SCAN Fall 2019 by The Connector

SCAD ATLANTA’S STUDENT MAGAZINE FALL 2019 | VOL. 11 NO. 3

SCAD ATLANTA’S STUDENT MAGAZINE SPRING 2019 | VOL. 11 NO. 21

SCAN MAGAZINE FALL 2019

SCAD Atlantaâ&#x20AC;&#x2122;s culture, lifestyle and feature magazine Missed an issue? Check out the complete collection at scadscan.com

SCAN MAGAZINE FALL 2019

IN TH

SCAN MAGAZINE FALL 2019

REM SLEEP STAGE 1

Brain Waves:

Time Spent:

90 Minutes

STAGE 4 Brain Waves:

Time Spent:

misinterpr interrupt

Time Spent:

Characteristics: • Illogical thoughts • Bizarre imagery • Relaxed muscles • Dreaming occurs • Brain weeds out irrelevant information • REM = Rapid Eye Movement becuase the eyes are constantly moving

10 Minutes

Characteristics:

IN THE SLEEP CYCLE

30 Minutes

Characteristics:

• Light sleep • Easily disrupted • Muscle spasms • Sensation of falling occurs

STAGE 2 Brain Waves:

Time Spent:

Characteristics:

• Body temperature lowers • Heart rate decreases

6 10 12 14 16 Brain Waves:

Characteristics:

• Sleep talking • Transition stage • No visual imagery

10 Minutes

Check out the works of Austin Klubenspies and Yashna Garg

Finding the common thread among worlds

Slee diverge so cl

20 Minutes

Time Spent:

Exploring Dreamscapes

N sens wher

Peo into

STAGE 3

• Deep Sleep • Recovery phase • Regulates appetite • Sleepwalking occurs • Immune system restores the body’s tissue

Student Showcase

In the Sleep Cycle Read the facts on the risk of not resting

A Piece of Mind

Student Spotlight

A personal essay on the struggle of sleep and self

Iara Faria explores her anxiety through FX makeup

A slee punishm

Metabol th

“ IT’S OK TO ASK FOR HELP. YOU LEARN SO MUCH BY ASKING QUESTIONS!” Third–year, Interior Design TAYLOR GARLAND

B.F.A. Television Producing (2017) Graduate student, Graphic Design JOE JACKSON

“ I F S O M EO N E H I R E D YO U B AS E D O N YO U R P R E V I O U S WO R K T H E N D O N ’ T S ECO N D G U E SS YO U R S E L F. YO U H AV E TO CO M M U N I CAT E AS CO N F I D E N T LY AS YO U R WO R K .”

GIOVANNI TURRA

“ JUSTIFY AND VALIDATE EVERYTHING YOU DO THROUGHOUT THE PROCESS. KEEP THE CLIENT IN THE LOOP AND STAY CONFIDENT IN YOUR WORK.”

“ THE BEST WAY TO GET YOUR NEXT JOB IS BY USING YOUR BEST JUDGMENT, ANTICIPATE AND GET TASKS DONE. ESPECIALLY THE LITTLE THINGS. PEOPLE WILL NOTICE.”

Fourth-year, Branded Entertainment

Fourth-year, Film and Television DANY FLORES

“ REGARDLESS OF THE CLIENT, YOUR HISTORY WITH THEM OR THEIR REPUTATION, ALWAYS PROTECT YOURSELF AND YOUR WORK WITH A CONTRACT.”

HIDDEN

HIS ISSUE 29

“ NEVER LO O K AT N U M B E R S TO R E ASS U R E YO U R S E L F. C R E AT E F O R YO U R S E L F, N E T WO R K A N D G R OW E. Dorsey YOWritten U R AbyNZipporah D Illustrated by Annika Elyse P O R T F O L I O.”

