COV E R TO COV E R Four Product Design alumni — the entire design studio at a well-known brand — innovate protective sports gear for youth and pros. An Interior Design alumna reimagines commercial and hospitality design in Detroit. An Illustration alumna breaks down what it takes to maintain a thriving freelance career. Six Communication Design alumni show off their type personalities. And six alumni in Entertainment Arts, Illustration and Product Design careers share their advice for future artists and designers.
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 11 undergraduate majors and a Teacher Certification program, but as you’ll see, the possibilities are limitless.
Townhouse Detroit restaurant. Lead Designer, Elizabeth Swallow ‘07, Interior Design, McIntosh Poris Associates.
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KICKIN T W E N T Y M I N U T E S . T H AT ’S T H E AV E R AG E
Founded in Boston in 2006 by former Harvard
A M O U N T O F T I M E A N Y O N E P L AY E R W I L L
gear and apparel brand, Xenith, puts the safety,
S P E N D O N T H E FO OT BA L L F I E L D D U R I N G A T Y P I C A L P R O G A M E . A N D I T ’S O F T E N
quarterback Vin Ferrara, the football, helmet, performance and comfort of athletes first — from youth to pros — during every step of the design and engineering process. Those 20 minutes and every second of sweat and prep
H A L F T H AT. B U T I F YO U ’ R E I N T H E
leading up to them? Covered. Now, having based
B U S I N E S S O F D E S I G N I N G A N D I N N OVAT I N G
in Detroit, Xenith, which introduced its first
P R OT EC T I V E AT H L E T I C G E A R L I K E X E N I T H ,
a five-star-rated helmet featuring an industry-
YO U K N OW T H AT 2 0 M I N U T E S O F I N T E N S E
technology, part of a patented shock matrix that
FO OT BA L L R EQ U I R E S P E A K P R O J EC T I O N , W I T H O U T E XC E P T I O N .
its entire design and manufacturing operation helmet in 2009, has debuted Xenith Shadow — first novel polymer shell and adaptive fit moves independently of the shell. And every member of the design studio is Team CCS. Lead Product Designer CONNOR RIEGLE ‘17, Product Design, says that Xenith Shadow
NG OFF was his first big project at Xenith, along
Bailey Boyd contributed the helmet’s sleek
Studio is what started it all. The course was
with product designers BAILEY BOYD and
silhouette. “If you look at Xenith’s helmets in
led by McPhail, who points out that the studio
ANDREW LARK , both ‘17, Product Design,
the past, you know we’ve had a very simple
“really sparked what is now a full design team
and that the design process was so comfortable
silhouette,” he explained. “That was something
that is comprised almost entirely of people from
it felt as if “we had brought a little bit of CCS
that I really wanted to influence on the helmet:
that original studio, which you just don’t see
here. We’re basically a solid CCS design team.
design something that looks fast and would
very often in a design space.”
It really feels like a family both from a Xenith
really catch people’s eyes from a distance
Xenith completed its third sponsored studio
perspective and a CCS perspective, so we have
while it’s out on the field.”
with CCS in spring 2019, this time in conjunction
this shared history. We know each other’s paths,
More than friends and former college
with the Product Design and Advertising Design
and we’re on that journey together.”
classmates, Boyd, Lark and Riegle have forged
departments. According to CEO Ryan Sullivan, the
Director of Product Design, MATTHEW
something utterly unique within a brand known
company has grown significantly in parallel with
MCPHAIL — also a CCS alum ‘09, Product
for uniqueness.
what is clearly a winning partnership. “Each year
Design — gave them free reign on the Xenith
The Xenith Shadow helmet is currently on the
at Xenith, we try to continue evolving, continue
Shadow project to come up with something
field being used by thousands of athletes from
raising the bar, continue trying new things, and
game-changing. “It was fun to see a little bit
the NFL and college ball to youth and high school
to enhance and deepen the partnership with the
of competitive edge through sketching and
teams. And an undeniable element of the trio’s
College for Creative Studies,” he said. “Because,
research,” said Lark. “All of us just trying
success at Xenith is the bond they created at CCS.
at the end of the day, that’s the best environment
to work together to find that novel solution.”
The 2017 Xenith-sponsored CCS Design
for both organizations to thrive.”
PLAY-BY-PLAY “Genius is 1% inspiration and 99% CONCEPTING
perspiration.� Goes for anything worth
Develop concepts:
doing. Athletes know this, as do designers, engineers and everyone else who puts their all into the relentless pursuit of the next game-changing helmet.
