CCS Alumni Magazine

COV E R TO COV E R One Illustration alumnus creates haunting concept art for his favorite TV show while another creates powerful paintings that speak to our times. Two Communication Design alumni put ideas in motion in the city they love. And an Advertising Design alumna taps a hot rock band to help a timeless brand inspire millennials.

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.

Wireframe of bug animation for Armstrong White, a CGI and photo retouching studio in Birmingham, Michigan. Sarah Bromley (’14, Entertainment Arts) was responsible for modeling, lighting, rendering and texturing assets for the project.

SARAH BROMLEY BUILD TD DOUBLE NEGATIVE VFX

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There’s no magic bullet. Most artists aren’t going to get plucked from obscurity or skyrocket to fame after a fateful meeting with a movie producer in a soda shop (long story). And talent is more common than we’d like to believe, so the competition in Hollywood can be fierce.

“My first job was loading set dressing in and out of locations where we would shoot. Gotta start somewhere, right?” said MICHAEL MAHER, JR. (’07, Illustration) from the Atlanta set of Stranger Things, Netflix’s popular sci-fi horror series.

After graduating from CCS, Maher wanted to get into storyboarding for film and television, and the lucrative tax incentives Michigan was offering at the time put the state on the radar for production companies. It wasn’t glamorous — and it wasn’t storyboarding — but he made it work. “When the production designer found out I could draw and design,” he said, “she helped me out and gave me a job as a graphic designer. After that, it took a lot of hard work and quite a few years to become a concept artist.”

Maher, now a seasoned professional living in Los Angeles, said the years of hard work wasn’t even the greatest challenge — that was finding his career path.

“Having a good foundation at CCS really helped, but it’s very competitive out there,” he said, “and oftentimes difficult to know what to aim for. But I stayed focused Above: Hopper discovers the Upside Down is spreading. Opposite: Eleven hides in the Upside Down.

All images created using Cinema 4D, Zbrush and Photoshop.

and worked very hard, and things tend to work out when you combine those two things over a long period of time.”

It’s worked out pretty well. After reading a script, Maher talks with a director before anything is shot and

MAKE IT ON H A R D WO R K? ST RA N G E R T H I N GS H AV E HAPPENED

creates paintings that inform a production’s visuals.

He’s worked on several movies and TV shows, including Argo, The Conjuring, Independence Day, Sons of Anarchy, Ray Donovan, Real Steel and the docuseries Cosmos: A Spacetime Odyssey, for which he received an Emmy nomination.

But his favorite job so far is working for Stranger Things, now shooting its second season.

“When I saw the first season,” he said, “I loved it so much I binged the whole thing in two days, ha! Now to be working on set here in Atlanta, I get to be around the kids in the show all the time. They’re so fun.

“The really special thing about this show is that I’ve pushed my skill sets continually for so many other shows previous to this. Working long hours to learn new programs and become better and better. Now that I have the opportunity to work on such a fun show, I feel like the preparation has paid off and I’m making the best of it.”

Maher credits the good time he’s having now with the hours he put in back in the day. The foundation he

CO N C E P T A RT I ST M I C H A E L M A H E R

developed in illustration and art at CCS, he said, has

L A N D E D A D R E A M G I G WO R K I N G

“I had great, energetic instructors who loved their jobs.

created a lifelong love for the hard work.

Oftentimes when I’m painting a concept, I still hear my

FO R H I S FAVO R I T E T V S H OW.

instructors’ advice. That was 10 years ago!”

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MICHAEL MAHER CONCEPT ARTIST

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

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 .

“I think the mindset of designers can be really

a good give and take. Their ability to collaborate

useful to Detroit right now,” explained 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

projects. “We get to really think about how we

range of services, but specializes in branding,

could apply that system to business cards,

animation and post-production.

letterheads, storyboard templates, websites

Lunar North — which includes a small group of

and reel intros,” said 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,” said

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,” said 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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Opening spread: “The Verge Turns 5,” motion graphics to accompany five interviews with science and tech influencers. Above: Animation graphic for general contractor Barton Malow (left). Visualizations for the Sony Bravia® TV (right). Below: Animation from “Event Horizon” for Great Big Story.