SOUND ASLEEP

Third-year, Photography Remember in elementary school when you had napBENJAMIN time? When you knew exactly where you NORA were going to sleep, how long you got to sleep and how your body knew the right position to “ WORK relax? UNDER Why does that seem so impossible now? It seems like most DESIGNERS / people aren’t nearly as capable of getting a good night’s sleep the more they need ARTISTS UNTIL to be able to — and many struggles with insomnia, or simply don’t have a good sleeping pattern. YOU GET A GOOD

REPUTATION. Redeveloping a healthy sleep pattern isn’t easy. CONNECTIONS Relaxing isn’t as simple as it was in elementary school due to the stress of being an adult and ARE EVERYTHING having responsibilities. But without enough healthy IN THE CREATIVE sleep, taking care of some of those responsibilities INDUSTRY.” becomes harder leading to more stress and less

sleep. It’s a vicious cycle that needs to be broken. B.F.A. Sculpture (2019) GABI MADRID Ultimately, the key is to reset your mind from the events and thoughts from the day — to allow it to relax just as your body does when you decide it’s time for la-la land. You want your mind to rest as well, so you wake up refreshed and energized instead of groggy and disoriented. While it’s not always possible to control all the factors that affect your sleep — like roommates, external noise and lights — there are some active choices you can make to help you sleep like a baby again.

Fall into your dreams with these designs

Build Yourself

Overcome barriers with advice from your peers

Third–year, Interior Design THOMAS BROCKMAN

Feet Planted, Head in the Clouds

Land a job without sacrificing your dream

Graduate student, Film and Television THANG HO

Sound Asleep

Comics Corner

Tips on getting your sleep schedule on track

What is your craziest dream?

FALL 2019

In a Daydream

SCAN MAGAZINE

18 24 26 28 30 32 “ T I M E I S YO U R M OST VA LUA B L E CO M M O D I T Y. I F YO U D O N ’ T L E A R N TO VA LU E YO U R T I M E , N O O N E E L S E W I L L .”

Hidden Messages

Understanding the importance of dream journals

SCAN MAGAZINE FALL 2019

the

DREAM TEAM DASHA EGUDKINA

JOSIAH PERSAD

Multimedia Editor

VALERIA BRUGUERAS Style Editor

Photo Editor

RACHITA VASANDANI Copy Editor

MIKAEL TRENCH

ALEXUS GRAHAM

Arts & Entertainment Editor

Contributing Editor

MANAV CHORDIA Features Editor

TYLER JUDSON

Creative Director

ROBERTA NICASTRO Art Director

Editor–in–Chief Katherine Diaz Villegas

Le t t e r Fro m Our Editor

Dreams are a big part of life — whether figuratively or literally — and even more so in the creative world. For creatives, dreams are our reality. They are our reason for being. Many of us are lucky to declare that we are pursuing our ambitions — and in doing so, you know how unbelievably difficult it is at times. But, it is the sudden realization of our dreams that make the path to them so adventurous and also unpredictable. This issue crosses the boundary between the physical world to explore topics

from the science of our sleep cycles to special effects makeup that reflects inner demons. The Fall 2019 issue commemorates the beginning for many students at SCAD. This may even be your first time picking up a copy of SCAN Magazine. On behalf of the staff and contributors that helped make this issue a reality, thank you. It’s our dream that you may find some solace, inspiration, understanding, joy or spark of hope from this publication and the content inside.

WRITERS

Contributing caitlin

iara

zipporah

H AV E N S

FA R I A

E. DORSEY

Opinions Editor

STUDENT SPOTLIGHT

Article: A PIECE OF MIND

Article:

Year: FOURTH-YEAR

Year: THIRD-YEAR

Major: WRITING

Major: GRAPHIC DESIGN

Major: WRITING

SCAN is the quarterly print student magazine of the Savannah College of Art and Design in Atlanta. All editorial content is determined by the student editors. Opinions expressed in SCAN are not necessarily those of the college. ©2019 SCAN Magazine. All rights reserved. No part of this magazine may be reproduced in any form without permission from the publisher. Visit us at scadscan.com for all previous issues and more.

Article: SOUND ASLEEP

Cover photographed by Kenedee A. Hodges Creative direction and makeup by Tyler Judson Modeled by Oni Culbreath SCAN ad designed by Roberta Nicastro and Iara Faria Staff photographed by Nora Benjamin

SCAN MAGAZINE FALL 2019

What is your favorite part of the creative process?