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PROBLEM-SOLVING
the look, the style.
What are the barriers
Create sketches. Develop
to player performance?
lo-fi prototypes. Evolve
What kinds of impacts
comfort, fit, shape, shell,
happen during
shock absorbers. Evolve
game time?
performance.
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3
4
RESEARCH Thousands of athlete interactions. Talk to players, coaches, parents. What are the problems?
DEVELOPMENT
What are their needs?
Use computer-aided
What next?
design to run simulations. How will the helmet react to real-word forces? Create molds. Experiment with materials. Refine, refine, refine. 4
COLLEGEFORCRE ATIVE STUDIE S . EDU
PRODUCTION Paint, assemble, polish, package. 1,000+ helmets per day at peak production.
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6
7
8 REVOLUTIONIZING Welcome to the revolution. Xenith Shadow boasts enhanced shock arrangement and
BRANDING
materials tuned
This is who we are, and
specifically to a wide
TESTING
this is what we do: design
range of hits, with an
Learning and improve-
and manufacture five-star
adaptive fit system that
ments phase. Test helmet
helmets exclusively.
to measure response to
conforms to the head for a disappearing fit.
various impacts. Test to NFL, NOCSAE and Xenith standards for elite performance.
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THE A RT O F POP OF RED Bold red drapes and rug reflect the Townhouse brand palette
“My earliest memory of interior design was growing up: my sister and I shared a room. We used to dream out loud about what we were going to do,” said ELIZABETH SWALLOW ’07, Interior Design, a Lead Designer at McIntosh Poris Associates. “They were just ideas, but we built on them. You never know if something you’re interested in is a hobby or a real career. This is one hobby that turned into a career.” After years in the field and five years at McIntosh Poris, which specializes in hospitality — think restaurants, hotels and pubs — multifamily residential and
GLOBE LIGHTING
commercial design, Elizabeth Swallow understands
Elegant, retro lighting
what it really takes to be an interior designer. While it’s
helps warm the space and evokes
more complex than the TV clichés of fluffing pillows and
a peaceful library setting
picking paint swatches, it’s still a lot of fun. Swallow has taken lead on multiple high-profile projects, including Townhouse Detroit, upscale steakhouse Prime + Proper, DuCharme Place apartments and Detroit Athletic Club. “The process is a little bit different with each client,” Swallow said. “First, we take into account the architecture. We go look at the building that we’re working with, or, if it’s a new build, we take a look at the neighborhood. So we always look for context first. Also, who are the end users? What is the budget? There’s a lot to consider.”
FLEXIBLE SEATING Seating can be used for a range
She explains that hospitality clients tend to have a more fleshed out idea of what they want, based on the food
of social events, including private
they’ll be serving and the clientele they’re after.
dinners and business gatherings,
A good portion of the work involved, however, is less
without sacrificing style
about the designs than how to execute them. “We have these great concepts. Now, how do we make it happen?”
Three INTERIOR DESIGN ALUMNI The design studio of McIntosh Poris Associates includes three CCS alumni: Karin Abel ‘17 Jennifer Buesos ‘13 Elizabeth Swallow ‘07
Swallow typically teams up with a lot of people, including architects, engineers, lighting designers and many more. But smaller projects can be satisfying, too, precisely because the teams are smaller — more collaborative, with budgets requiring more creative solutions. Either way, Swallow adds, “as long as you have a great team in place, it’s a great experience.” Private dining and event space in Townhouse Detroit, an upscale restaurant designed by Elizabeth Swallow and team. The wood paneling and warm lighting are meant to have a library feel.
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9
UEEN T YPE PERSONALITIES
The right typeface is essential to a design’s message and impact.
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But sometimes the type IS the message: think Ed Fella’s hand-
drawn classic, “OutWest,” or Jackson Cavanaugh’s brand type for Rosetta Stone . CCS alumni have designed typefaces recognized ®
all over, well, everywhere — from global brands to award-winning restaurants. You can even find them in museum collections like Cooper Hewitt and The Museum of Modern Art in New York. These ain’t your mama’s fonts.