MARIO MOORE: CA N ’ T STO P,

,

MARIO MOORE PAINTER

T H I S D E D I C AT E D PA I N T E R LO O KS TO H I STO RY TO T E L L STO R I E S A B O U T H OW W E L I V E N O W. “I don’t let anything stop me from making my work,” said 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,” said 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

Opposite: “A Student’s Dream,” oil on canvas, 2017. Above: “Yeah G-Ma Don’t Play,” oil on copper, 2015.

Renaissance or the Baroque period? Why do you do that as a black person?’” Moore said. “But as

which depicts his grandmother holding photographs of her three living sons, was exhibited in the

human beings we take inspiration from all over

Detroit Institute of Arts’ “Art of Rebellion: Black Art of the Civil Rights Movement” in fall 2017,

and put it together. It just makes sense to me.

and subsequently acquired by the museum. “When you see black mothers on the news,” he said,

“I want my paintings, from a distance, to feel

“they’re usually crying holding a photo.”

as if you could walk right into them. I want the

But I wanted to contrast that to give a sense of their power and protection. So in my paintings

narrative of the work to invite the viewer in and

they’re holding photos of their living children.”

offer a kind of insight. But when you get closer,

Moore is currently completing a Hodder Fellowship at Princeton University and is one of only

you realize that it’s just lines that come together.

five visual artists to receive the prestigious fellowship in its 74-year history. His recent series,

Because it’s not just about what is being depicted;

“Recovery,” exhibited in summer 2018 at David Klein Gallery in Detroit, depicts black men from

it’s about how it’s depicted.”

the Civil Rights era relaxing or at rest. The idea came to Moore in 2017 after undergoing awake

That concern for materiality in painting (visible

brain surgery to remove a slow-growing tumor. In order to recover, he was forced to rest, often

brush strokes, for example) and, on the other

needing help to perform the most basic tasks.

hand, for how black people are represented in art,

“James Baldwin went to Paris. Malcolm X went to Mecca. Muhammad Ali had to rest because

have brought Moore’s stunning work increasing

he had his belt taken away,” he said. “Rest and recovery are really elusive for black men. The

attention. A painting from his copper series,

stereotype is that, if you’re sleeping or resting, as a black man, you’re lazy. But as soon as I got

“Queen Mother Helen Moore” (not pictured),

out of the hospital, I thought, ‘I have to work.’”

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20 1 8 EMMY

THE PROOF IS IN THE NUMBERS

FOR “PICKLE RICK,” A THIRD-SEASON EPISODE OF THE CARTOON NETWORK SERIES, RICK AND MORTY

W H E N S O M EO N E T E L L S YO U T H EY ’ R E

TOMMY SCOTT

M A K I N G I T H A P P E N — D O I N G G O O D WO R K ,

CONCEPT ARTIST AND

F I N I S H I N G F I R ST O R FAST E ST O R B E ST —

CARTOON NETWORK

BACKGROUND DESIGNER

D O N ’ T J U ST TA K E T H E I R WO R D FO R I T. D O S O M E D I G G I N G . LO O K AT T H E STATS .