Interviewed by Josiah Persad Portrait by Iara Faria

When did you decide to pursue work in graphic design? When I was in high school, I desiged posters and other graphics for various school musicals and productions. I developed a passion for design, especially from a digital perspective. From there, I continued to pursue graphic design through freelance work — developing websites for local businesses and corporations. This interest in UX/UI led me to where I am today as I push the balance of form and function further and further. What was the most valuable thing you have learned from your time at SCAD? M y tim e a t SCA D has give n me the abilit y to micromanage my time to meet ver y strenuous deadlines. The pace in which SCAD students are expected to produce work grants us an upper-hand in the industr y, allowing us to excel among others. Even more vital was how the time I spent at SCAD helped diversify my skill set and expand my knowledge of design. From writing HTML, CSS and JavaScript to constructing working prototypes for product packaging, I am forever grateful.

The creative process varies often in my field from start to finish — brainstorming, sketching, wireframing, designing, building, testing — depending on the work that I set out to do. Nonetheless, I enjoy working with a team towards a unique goal by stretching the boundaries of what everyday digital products can become. As a small part of a much bigger whole, it is vital to realize that focusing on the user is the most important part of the creative process. At the e n d of t h e day, it is t h e u s e r ’s o pin io n a n d satisfaction that counts — not yours. What challenges have you faced as you pursue graphic design? My biggest challenge so far was the difficulty I faced when it came to choosing which subfield of graphic design I wished to pursue. The differences between print and digital design are encompassed in a very wide spectrum, and both mediums have their own set of pros and cons. Nevertheless, I am able to overcome this challenge by ensuring that my work remains well-rounded and sundry. What are your career goals? I have one goal in my career, and that is to help others through the use of design . . . nothing more, nothing less.

AU ST I N K LU B E N S P I E S B.F.A. Graphic Design (2019)

SCAN MAGAZINE FALL 2019

How would you describe your creative process?

Interviewed by Valeria Brugueras Portrait by Iara Faria

What are the factors you consider when you’re designing? Building codes and functionality are the first t hin g s I think of while designing a space. The client needs usually define the functionality and programming of the desired area. What are the motivations that lead you to create a space? Spaces impact people’s behaviour and the more you feel welcomed, the better you feel. A positive space can change the way people think and this leads to helping them find their success.

What excites you the most about interior design? Experimentation excites me the most; having to connect and interact with different personalities can lead to an extremely unexpected result.

I am a numbers person, so I usually start by looking up statistics, the current problem or scenario for a project and then look up similar projects and how they were designed. I also find articles and perform case studies to understand the projects better. Magazines are a fun way to stay updated wit h cu rre nt t re n ds an d m ay wo rk bet ter t h a n googling sometimes — my personal favorite is the Interior Design publication. After some research, I create a bubble diagram to see the relationship between different interior spaces. Depending on the client and product, a concept is followed by conceptual sketches, which include 3D or flat elevations. The bubble diagram is transformed into a block diagram and is closer to the square footage area of each space that leads into a furniture plan. Materials and finishes are considered as I go on, but sustainability standards are usually chosen at the beginning. How do your own spaces represent you as an individual? My personal space is very much me because it has pictures of my family and my work. I have owl bags hung in my room — owl eyes are known for warding off bad omens, which is prominent in Indian culture. Outside the house, we have a monster face to scare off those omens. I keep my spaces very organized and neat, and scented candles are a big part of my space too.

YAS H N A GARG M.F.A. Interior Design (2019)

SCAN MAGAZINE FALL 2019

E X P LO R I N G

DREAMSCAPES Written by Mikael Trench

Dreaming can be the most personal form of self-expression, exploring our wants, desires and fears in deeply intimate ways. Dreams have found themselves the subject of movies for as long as the medium existed, drawing the interest of storytellers everywhere. The following four films will explore the complexity of realizing illusionary worlds and how their timeless nature resonates with audiences.

Popular characters from the films below are incorporated in the iconic scene from “Inception.”

“ALICE”

“THE WIZARD OF OZ”

The countlessly adapted “Alice in Wonderland” (1865) novel by Lewis Carroll is most recognized as Disney’s 1951 animated version. However, one version many may be unaware of is the elusive adaptation by Czech filmmaker Jan Švankmajer, “Alice” (1988).