2
odon & Sa 1 – “Monoline”
TODD SMITH
‘00, Communication Design Design Director — Bags and
5
Equipment, Nike
2 – “Out West Half Full” EDWARD FELLA
‘85, Communication Design
il Em Design faculty at California
Institute of the Arts and recipient of the 2007 AIGA Medal
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3, 10 – “Resist”; 4 – “Rise”; 8 – “Marguerite”
ELIZABETH CAREY SMITH ‘02, Communication Design
Creative Director, Bank of New
York Mellon and Vice President of the Type Directors Club
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BAT 4
5 – “Mink,” custom letterform PAOLO CATALLA
‘12, Communication Design Senior Designer, Lafayette American
3
asquatch 6
6, 7 – Custom letterforms
STACEY DONALDSON
‘12, Communication Design
Senior Designer, One Design Company
mpire 10
Okay Type
Harriet v2
All Styles
Harriet Display Thin Harriet Display Light Harriet Display Regular Harriet Display Medium Harriet Display Bold Harriet Display Black
Harriet Display Thin Italic Harriet Display Light Italic Harriet Display Regular Italic Harriet Display Medium Italic Harriet Display Bold Italic Harriet Display Black Italic Harriet Text Thin Harriet Text Light Harriet Text Regular Harriet Text Medium Harriet Text Bold
Harriet Text Thin Italic Harriet Text Light Italic Harriet Text Regular Italic Harriet Text Medium Italic Harriet Text Bold Italic
9 – “Harriet v2 Text Bold”
JACKSON CAVANAUGH
9
‘05, Communication Design Owner/Designer, Okay Type
4
The first time you experience the work
good things will happen as long as
of South Korean alumna UIJUNG KIM
you don’t quit.
‘13, Illustration, you’re struck by how
P OW !
vibrant and joyful it is. Her playful
Faculty at CCS who were
figures and bold color schemes are
particularly helpful?
inspired by Japanese characters,
Don Kilpatrick, Chair of Illustration,
including “Kogepan” — literally “Burnt
encouraged me to pursue illustration
Bread” — and they’re pretty addictive.
and taught me about fashion illustration
Here’s what she had to say about her
as well. Lora Parlove prepared me for
style, what it takes to maintain a
the real world. I still have her paper in
freelance illustration career, and why
front of my desk. She is great. Stephanie
she wouldn’t want to do anything else.
Henderson helped teach me basic oil painting. I learned about and fell in
How did you get started in illustration?
love with color. And Frank Zerilli ’12,
I tried many things before illustration.
Illustration, taught me Adobe Illustrator®,
But what I wanted most was to tell
showed me American culture and exposed
stories that were personal to me. I
me to many new things. He was my class-
recommend doing what you love, and
mate, and now he’s my husband!
Where can we find your illustrations? I pitched an idea for a book to Cicada, and they liked my idea. I just finished! It’s about subway systems around the world — I even designed the book’s layout. It has been the best experience in my career so far. I had work selected for American Illustration 38. I also got to do the cover of PLANADVISER, a sticker set, Box Girl, for Facebook, and I’ve had work in The New York Times. Advice on becoming an illustrator? Be patient, and do personal work when you don’t have a job. If your work is good, clients will connect with you. I always want my work to be better, and I am still learning every day. Also, save money and learn how to invest it. The more you can save, the more options you will have open to you. Opposite, left to right: Illustrations for PLANADVISER and PLANSPONSOR, SooJin Buzelli, Art Director. This page, top to bottom: The New York Times online, Melody Newcomb, Art Director. Hello and Floating Market, Vietnam. Box Girl illustration for Facebook, Liz Sparber, Art Director.
Influences? Inspiration? I am influenced by many cute Japanese characters. I had a notebook when I was little, and it had an illustration of this burnt bread man character, Kogepan. I love how simple it is. Also watching Dragonball and playing the game Animal Crossing. I want to make art like that someday! What’s it like to freelance? It’s a really challenging job. You can’t predict the next project. Just have patience. It makes me happy that I can make illustrations that make other people happy.
