrast that to give a sense of their power and protection. So in my paintings
MARIO MOORE: CA N ’ T STO P, WO N ’ T STO P
they’re holding photos of their living children.” When we spoke, Moore was in town to attend the opening of his group show focused on figure drawings, “Evidence of Things Not Seen” at CCS’ Center Galleries. In fall 2018, he will begin a Hodder Fellowship at Princeton University. Moore is one of only five visual artists to receive the prestigious fellowship in its 74-year history. Moore is currently working on a series of drawings, “Recovery,” depicting black men from the Civil Rights era relaxing or at rest. “James Baldwin went to Paris. Malcolm X went to Mecca. Muhammad Ali had to rest because he had his belt taken away,” he says. “Rest and recovery
T H I S D E D I C AT E D PA I N T E R LO O KS
are really elusive for black men. The stereotype is that,
TO H I STO RY TO T E L L STO R I E S A B O U T
Moore came up with the idea last summer after brain
if you’re sleeping or resting, as a black man, you’re lazy.” surgery, when he was forced to rest in order to recover. “As
H O W W E L I V E N OW.
soon as I got out of the hospital, I thought, ‘I have to work.’”
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MARIO MOORE PAINTER
CO LLEGEFO RCRE ATIVE STU DIE S . EDU
MARCUS MULLINS PARTNER/DESIGNER/ANIMATOR SCOTT WARANIAK PARTNER/DESIGNER/ANIMATOR LUNAR NORTH
H OW TO PUT GOOD D ES I G N I N M OT I O N 10
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D E S I G N A N D A N I M AT I O N ST U D I O LU N A R N O RT H F I N D S I TS N I C H E I N D E T R O I T ’S E V E R - E X PA N D I N G C R E AT I V E U N I V E R S E . Opening spread: “The Verge Turns 5,” motion graphics to accompany five interviews with science and tech influencers. Opposite: 1980s-inspired logo/branding for FreeAge Productions. Above: Visualizations for the Sony Bravia® TV. Below: Animation from “Event Horizon” for Great Big Story.
“I think the mindset of designers can be really
a good give and take. The ability to collaborate
useful to Detroit right now,” explains MARCUS
and check each other keeps the quality of the
MULLINS (’09, Communication Design).
work consistent. Recent projects include creating
“There’s a general inquisitiveness that we’re
a collage of worlds for Great Big Story exploring
all trained to have, investigating and figuring
the history of video games; a series of videos
out ways we can approach problems. I think
explaining the technology of the 2018 Ford
design can get young people excited about
EcoSport; visualizing the thoughts of technology
being in the city and help fuel the entre-
leaders with the Verge; building on branding with
preneurial spirit.”
Barton Malow; and showcasing the future of
Mullins is the Co-Founder of Lunar North —
home entertainment with Sony.
along with friend and fellow alum SCOTT
Branding — creating an identity system for
WARANIAK (’10, Communication Design) —
a client — is one of the duo’s favorite kinds of
a boutique design studio that serves up a range
projects. “We get to really think about how we
of services but specializes in branding, animation
could apply that system to business cards,
and post-production.
letterheads, storyboard templates, websites
Lunar North — which includes a small group of
and reel intros,” says Mullins.
employees — has generated good word-of-mouth,
As for the name, Lunar North is inspired by
and Detroit is the right place at the right time.
science in general and astronomy in particular.
“We do a little bit of everything,” says
Think NPR’s Radiolab or Carl Sagan’s classic
Waraniak. “We have solid training from CCS
public television series Cosmos. But there’s more
in traditional mediums and the ability to apply
to the name than its quirkiness. It also offers
that to lots of newer mediums.” The team works
a glimpse into how Waraniak and Mullins think
on some part of every project together, and their
about good design.
skill sets complement each other: Mullins likes
“Astronomy has always been a source of
to get technical and Waraniak is more of a
inspiration,” says Mullins, “whether it’s looking
humanist, adding texture to the work.
at Hubble Space Telescope photos or just general
Waraniak describes their relationship as
theories and ideas and outside-the-box thinking.”
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CO LLEGEFO RCRE ATIVE STU DIE S . EDU
60%
01
10
Yoda
MURALS IN MURALS IN THE MARKET,
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02
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ASTIN DAVIS GLOBAL GRAPHIC DESIGNER GUERCY EUGENE
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THERE ARE ONLY 6 IN THE HISTORY OF FILM, WHICH MEANS CCS ALUMS HAVE DESIGNED — WAIT FOR IT — A THIRD OF THEM. TIM FLATTERY LED
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DETROIT HIP-HOP
“D-Cyphered,” Jenny Risher’s (’97, Photography) poetic and groundbreaking portrait series on Detroit’s hip-hop artists, DJs, producers, promoters and more, ran at the Detroit Institute of Arts from August 4, 2017 — February 28, 2018. Pictured: Violent J and Shaggy 2 Dope of ICP (Insane Clown Posse) in Delray.