While “The Wizard of Oz” (1939) presents a simpler depiction of dreams than some of the films that follow it, there is still more nuance going on within the movie than some might remember.

This film turns the classic tale into a dark fantasy, with moody production design, eerie sound design and a cast of stop motion skeletons, taxidermy animals and unexpected household objects. “Alice” relishes in this haunting mood so much it becomes the perfect visualization of a dream where babies turn into pigs, empty floors are littered with mouse traps and objects stare you right in the face. It exemplifies how complex world-building or rules aren’t necessary to craft a compelling journey.

Dorothy ’s journey is a bildungsroman, meant to symbolize her personal coming-of-age story. The characters she meets, The Scarecrow (brains), The Tin Man (heart) and The Cowardly Lion (courage), all represent aspects she needs to take on her greatest fears, represented by The Wicked Witch of the West. The characters also reflect real-life figures she comes across making the metaphor more personal for Dorothy. Additionally, it is never really definite if Oz is truly a real place or a figment of her imagination. Regardless, the adventure is emotionally complete by the end.

Illustrated by Nicolas Spearman

“A NIGHTMARE ON ELM STREET”

“INCEPTION”

Thirt y-five years later, “A Nightmare on Elm Street” (1984) continues to make audiences feel too scared to ever sleep again. Director Wes Craven crafted a far more nuanced concept of dreaming that had yet to be explored in horror, blurring the line between reality and fantasy to create an all-too-believable place.

Christopher Nolan honors cinema’s relationship with dreaming through narratives that bring these ideas to new levels of complexity for audiences to decipher. “Inception” (2010) is recognized as a modern-day sci-fi classic and for good reason. As reliance on technology grows, so can the relationship with dreams — but to a fault.

For many, nightmares feel excruciatingly real, an idea the film capitalizes on to deliver its scares. Likewise, dreamscapes come off as fantastical and the harm Freddy Krueger can inflict on his victims while here are creative and lead to some chilling visuals. The film’s advanced world–building and specific plot, where each of the rules are discovered by our characters as the journey continues, is a turning point for horror storytelling.

Nolan introduces the idea of dream-sharing while giving audiences an understanding of Dominick Cobb’s character before diving into the madness. It results in a cautionary tale of how altering the dreams of someone can simultaneously alter and warp their reality. By the end, the audience does just this, with the spinning top being a recurring motif that is meant to indicate the reality of a scene.

SCAN MAGAZINE FALL 2019

REM SLEEP Brain Waves: Time Spent:

90 Minutes

STAGE 4 Brain Waves:

Time Spent:

30 Minutes

Characteristics: • Deep Sleep • Recovery phase • Regulates appetite • Sleepwalking occurs • Immune system restores the body’s tissue

IN THE SLEEP CYCLE

STAGE 1 Brain Waves:

DANGERS OF SLEEP DEPRIVATION INCREASED CHANCES OF:

ANGER:

Sleep loss instigates negative experiences, misinterpreted expressions and violence as a result of interrupted communication between brain regions.

Time Spent: 10 Minutes

Characteristics:

• Light sleep • Easily disrupted • Muscle spasms • Sensation of falling occurs

STAGE 2 Brain Waves:

ACCIDENTS:

Not enough sleep causes impaired visual sensory processing and produces local sleep where parts of the brain nod off while awake.

IMPAIRED WIT:

Sleep loss effects cognitive processes like divergent thinking, which allows for quick thinking so clever commentary may not flow easily.

HALLUCINATIONS:

Time Spent:

20 Minutes

Characteristics:

• Body temperature lowers • Heart rate decreases

STAGE 3 Brain Waves:

Time Spent: 10 Minutes

Characteristics:

• Sleep talking • Transition stage • No visual imagery

When not rested, the brain experiences sensory overload in which the brain cannot process information. All-nighters increase the chances of delusions.

FALSE MEMORIES:

People are likely to process wrong information into memories after a night without sleep and fail to encode new memories.

RISKY DECISIONS:

A sleep-deprived brain is more likely to ignore punishment and aversion when deciding things.

OVEREATING:

Metabolism slows and appetite increases because the body needs the energy sleep provides.