BERNADETTE LITTLE
VERONICA BAYAGICH
CORI STEELE
MICHAELA ALLEN
COIYA WILSON
‘15, Illustration
‘11, Illustration
‘09, Product Design/Crafts
‘13, Communication
‘19, Advertising Design/
Designer
Senior Graphic Designer
Senior Designer
Design/Fine Arts
Illustration
Color and Materials
Assistant Project Manager
JALAL ENAYAH
ZACH COONROD
EFRAIN CORONADO
‘14, Product Design
‘12, Transportation Design
‘17, Product Design
BRANDON BIDLEMAN
Footwear Designer
Senior Designer
Footwear Designer
‘15, Illustration
Designer
Graphic Designer
G
32
WAY
alumni work for Adidas
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A N I L LU ST R ATO R W A F I N E A RT I ST W
FO OT W E A R. AU T A N I M ATO R. W I T H
CC S, YO U R O P T I O N
alumni work for Disney
N DAVE HARDIN
K ASSANDRA HELLER
SCOTT MALLWITZ
JENNIFER
JOANNA NAZIMEK
‘04, Entertainment Arts
‘10, Illustration
‘86, Industrial Design
STRICKLAND
‘10, Advertising Design
Animator
Background Painter
Executive Creative Director
‘16, Entertainment Arts
Creative Director/
Storyboard Director
Graphic Designer
CHRIS HOUGHTON
VAUGHAN LING
JEFFREY ABRAHAM
‘10, Illustration
‘11, Transportation Design
‘91, Product Design
Animator/Producer
Vehicle Designer
Art Director
(freelance)
K YLER HANZIE
CALVIN WADDY
ANDREW BAZINSKI
JOHN HATCHER
MISHO MILOSEVSKI
‘08, Photography
‘10, Entertainment Arts
‘11, Transportation Design
‘01, Advertising Design
‘16, Communication Design
Product Designer
Digital Sculptor
Exterior Designer
Senior Graphics Designer
Advanced UX/UI Designer
CARRIE KENNERLY
JENNIFER ATANASOVSKI
DEV YN OSTRAND
TAURUS BURNS
NICHOLAS NGUYEN
‘01, Product Design
‘00, Fine Arts
‘97, Communication Design
‘02, Fine Arts
‘10, Entertainment Arts
Senior Color and Materials
Human-Centered
Ford Performance Program
Sculptor
Lead 3D Designer
Designer
Insights Manager
Studio Lead
O
145
I T H A T H I N G FO R
TO D E S I G N E R AS A D EG R E E F R O M
NS ARE ENDLESS.
YOUR
W H O M A K E S M OV I E S .
alumni work for Ford Motor Company
9
alumni work for Google
O PHILLIP SPEHAR
LINDA XINRUI JIANG
GUSTAVO GONZALEZ
CHUCK CARLSON
JESSICA CHOI
‘07, Illustration
‘11, Product Design
‘05, Entertainment Arts
‘05, Communication Design
‘16, Product Design/
Illustrator
Senior Industrial Designer
Motion Designer
Creative
Advertising Design
SCOTT LANGE
JOHN CASSIDY
MATT SEFLIC
CHUCK GIBSON
‘92, Communication Design
‘07, Communication Design
‘04, Product Design
‘04, Communication Design
Group Creative Director
Product Designer
Industrial Designer
UX Designer
Industrial Designer
COLLEGEFORCRE ATIVE STUDIE S . EDU
A DV I C E F R O M T H E
AND ANOTHER THING Eat your vegetables. Get some sleep. No, more than that. Be kind. Work at something you’re passionate about.
ZACH SMITH
Learn from the folks who came before
’10, Entertainment Arts (Animation)
but over time I realized that I fit
you — they know stuff.
Storyboard Artist on SpongeBob 3
better as a storyboard artist.
Paramount/Nickelodeon
What drew me to my current field:
What I do:
I’ve always been obsessed with
I draw storyboards for TV and fea-
cartoons and being funny (or at least
ture animation, and I create shows,
attempting to be funny). In college,
comics and development ideas in the
I made three films and enjoyed the
TV animation industry.
process a lot. Once I left school I just
How I got started:
continued creating and developing
I interned on The Mr. Men Show (Car-
my own ideas on the side, while work-
toon Network) between my third and
ing as a storyboard artist during the
fourth year at CCS. After graduation,
day. I really like pitching, creating and
I returned to the animation studio
developing my ideas with studios.
where I had interned (Renegade
I’ve had three pilots (none of which
K ATE BRUSK
Animation in Glendale, CA). I started
have been greenlit), but I find working
’12, Entertainment Arts (Animation)
as a Prop Designer and Animator,
in the story department informs my
Storyboard Artist, Nickelodeon
then shifted into character design,
development work and vice versa.
What I do: I take a script for an episode and draw it all out in storyboards to create the visual base for an episode. I choose shots, define acting and, basically, play Director. I also get to sneak in chickens and add jokes. How I got started: I’ve always loved to draw! And I knew I wanted to tell stories, because they can have such an important impact on people. Working in animation was sort of a natural conclusion. Advice to my past self: Stop trying to draw it perfect. It really doesn’t need to be.