60% OF FIAT CHRYSLER AUTOMOBILES’ DESIGN TEAM ARE CCS ALUMNI

2018 DEBUT

RALPH GILLES

CITY GREENS, AN ORIGINAL

HEAD OF DESIGN — FIAT CHRYSLER

ANIMATED SERIES FROM DISNEY TV

41 ALUMNI AND COUNTING ARE MAKING THEIR MARK AT THE ICONIC GLOBAL GIANT NIKE

AUTOMOBILES (FCA), GLOBAL CHRIS HOUGHTON ANIMATOR/EXECUTIVE PRODUCER

100% YO DA

2015 AWARD IN ART FROM THE AMERICAN ACADEMY OF ARTS AND LETTERS, ONE OF THE OLDEST AND MOST PRESTIGIOUS

OF GRADUATING STUDENTS IN

HONORARY SOCIETIES IN THE

TRANSPORTATION DESIGN WHO

UNITED STATES

SECURE POST-GRADUATE EMPLOYMENT EVERY YEAR AT LEADING

BRENDA GOODMAN

COMPANIES ACROSS THE GLOBE

PAINTER

THE LEGENDARY JEDI MASTER WHO FIRST APPEARED IN THE EMPIRE STRIKES BACK (1980), CREATED

BY CCS ALUMNA WENDY FROUD, SCULPTOR, DOLL ARTIST, PUPPETMAKER

15+

MURALS IN MURALS IN THE MARKET, AN ANNUAL FESTIVAL THAT BRINGS TOGETHER DETROIT, NATIONAL AND INTERNATIONAL ARTISTS TO CREATE ART IN EASTERN MARKET DAN ARMAND, CO-FOUNDER, INNER STATE GALLERY/1XRUN

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2 BAT M O B I L ES LED THE DESIGN TEAM FOR 1995’S BATMAN FOREVER AND ED NATIVIDAD

10+ M OV I ES

COLLABORATED ON 2016’S BATMAN V SUPERMAN: DAWN OF JUSTICE

1 MOANA

THERE ARE ONLY 6 IN THE HISTORY OF FILM, WHICH MEANS CCS ALUMS HAVE DESIGNED — WAIT FOR IT — A THIRD OF THEM. TIM FLATTERY

2 RISE OF THE TIM FLATTERY

ED NATIVIDAD

CHAIR, ENTERTAINMENT ARTS, CCS

CONCEPTUAL VEHICLE DESIGNER

GUARDIANS 3 PUSS IN BOOTS 4 KUNG FU PANDA 2 5 ALICE IN WONDERLAND 6 CLOUDY WITH A CHANCE

20 1 6 O LY M P I CS

DESIGNERS OF THE MEN’S AND WOMEN’S ON- AND OFF-TRACK COMPETITION

10 SPEED RACER

OF MEATBALLS

7 SURF’S UP 8 OPEN SEASON 9 I AM LEGEND

GEAR FOR TRACK-AND-FIELD ATHLETES — INCLUDING SHOES FOR USAIN BOLT

DAVE HARDIN

ASTIN DAVIS

GUERCY EUGENE

SENIOR CHARACTER ANIMATOR,

GLOBAL GRAPHIC DESIGNER, PUMA

FOOTWEAR DESIGNER, PUMA

DREAMWORKS ANIMATION

O N E- O FA- K I N D

ACA D E M Y AWA R D

UX DESIGN POSITION CREATED FOR CCS ALUMNUS:

WON FOR BEST ANIMATED FEATURE FROZEN (2013)

SENIOR DESIGN STRATEGIST AND INNOVATION ARCHITECT CHUCK TAPPAN SPENCER CHAMBERLAIN

STUDIO DEPARTMENT LEADER FOR LOOK DEVELOPMENT,

GENERAL MOTORS

DISNEY ANIMATION STUDIOS

15,000+

COATS DISTRIBUTED TO THOSE IN NEED IN NORTH AMERICA. 39 PREVIOUSLY HOMELESS PEOPLE WHO ARE NOW EMPLOYED AND HAVE SECURED PERMANENT HOUSING FOR THEMSELVES AND THEIR FAMILIES VERONIKA SCOTT, CEO, THE EMPOWERMENT PLAN

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OK GO: H OW TO DO SOME GOOD

I N 4. 2 14 10

CO LLEGEFO RCRE ATIVE STU DIE S . EDU

AMY GOZALKA OGILVY OGILVY AND & MATHER CREATIVE DIRECTOR

:46 SECONDS

OK Go’s 4.2-second music video, “The One Moment,” reveals many moments: it was one sweeping shot filmed at high frame rates.

A M Y G OZ A L K A O N H OW A C A M PA I G N TO I N S P I R E M I L L E N N I A L S TA P P E D R O C K BA N D O K G O A N D H E L P E D A B E LOV E D B R A N D P U T W H AT R E A L LY M AT T E R S BAC K O N T H E TA B L E .