SCAN MAGAZINE FALL 2019

A PIECE OF MIND How Dreaming Can Provide Clarity Through the Dark Written by Caitlin Havens

It ’s when I’m feeling sad I won’t remember my dreams, and the times I do, they are terrifying. It’s those dreams that cause me to wake up in a cold sweat, questioning my existence or finding tears spilled all over my pillow. When my father cheated on my mother, it was hard to fall asleep because fear consumed my being. “If I fall asleep, it’s going to happen again,” I’d tell myself each night. Dreams would take over and in them, my father would cheat again and again. This was all happening in my mind, but it felt so real that it also took a heavy toll on my emotions during the day. Emotions don’t just affect your dreams, and the same can be said for the opposite. If I stay on the topic of sad dreams, you would hear all about how I was just sad all the time and stuck in a state of fear no matter what. But, I have many happy dreams too. When I fell in love for the first time, nothing could upset me. Sleeping was a breeze. Granted, it happened early in the morning and lasted until the early afternoon, but relaxation was the least of my worries because it was happening so easily. We broke things off — I couldn’t sleep and when I did, it was restless and choppy. Waking up throughout the night and napping through the day wasn’t uncommon for me. Then, I found out

my dog had cancer. He didn’t have long to live and here I am, thinking about the “right way” to take care of things. I didn’t sleep after getting the news. I would drift off just a bit, then there’s a crash. That crash is a reminder not to sleep, a reminder that I have a living being to look after 24/7 and I should never drop my guard. Not only do emotions affect dreams, but sleep too. A few months ago, my emotions got the best of me and I admitted myself into Peachford, a hospital for rehabilitation and mental illness. The first night, I didn’t sleep. I was terrified and missed my friends and family. My dream that night was about class and seeing the people I love the most. Later, there was one that was just pure color, no specific shape of any sort. I think it’s important to have these dreams, to see things happening from an outside perspective. When I dream, I see myself as a scribble. I am not me, but I’m looking from outside of the action. Even arguments I recently had reappear. Seeing life from a dream-like perspective is not something I recommend for every second of our lives. But if we imagine how a situation or moment would look in dream form, maybe we can start seeing the world differently.

’’ Illustrated by Vanessa Guvele

IF I FALL ASLEEP, IT’S GOING TO HAPPEN AGAIN.’’

SCAN MAGAZINE FALL 2019

To me, creating means pushing myself to places of expression I once feared. With body paint and special effects, I accomplished this and discovered something Iâ&#x20AC;&#x2122;m truly passionate about.

I A R A FA R I A F o u r t h -ye a r, G ra p h i c D e s i g n

THE IDEAL

ALL BEAT UP

KNOTTED

BEHIND BARS

Nightmares Becoming Reality Written by Iara Faria

Artists can relate to finding inspiration from places that are often unpleasant. With body paint and special effects makeup, I try to welcome this challenge of tackling the darkest parts of my mind head-on. Unlike a traditional canvas, by using my face and body I’m able to completely bring to life new concepts and characters. I found myself in awe of the work artists were creating using their bodies on TV shows or social media. For years, I drew on my skin to create tattoos. Being able to completely reimagine myself — and also reimagine my dreams and subconscious through painting and using different materials on my body — was life-changing for me. At a glance, my work mostly deals with darker illusions and aims to trick the viewer into seeing what I want. I usually create merely for the sake of a really interesting illusion, but the pieces I find most satisfying are pulled from much deeper thoughts, experiences and dreams I’ve had. Whether it be a first–hand encounter with heartbreak or a dark fantasy involving make-believe creatures, it’s not merely makeup to me but a greater understanding of tackling my demons or issues I find important. The entire process is extremely cathartic. Even having to wash away all of the paint right after I’m done, there’s a feeling of accomplishment and satisfaction. While using my own body as the canvas I become

so incredibly in tune with what I’m doing that from start to finish it becomes an entire experience in itself.