Chase what inspires and impacts you. Draw yourself down rabbit holes and build a library of inspiration that will inform your work and help you stand out as someone with a voice.
BERNADETTE LITTLE ’15, Illustration (Minor: Product Design) Designer, Adidas What I do: I work on the global brand design team, which can be thought of as Adidas’ internal advertising team. How I got started: I hopped around through a few internships — two at Adidas — and one apprenticeship at Reebok.
I really enjoy storytelling and I really enjoy drawing, so I think storyboarding is a nice mash-up of the two because it challenges your storytelling sensibilities and your draftsmanship at the same time. It wasn’t easy, though! It took a lot of trial and error, patience and perseverance, which applies to most art jobs.
Diversify your skill set. Have something that you really love doing, but make sure you have a few different skills in your back pocket. If you’re an illustrator, learn to animate or code or even 3D model. And learn to network: it’ll be one of your most important assets.
JAY SHUSTER ’93, Industrial Design Production Designer, PIXAR Animation Studios What I do: I produce characters and environments for feature animation. What drew me to my current field: I stood in line to see Star Wars: A New Hope in 1977, and that was the moment I decided design in film was what I wanted to do. Advice to my past self: Take more time outside of work to get inspired.
KELLYE PERDUE
the Creek, Marvel’s Spider-Man and
and half later, in September 2017,
’16, Illustration
Ben 10 (reboot).
after consistently posting my work
Storyboard Artist,
How I got started:
online and a bunch of other things
Cartoon Network
One of my good friends and fellow CCS
that happened, I got contacted by
What I do:
alum, Jenn Strickland, recommended
the Infinity Train crew to join their
I typically work in a two-person team
me for my first storyboard freelance
production as a storyboard artist.
storyboarding (and sometimes writing)
gig, Ben 10, right after graduation, and
I accepted, moved to Los Angeles
episodes for children’s TV shows, in-
I’m really grateful because that was
from Detroit, and have been working
cluding Infinity Train, Craig of
my first animation job. About a year
at Cartoon Network ever since!
ALUMNI, FACULT Y OR STUDENT? There’s no real mystery: CCS alumni and faculty are highly trained artists and designers making an impact in a wide range of industries. But you don’t have to wait until you graduate. CCS students create innovative, award-winning work — and start laying the foundation for successful careers — while they’re still in school.
1 – Alumnus
Global Design and User Experience,
6 – Alumnus
Accessories Design, 2019
Kevin Calabrese ‘08, Product
Whirlpool Corporation, KitchenAid
Damarcus Holbrook ’02,
Adidas x Footlocker Design
Design, VP of Creative Services,
4 – Faculty
Entertainment Arts, Senior
Challenge winner
Czarnowski, exhibit marketing
Hojoon Kang, Assistant Professor,
Designer, Blizzard Entertainment,
9 – Faculty
2 – Alumna
Transportation Design, exterior
World of Warcraft – Battle for Azeroth
Don Kilpatrick, Illustration Chair,
Jessica Pierce ‘16, Photography,
car design
7 – Alumnus
Designer, 2002 Olympic Winter
Staff Photographer, Forever 21,
5 – Faculty + Alumnus
Don Crum ‘94, Industrial Design,
Games medal
product photography
Tim Flattery ‘87, Transportation
Animator, Pixar Animation Studios,
10 – Student
3 – Faculty + Alumnus
Design, Entertainment Arts Chair,
Coco
Veronika Scott ’11, Product Design,
Patrick Schiavone ’88, Industrial
DeLorean Time Machine, Back to
8 – Student
CEO of The Empowerment Plan,
Design, (retired) Vice President of
the Future
Kayla Donaldson ‘19, Fashion
EMPWR coat
Non-Profit Org. U.S. Postage PAID College for Creative Studies
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COVER ARTWORK Ramen Girl, Uijung Kim ‘13, Illustration
in the Executive Office upon formal request. The College for Creative Studies subscribes to the principle of equal opportunity in its employment, admissions, educational practices, scholarship and loan programs, and other schooladministered programs, and strives to provide an educational environment and workplace free from unlawful harassment or discrimination. Discrimination, including harassment, because of age, race, color, national or ethnic origin, religion, sex, sexual orientation, gender identity or expression, veteran status, physical attributes, marital or familial status, disability or any other characteristic protected by law is strictly prohibited.