For generations, the Morton Salt Girl

Brettschneider of GirlForward;

One Moment” — one sweeping shot

at 45,000,000 and counting, with

has been viewed as a timeless icon,

Michelle Edgar of Music Unites; Seth

filmed at high frame rates. When the

99 percent positive engagement

but no one knew what she stood for.

Maxwell of The Thirst Project; and

video is slowed down, it reveals a

from viewers. “People were talking

AMY GOZALKA (’08, Advertising:

Haile Thomas of The HAPPY

number of dazzling moments, some

about Morton Salt again,” Gozalka

Design), Creative Director at Ogilvy &

Organization.

of which connect to the work of each

said. “It was one of the most talked

Mather in Chicago, and her team

“OK Go came to mind, and it wasn’t

difference maker.

about brands in the last quarter of

realized, however, that this beloved

just because they’re a cool rock band.

In the end, “The One Moment”

2016 among millennials.”

symbol could represent more than

They aligned perfectly with our ethos

garnered 10,000,000 views in its first

Watch “The One Moment” by

the product.

and what they stand for as a band.

24 hours. Organic and paid views are

OK Go at http://bit.ly/2olxZEG.

The Walk Her Walk campaign

We wanted people to see beyond the

EVEN IN THE POURING RAIN, THE GIRL IS

challenges how millennials think

blue canister, and we wanted to put a

of the salt brand and encourages

smile on their faces with an inspiring

them to take action with causes that

music video that leveraged our

resonate with them. Five “difference

difference makers in a unique way.”

S H E I S A FO R C E FO R G O O D A N D A R E M I N D E R

makers” who support social causes

The band agreed to partner with

T H AT W E C A N A L L M A K E A D I F F E R E N C E I F W E

across the country were chosen to

Morton Salt, and months of prep-

partner with the campaign: Adarsh

aration resulted in a 4.2-second

Alphons of ProjectArt; Blair

music video for their song, “The

FO R G I N G A H E A D W I T H A S M I L E O N H E R FAC E .

ST E P U P. I T ’S N OT E N O U G H TO TA L K T H E TA L K O R WA L K T H E WA L K . W E H AV E TO WA L K H E R WA L K .

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1:14 MINUTES

The OK Go shoot took three, mostly 18-hour days, with more than 100 people, including an electrical engineer, a pyrotechnician, and 60 artists and designers.

3:02 MINUTES

2:43 MINUTES

Five “moments” in the video — such as water balloons and guitars exploding — connect to each difference maker’s cause featured in Morton Salt’s Walk Her Walk campaign.

3:34 MINUTES

B U T WA I T, T H E R E ’S M O R E I N T H E S KY, O N T H E G R O U N D, I N P U B L I C O R P R I VAT E S PAC E S : T H E S E A LU M N I A R E CHANGING THE GAME. DONG TRAN DON’T YOU WANT IN? If CCS looks like the place for you, visit our website,

ICON AIRCRAFT

or drop us a line on social media and let’s talk about the next four years.

LEAD DESIGNER

GUERCY EUGENE FOOTWEAR DESIGNER ASTIN DAVIS GLOBAL GRAPHIC DESIGNER PUMA 2016 RIO OLYMPICS CAMPAIGN

DIKEA KATAKIS-KOTSIFAKIS

MELISSA OAKLEY

STARBUCKS (TORONTO)

CAPACITY

SENIOR DESIGN MANAGER

DESIGNER/ANIMATOR

TOMMY SCOTT CARTOON NETWORK BACKGROUND AND CONCEPT DESIGNER PRIMETIME EMMY AWARD

JOE BARATELLI RPA EXECUTIVE VICE PRESIDENT, CHIEF CREATIVE OFFICER

Presorted Non-Profit U.S. Postage PAID Permit No. 250 Grand Rapids, MI

Office of Admissions 201 East Kirby Detroit, MI 48202 collegeforcreativestudies.edu 313.664.7425 | 800.952.2787 admissions@collegeforcreativestudies.edu

COVER ARTWORK Bottom of the rift cavern, a digital concept illustration of the Demogorgon

by Michael Maher for Stranger Things.

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.

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