ABOUT THE PIECES For most of my life, I never found the right words or even the courage to speak up — and although I’ve come a long way since, I still find myself in that position. I created “Knotted” to show how people often find it hard to to express these feelings out loud. “Behind Bars” comes from a place of feeling creatively blocked to the point where I feel trapped in my mind. In contrast to “Behind Bars” and “Knotted,” I wanted to challenge myself to create more than just a concept but also an entire character, which comes through in “The Ideal.” Here, as part machine, perfection can be obtained. Whereas in the real world, the goal of perfection and constant ability can be exhausting. When reimagining the purpose of prosthetic makeup, I created “All Beat Up.” As the most literal piece, I simply wanted to convey the pain — whether it’s presented outside or within — in a way that everyone could easily understand. We’re all technically dealing with something at one point or another. Figuring out how to maneuver through it healthily means a great deal, and that is just what these pieces do for me.

Photography NETA ZUK | Creative Director TYLER JUDSON Model KATELIN UMBERHANDT Makeup MADELINE LENAHAN | Hair TY BOWIE Photo Assistant MICHELLE CARMONA | Dresser LAUREN HUGHES

Garment by Yiming Wang

SCAN MAGAZINE FALL 2019

Garment by Madison Umbaugh

Garment by April Hornbuckle

SCAN MAGAZINE FALL 2019

Garments by Yelim Lee Madison Umbaugh Alex Oh

SCAN MAGAZINE FALL 2019

BUILD Breaking away from the typical 9–to–5 job is a dream that many creatives have for their career, but with that freedom comes some scary thoughts following closely behind. Will you still have the stability of a day job? Will you be able to make enough funds to live comfortably? These are questions that every freelancer asks themselves, and a lot of the time these questions scare them away from pursuing their dreams. We are constantly told generic motivational speaker–esqe phrases like “follow your dreams” or ”if you can dream it, you can do it!” While these phrases ring true, they do sometimes project a life that mainly lives in fantasy. We wanted to push past the overused phrases and get down to the nit t y– gr it t y, get ting i n fo r m a t i o n st ra i g h t f ro m t h e s o u rc e s of success. We asked SCAD students and alumni what advice they had for others whose dream is to start up their own business or pursue freelance work and how to not get discouraged in pursuing their dreams.

Written by Tyler Judson

“ IT’S OK TO ASK FOR HELP. YOU LEARN SO MUCH BY ASKING QUESTIONS!” Third–year, Interior Design TAYLOR GARLAND

B.F.A. Television Producing (2017) Graduate student, Graphic Design JOE JACKSON

GIOVANNI TURRA

“JUSTIFY AND VALIDATE EVERYTHING YOU DO THROUGHOUT THE PROCESS. KEEP THE CLIENT IN THE LOOP AND STAY CONFIDENT IN YOUR WORK.” Third–year, Interior Design THOMAS BROCKMAN

“ THE BEST WAY TO GET YOUR NEXT JOB IS BY USING YOUR BEST JUDGMENT, ANTICIPATE AND GET TASKS DONE. ESPECIALLY THE LITTLE THINGS. PEOPLE WILL NOTICE.”

Fourth-year, Branded Entertainment

Fourth-year, Film and Television DANY FLORES

“ REGARDLESS OF THE CLIENT, YOUR HISTORY WITH THEM OR THEIR REPUTATION, ALWAYS PROTECT YOURSELF AND YOUR WORK WITH A CONTRACT.”

“ NEVER LO O K AT N U M B E R S TO R E ASS U R E YO U R S E L F. C R E AT E F O R YO U R S E L F, N E T WO R K A N D G R OW YO U R A N D P O R T F O L I O.” Third-year, Photography NORA BENJAMIN

“ WORK UNDER DESIGNERS / ARTISTS UNTIL YOU GET A GOOD REPUTATION. CONNECTIONS ARE EVERYTHING IN THE CREATIVE INDUSTRY.” B.F.A. Sculpture (2019) GABI MADRID

“ T I M E I S YO U R M OST VA LUA B L E CO M M O D I T Y. I F YO U D O N ’ T L E A R N TO VA LU E YO U R T I M E , N O O N E E L S E W I L L .” Graduate student, Film and Television THANG HO

