SCAN Spring 2020

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SCAD ATLANTA’S STUDENT MAGAZINE SPRING 2020 | VOL. 12 NO. 2

SCAN MAGAZINE SPRING 2020

WARM COOKIES, BAKED-TO-ORDER, DELIVERED TO YOUR DOOR. cookiedelivery.com®

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Discover SCAD Atlanta’s student source Discover SCAD Atlanta’s student source daily news and entertainmentatat forfor daily news and entertainment scadconnector.com. scadconnector.com.

CO NT EN TS

4student showcase Klopas Oey and Sami Jacq push boundaries on traditional and innovative mediums.

8the future of fashion How tech and apparel go hand-in-hand in search of sustainability.

10neue wave Faces of the new art revolution.

14a guide to humble living Attend a satirical class on modern existence.

16how times have changed A side-by-side comparison.

18DISRUPTING SOUND Breaking the musical mold.

20EMBELLISHED A beauty editorial emphasizing a visual metamorphosis.

24coding: the renaissance of language

Constructing a contemporary form of communication.

28student spotlight Dana Sanmar reveals her intricate craft.

30arts corner An interpretation of rebirth.

32re-establish ambition Accepting a change of mind.

Letter From The Editor

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Katherine Diaz Villegas With a new season around the corner, the Renaissance Issue symbolizes the first spring of a new decade. It represents rebirth and a renewed transition within ourselves and our crafts. On behalf of all the staff, editors and contributors who’ve made this issue possible, we hope you take away inspiration and joy.

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. Š2020 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.

Cover illustrated by Kat Ash The Connector ad designed by Raniah Al-Obaidi Staff illustrated by Sandra Kennedy

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III I. Katherine Diaz Villegas Editor-in- Chief II. Tyler Judson Creative Director III. Roberta Nicastro Art Director IV. Rachita Vasandani Copy Editor V. Leslie Ginter Public Relations Director

VI. Mikael Trench Arts and Entertainment Editor VII. Rachael Ramchand News Editor VIII. Josiah Persad Photo Editor IX. Sandra Kennedy Multimedia Editor X. Manav Chordia Features Editor XI. Julie Tran Opinions Editor XII. Valeria Brugueras Style Editor XIII. Helena Aidoo-Morrison Managing Editor

SCAN MAGAZINE SPRING 2020

What’s the secret to finding the right feel for a project?

Interviewed by Mikael Trench Portrait by Seyoung Jang

I guess every artist and designer has this sixth sense. If I’m trying to put it in words, I think it would be to learn from other artworks as much as you can. Don’t feel limited to only studying the styles and designs that you like within your field. You will not evolve if you keep feeding yourself the same thing.

What are the biggest challenges and rewards associated with your work?

What brought you to SCAD? Motion media design is still a relatively new discipline in many art schools that just offer a few electives on the subject, but SCAD has been running their MOME program for more than 10 years. Focusing on this comprehensive program is definitely what I needed once I figured out that motion design was the career field of my interest. I will say it is my enthusiasm for design as I go back to school many years after my undergraduate degree. I quite lost my passion for design from day-to-day work. At SCAD, the program, the faculty and the students really inspire me a lot. Keeping your enthusiasm is key.

Where did your love for motion media design start?

The music video “Remind Me” by Röyksopp really brought my interest to motion graphics when I first saw this music video 15 years ago. I realized the impact of bringing graphics and illustration into animation and music as it could be an emerging field in the design industry.

Time management and scheduling are always the biggest challenges. We all say, “I can do better if I have more time,” but the reality is all work comes with a deadline. A wellplanned schedule will tell you when to proceed to the next step and ensure you have plenty of time to spend on each step. I think the biggest reward is when I finished a project that sticks with my schedule and plan.

What’s your biggest piece of advice to anyone entering this field?

It is tempting to start animating things once you enter the motion design world. However, a good foundation of graphic design will give you a better aesthetic sense in motion design.

Although our work is in a time-based format, it is still only a sequence of images at the end of the day and every frame should be drafted and produced aesthetically as a poster.

My second suggestion is to study the techniques of other great designer’s work. Everyone has their own way of creating their art. Learn from them and find a way to incorporate their methods into your own work.

K LO PA S OEY

Graduate student, motion media design

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What is your creative process?

Interviewed by Leslie Ginter Portrait by Seyoung Jang

Where do you find inspiration for your work?

Music was my initial inspiration as my synesthesia got me into painting. I still love painting songs, but I don’t want to limit myself to just that. My flower paintings are inspired by art history and memento mori, the idea of inevitable death. That’s where I place my faith into my paintings, by communicating it through subtle symbolism. I also want to speak on suicide prevention, something that’s near and dear to my heart.

Painting helps my mental health, so I’m inspired to help others through it.

What painters do you look up to?

Jack Coulter is a synesthesia artist that I really look up to.

He’s a British artist in his mid-20s who paints with house paint and vodka. He manages to paint songs in a way that really communicates their texture and movement. I also love Zarina Situmorang and Nastya Parfilo. Their paintings are gorgeous and they’re both immensely talented.

If I’m painting a song, I’ll sketch it out with colored pencils.

Then I put the song on repeat and paint away. Sometimes there are many layers to a song, so it takes longer to finish.

For flowers, I buy a bouquet and photograph them in my little photography corner I have set up. I graph them onto large canvases and paint them with oil paint. The photo acts as a starting point, but I never follow it exactly. It’s more of a guideline and the paint leads me outside of it.

Why did you choose painting over other art mediums?