CO LLEGEFO RCRE ATIVE STU DIE S . EDU
JENNY RISHER PHOTOGRAPHER
“ W E LOV E YO U R P I C T U R E S ! ” T WO ST U D E N TS TO L D J E N N Y R I S H E R O U TS I D E D - CY P H E R E D. SELFIES WERE HAD, AND RISHER E X P R E S S E D G R AT I T U D E FO R T H E K I D S W H O F LOW E D F R O M PHOTO TO PHOTO,
Detroit’s in my blood, but I’m not a Detroiter. I’m from Mt. Clemens, and lived here while I went to CCS. When I did this project, the people I knew in hip-hop were top tier [including Eminem], only because that’s who I was working with at the time. I didn’t really know realdeal Detroit hip-hop and the underground scene. So I sought out
RECOGNIZING D E T R O I T H I P - H O P H E R O E S — A N D A B I T O F T H E M S E LV E S .
people to help me, and I feel that this work is a collaborative
T H E S E A R E S O M E O F H E R T H O U G H TS O N T H E P R O J EC T.
learned 30 years of hip-hop history in three years.
Above: Trick-Trick and the Goon Sqwad, Michigan Theater. Opposite (top to bottom): DJ Los, Dej Loaf and Icewear Vezzo. Trick-Trick and DJ Los, as well as Ironside Hex, Nick Speed, Mr. Porter, Supa Emcee and others helped Risher connect with artists to include in the project.
effort between me and the artists. There’s no way I could have
People gave me phone numbers and took me to their neighborhoods.
Can you imagine if you had this
But I definitely was referred; they checked me out, for sure! I had the
opportunity in the 1960s when Motown
gangsta of gangsta musicians saying that I was ok, like Trick-Trick
was just starting and Diana Ross and
and all these really hardcore artists. They trusted me, and they
all of them were just getting going?
knew that I wasn’t taking.
And you were able to photograph all those musicians in their prime and
Sometimes locations were iconic buildings in hip-hop or someone
have this cohesive body of work, by
would say, ‘I want to take you to this place, because it’s important.’
one photographer, with one vision?
I kept asking myself: ‘How does this place feel like Detroit?
That would be invaluable. These
How do I create a portrait for our time?’ We knew it was important
pictures last forever now. They’re in
because hip-hop was a musical genre that hadn’t been fully docu-
the archives. It’s a moment in time
mented in this context. But I don’t think we truly realized, initially,
that’s forever preserved. For me,
what we were creating.
as an artist, that’s exciting.
Above (top to bottom): Lola Damone, Eastern Market (with mural by DENIAL). Obie Trice, Ford-Wyoming Drive-in. Opposite (top to bottom): Sino, Fenkell St. and Birwood Ave. Fat Killahz, Russell Industrial Center.
Hip-hop progenitor George Clinton, United Sound Systems.
STEVEN KUYPERS
BRYAN DURREN
Steven Kuypers torch cutting in the metal shop at The Fortress.
CO-FOUNDER, SCULPTOR
CREATIVE DIRECTOR
STEVEN MCSHANE
DETROIT RED WINGS/OLYMPIA ENTERTAINMENT
CO-FOUNDER, METALSMITH/SCULPTOR FORTRESS STUDIOS
3 T H I N GS YO U N E E D TO K N OW ABOUT FO RT R ESS ST U D I OS A LU M N I PA I R L I V E / WO R K S PAC E W I T H TO P - N OTC H FAC I L I T I E S .
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Little Caesars Arena Spirit Murals, painted by Don Kilpatrick, feature Detroit icons, including Red Wings great Gordie Howe and the “Queen of Soul” Aretha Franklin. Creative Director: Bryan Durren.
T H E C R E AT I V E B E H I N D T H E CU RTA I N CREATIVE DIRECTION IS ABOUT
in-a-lifetime opportunity to make a
them. “I knew Don would be perfect,”
positive impact and enhance the civic
Durren says. “I knew his style, his
MORE THAN BEING THE BOSS:
pride the people of Detroit feel for the
capabilities and what it was like to work
city, region and state of Michigan.”
with him. But I also knew he was fast and
During the construction of Little
would create an amazing product.”