SCAN MAGAZINE FALL 2019

Feet Planted, Head in the Clouds Written by Katherine Diaz Villegas

Dreams can be many different things to different people. They could involve changing the world or simply breaking a tedious habit. They may be attainable — most are even if they seem ludicrous. Though sadly no, your dream of marrying Harry Styles is not going to happen. In a loose definition, dreams are seen as a goal so out of this world, it’s impossible to think they would come true — almost. See, the secret to achieving your dreams is a little bit of luck and an unimaginable amount of hard work. It’s the hard wo rk tha t g ets pe opl e and crus hes dre a m s because it is a sacrifice and life gets in the way. The biggest debate, in general, is education vs. experience. Because our generation found quick success on several social and entertainment platforms, formal education appears unnecessary. Yet, many stars who enjoyed their six seconds of fame are in limbo. The fact is, education is just as important as experience. Until you’re an absolute master of your craft, you have to keep working towards your dreams. For some, that means investing more into their education and finding a perfect program. Allison Bolt, B.F.A. Writing (2019), is going straight

into graduate school. “Pursuing a masters degree was always in my plan,” she explained. “My family always stressed the importance of education wh ile I was g rowin g u p. A lt h o u g h it wa s n’ t j u st about the degree on my resume for me. During my undergrad at SCAD, I was so lucky to learn about craft, experiment with style and find my voice as a writer. After graduation, I had my voice and wanted to push my craft even farther and graduate school was the perfect option.” Getting a degree in the field of your dreams is a solid step in the right direction — if you take advantage. It ’s not enough to just go to class and get good grades. Colleges and universities have an abundance of opportunities to partake in. Whether it be networking events with alumni, scholarship competitions, mentorship programs, volunteering — participate in as much as possible. This is what makes the difference between students — specifically when searching for a job after graduation. Kula Pang, B.F. A . Fashion (2019), believes in learning from those around you — especially at SCAD. “I think the only way to truly understand what the industry is about is to ask the veterans,” said Pang. “To me, the best advice I got about the fashion industry were from faculty members. Talk to as many of them as you can

(even the scary ones) — they all have different experiences, backgrounds and advice to give.” Though in a creative world that’s so saturated with talent, how do you stand out? First of all, stop comparing yourself to others. You are singular and unlike anyone else. Regardless if you have raw talent or if you work harder than anyone else, you have something to contribute. But here’s where ex p erienc e p la ys a vital role af te r e duc at io n . “What was most important to me when finding a job in the arts was taking my internships seriously,” said Jason Scholtz, B.F.A. Sculpture and Printmaking (2019). “Art can seem like a giant field but even in New York, everyone knows everyone else. Do a good job at your first internship while still in school then ask if they know anyone else that needs help. It will lead to bigger things.” After graduation, after those all-nights and years in school, is this when your dreams come true? Madison Umbaugh, B.F. A . Fashion (2019), just accepted her third fashion internship — this time with Free People. “When you find a company you love, you have to be persistent and show them that you are confident you’d be a perfect fit,” Umbaugh explained. “It is important that you truly believe in yourself and your work. We have all

spent so much time in school, so it would be silly to not believe in yourself and settle for anything that isn’t exactly what you dream of.” Student-media veteran and SCAD alumna Molly Moran, M.A. Luxury and Fashion Management (2018), believes in the power of persistence as well. “After graduating, I had ambitions and a plan to move to New York City,” said Moran. “I applied furiously for about two months through LinkedIn, brand websites and networking. It wasn’t until I took a leap of faith and moved to New York without a job to freelance that the interviews and job offers came flooding in.” Moran’s best advice? “To be persistent. Job offers don’t just show up on your doorstep, you have to work hard to get the job you want. After you apply for a job, follow up with the recruiter, manager — anyone you know that works for the company and reiterate your interest.” Pursuing your dreams in a creative field is difficult — especially when trying to turn those dreams into something attainable. There’s a lot of prejudice, but our generation is quite dissimilar from previous ones. We want to be different; we want to be unique. And we’re quite lucky we can embrace those qualities while pursuing creative careers. Illustrated by Dasha Egudkina

SCAN MAGAZINE FALL 2019

Keep a consistent sleep schedule. Set a bedtime that’s early enough for you to get a maximum of seven hours of sleep.

Don’t go to bed unless you’re sleepy. Try meditating to help relax. Don’t nap too much to the point where you can’t fall asleep when you need to.

Use your bed for what it was originally meant for. So no, it’s not your dinner table, work desk or couch to watch Netflix on.

Establish a relaxing bedtime routine. Doing so will train your body when it’s time for bed.

Limit exposure to bright light. Additionally, switch all electronics off at least 20 minutes before going to bed.

Avoid eating a large meal — but if you’re hungr y, eat a light snack. Limit your liquids before you go to bed, and avoid caffeine and sugar (duh).

Clear your head and wind down. Try journaling or doodling what happened that day so it doesn’t stay on your mind as you go to sleep.

SOUND ASLEEP Written by Zipporah E. Dorsey Illustrated by Annika Elyse

Remember in elementary school when you had nap time? When you knew exactly where you were going to sleep, how long you got to sleep and how your body knew the right position to relax? Why does that seem so impossible now? It seems like most people aren’t nearly as capable of getting a good night’s sleep the more they need to be able to — and many struggles with insomnia, or simply don’t have a good sleeping pattern. Redeveloping a healthy sleep pattern isn’t easy. Relaxing isn’t as simple as it was in elementary school due to the stress of being an adult and having responsibilities. But without enough healthy sleep, taking care of some of those responsibilities becomes harder leading to more stress and less sleep. It’s a vicious cycle that needs to be broken. Ultimately, the key is to reset your mind from the events and thoughts from the day — to allow it to relax just as your body does when you decide it’s time for la-la land. You want your mind to rest as well, so you wake up refreshed and energized instead of groggy and disoriented. While it’s not always possible to control all the factors that af fe ct yo u r s le e p — like ro o m m ates , exte rn al noise and lights — there are some active choices you can make to help you sleep like a baby again.

SCAN MAGAZINE

C omics C orner

FALL 2019

What is Your Craziest Dream?

Carlos Catalan, Fourth-year, Sequential Art

Sandra Kennedy, Second-year, Illustration

Summer Claybrooks, B.F.A. Sequential Art (2019)

Connie Hernandez, Fourth-year, Sequential Art

SCAN MAGAZINE FALL 2019

HIDDEN MESSAGES I n te r p re t a t i o n s o f t h e M i n d Written by Manav Chordia

I started my dream journal in the 9th grade — my secret little place where I stored every detail I could remember from my dreams. I attributed this habit to a cult-classic film, “The Adventures of Sharkboy and Lavagirl” (2005) — which, to me, increased the stake of victory over mere dreams. I previously assumed dreams were merely our subconscious communicating with our conscious selves to guide us through our lives and send us signs about the decisions we make. Except lately, I’ve understood my dreams as an inadequate reflection of what my life entails. My beliefs are arguably tainted by Sigmund Freud’s “ Th e I nterp reta ti on of D re ams” (1899), a bo o k I stumbled upon at home. The familiarity of the title from my psychology classes attracted me to it. As everyone has different dreams, there isn’t any singular approach to study them — it remains subjective and situational. Initially, I was skeptical about this Freudian belief of dream psychology because of the lack of tangible evidence. I gave up completing the bigger puzzle of understanding the origin of dreams and rationalizing what they were made of. I realized my dreams are my own — I was the only one who could translate them. There isn’t any logical explanation why I see the things I do, but the answer usually revolves around

the mental state of the dreamer, the subconscious, and the significance of what one assigns to the symbols or situations witnessed. Frequently these dreams are, quite simply, insignificant. Although at times they hold a certain inexplicable power to change everything I ever believed in. So I wake up, open my journal, and note down key details and descriptions of what my dreams consist of. Then I figure out what they could be interpreted as with the help of multiple dream dictionaries I reference. There are multiple descriptors to what any particular item can refer to — both positive and negative — so when one reads all the interpretations, they can select the ones that seem more appropriate to their mental state and current place in life. Every time I dream, there are a few distinct details that linger in my reality. With the number of dreams I’ve been able to pen down in my journal, I always try to figure out the greater context behind them. I choose to believe that our dreams reflect the workings of the unconscious mind, and the unusual warnings and premonitions are mere contextual unthreading of what I think I need to uncover to fulfill the life I need to live. Dreams are an intangible collection of our mind, what we intend to do to decipher them is our journey.

SCAN MAGAZINE FALL 2019