Caesars Arena, the north side of the
In addition to creatively telling the story
building featured architectural renderings
of the Red Wings and Olympia Entertain-
intended for the placement of large
ment brands, Durren’s full-time team
If someone offered you the chance of your professional
murals. But the specific creative plans
of eight staffers is also tasked with the
lifetime, would you know what to do with it?
were undetermined. Durren, a native
creative for the Fox Theatre, City Theatre
THE FACILITIES ARE BOSS. Artists working in a
That’s what happened to BRYAN DURREN (’99, Illustra-
Detroiter, began brainstorming ideas of
and Comerica Park concerts and shows.
variety of media can probably find what they need among
tion), Creative Director for the Detroit Red Wings and Olympia
what could possibly be featured. He was
Durren finds his daily work incredibly
the metal, blacksmith and wood shops; the ceramics and
Entertainment and the creator behind the Spirit Murals that
given the opportunity to pitch the creative
rewarding and is grateful for the opp-
jewelry studios; the foundry, sewing area and print room;
highlight the north side of Detroit’s new Little Caesars Arena.
plans to the Ilitch family and eventually
ortunities he’s been provided since
and a range of heavy equipment. Bonus: “The Salty Dog,”
The five murals, the first in a rotating series, depict legends
received approval to move forward with
graduating from CCS.
a noborigama wood fire kiln.
of Detroit sports and entertainment: The Detroit Pistons’
the project.
“My illustration background has given
Isiah Thomas, rapper Eminem, singer Aretha Franklin, the
“I was thrilled to have ownership’s
me so much. I’ve illustrated children’s
THEY ARE HERE FOR YOU. The Fortress is community-
Red Wings’ Gordie Howe and boxer Joe Louis. The murals are
support,” says Durren. “I think the murals
books, been commissioned to do paintings
focused, offering short-term, project-based residencies for
a key branding element to a building that features unparalleled
turned out great. It’s an amazing tribute to
for the Detroit Tigers,” Durren explains.
non-Detroit artists, public art programs, workshops, demos
recognition of Detroit and Michigan sports and entertainment
Detroit. As the city continues to go through
“I’ve worked with some great people and
and open-studio events. Says Kuypers: “We hope we can
history and tradition.
this incredible comeback, it helps remind
built valuable relationships both inside
offer other CCS alumni the opportunity to continue the
“The Ilitch family’s vision behind Little Caesars Arena
Detroiters how much history our city has.”
and outside of the Ilitch organization.
work they enjoy without the challenge of finding a facility
was always much more than just a sports and entertainment
Durren hired Don Kilpatrick, Chair of
I’m fortunate to have been provided
capable of accommodating them.”
facility,” says Durren. “They wanted to capitalize on a once-
CCS’s Illustration department, to paint
some great opportunities.”
THIS CREATIVE COMMUNITY CAME TOGETHER BIT BY BIT. Founded in 2010 in Detroit’s North End by artists STEVEN KUYPERS (’09, Fine Arts) and STEVEN MCSHANE (’10, Crafts), Fortress Studios provides low-cost residencies and studio space for established and emerging artists. They cut a deal to buy the building through a seller-
I T ’S U N I T I N G G O O D I D E AS W I T H TA L E N T E D P EO P L E .
financed land contract, and they built up their inventory of machinery and tools over time.
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JAY SHUSTER
DAVE CHOW
‘93, PRODUCT DESIGN
‘87, COMMUNICATION DESIGN
ART DIRECTOR, PIXAR
ILLUSTRATOR
JIM FLEMING
NICK NGUYEN
TIM FLATTERY
‘94, TRANSPORTATION DESIGN
‘13, ENTERTAINMENT ARTS
‘87, TRANSPORTATION DESIGN
DIRECTOR OF DESIGN — CADILLAC EXTERIORS, GENERAL MOTORS
UI/UX DESIGNER, FORD MOTOR COMPANY
CONCEPT ARTIST/ILLUSTRATOR
MICHAEL SIMARI
B U T WA I T, T H E R E ’S M O R E
‘12, PHOTOGRAPHY STAFF PHOTOGRAPHER, CAR AND DRIVER
KERIANN MALTBY
MICHELLE KILLEN
‘08, ADVERTISING DESIGN
‘06, INTERIOR DESIGN
PRODUCT MANAGER – DIGITAL ADVERTISING, FORDDIRECT
COLOR AND MATERIALS DESIGNER, GENERAL MOTORS
A CC S D EG R E E C A N TA K E YO U P L AC E S YO U M I G H T N OT H AV E CO N S I D E R E D. O N E E X A M P L E : C A R S . W H AT E V E R YO U D EC I D E TO ST U DY, I F C A R S A R E YO U R T H I N G — YO U C A N G O W H E R E V E R YO U WA N T.
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COVER ARTWORK Royce da 5’9” in a photo featured in the exhibit “D-Cyphered: Portraits by Jenny Risher” (‘97, Photography).
The College for Creative Studies is a nonprofit, private college authorized by the Michigan Education Department to grant bachelor’s and master’s degrees. CCS is an accredited institutional member of the National Association of Schools of Art and Design and is accredited by the Higher Learning Commission. Documents regarding accreditation are available in the Executive Office upon formal request. The College for Creative Studies subscribes to the principle of equal opportunity in its employment, admissions and educational practices and strives to provide an educational environment and workplace free from unlawful harassment or discrimination. Discrimination, including harassment, because of age, race, color, national origin, religion, sex, sexual orientation, marital status, disability or any other characteristic protected by law is strictly prohibited.