Paint has always been accessible to me. When I was younger, I would go to my grandmother’s house and she would have containers full of paint and cheap wooden figures to paint on. So I started painting at a young age, but I never really thought of it as a possible career path until I was a junior in high school.

What have you learned at SCAD that’s really stuck with you?

I’ve learned so much since I started at SCAD. I hadn’t even touched oil before my second year here and now it’s my favorite medium. One major thing that I’ve learned here is that painting is so broad. I never imagined I would get a toolbox and have to use a drill as a painting major. My eyes have been opened to mural painting, and I’ve even dabbled in it a bit on buildings throughout Atlanta. Painting and sculpture have a tight-knit relationship that I didn’t really know existed. I’ve learned that there is so much more to painting than just the paint itself.

SAMI J ACQ

Third-year, painting

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SCAN MAGAZINE SPRING 2020

THE

FUTURE FA OF

We are officially in a new decade, where lots of endless opportunities and advancements in the fashion tech industry are occurring. From new technologies and business models to the latest trends and innovations, this has all ultimately led up to a plethora of new ideas and inventions for the industry to further explore after previous decades of experimentation.

Incorporating more and more sustainable practices that consumers have an increasing demand for while taking their innovative and creative skills to a higher level, designers must keep up with it all.

Not only to stay in the loop but to be the first ones to create and refine the next big thing.

As times change, so do trends. The sustainable practices carried out in the production process are quite often on consumers’ minds when making a purchasing decision. According to an article by Kaleigh Moore for Forbes, a 2019 report “from e-commerce personalization platform Nosto

showed that of 2,000 U.S. and U.K.-based shoppers surveyed, sustainable practices and fair wages for workers were top consumer demands for modern fashion retailers.”

Business models followed by their prototypes were created based on this prevailing trend of sustainability.

Consumers saw all of this become a reality, pioneered by several top brands, where they all introduced the concept of clothing that exists only digitally.

Many high-end brands are venturing into new forms of commerce to connect with consumers. For example, Gucci used augmented reality to let customers try their Ace sneakers, Tommy Hilfiger has digital showrooms, Scandinavian brand, Carlings, uses Instagram’s AR filters to allow customers to digitally change the design on a specific T-shirt, and many other brands now let customers pre-order their digital designs before going into production. This is just a small snippet of innovation successfully completed in the digital fashion world and there is still more to come this year, as many brands have yet to unveil their high-tech fashion pieces.

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ASHION A trend growing in popularity, thanks to the increased awareness of design intersecting with sustainability, is the increase in rental and resale clothing services.

Although there’s nothing like buying a brand-new piece of clothing and wearing it out for the first time, many people prefer the less expensive alternative — renting or purchasing second-hand clothing.

Forbes went onto mention that, from the Nosto report, it was “revealed that while 52% of consumers do want the fashion industry to follow more sustainable practices, only 29% of consumers would pay more for sustainablymade versions of the same items” — which is why these rental and resale clothing companies are thriving.

These services are a great viable way for consumers to get rid of their clothes or rent clothes at an affordable price point. The combination of cheaper clothes while practicing sustainable shopping makes consumers attracted to these companies. Vogue Business mentions that many luxury brands like Burberry and Harvey Nichols “saw business opportunities in customers’ growing interest in consigning.”

The luxury consignment company, The RealReal, has thrived as a result of encapsulating circular business models where brands and customers participate. The RealReal’s Q3 revenue rose 55 per cent to $80.5 million,

Written by Rachael Ramchand Illustrated by Cherry Chandra

and average order value climbed $418 from $438 million.

This year, it is expected that there will be a lot more luxury brands taking part in the consignment of their clothing, as it is an area that is growing immensely.

There are smaller-scale businesses that are also practicing sustainability in innovative ways (whether intentionally or not). The Canadian start-up business, Samara, recently found a way to produce premium quality bags using apple skin.

An on-demand apparel company, Unspun, uses 3D scanning and fit algorithms to generate digital consumer sizing so customers know their size without hassle, and Frankie Collective, another Canadian business, creates women’s streetwear designs by focusing on salvaging vintage garments that otherwise would end up in a landfill and their textile scraps are recycled and repurposed to eliminate waste.

Sustainability is currently playing a large role in the production and consumption decisions made in the fashion and tech industry. All of these companies, whether big or small in popularity, have common traits that have placed them ahead of the game. Persistency, consistency and creativity — without having them all — is difficult to maintain relevance in an industry that is always changing.

N E U E W A V E Photographed and interviewed by JOSIAH

PERSAD

The essence of a renaissance artist is one who reaches further from their standard medium and takes away inspiration and aid from everything and from everyone around them.

These are the artists who are breaking down traditions and creating communities within their fields to connect all artists.

The following are words of wisdom from our very own artists who establish a standard for collaboration and exploration. From family support to discovering their inspiration from their culture, they seek to establish a higher goal for themselves and others.

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MARIANA GOMEZ

NATHON RUEHL

“Know that problems are only temporary.

Work through your hardships and create work that exemplifies your truest self. Channeling influences like emotions, your culture and the current issues around you. Spreading the correct energy into the world is key to creating an environment where you will truly flourish.”

“I extend my efforts in photography by supporting my peers and going to their exhibitions as well as getting my work reviewed by professionals at larger exhibitions. Helping other individuals around me not only fuels my creativity but also gives me information I might not have gotten on my own.”

Third-year, film and television

Third-year, photography

SCAN MAGAZINE SPRING 2020

nate mcphee Fourth-year, branded entertainment

“As an international immigrant student in the U.S. with a global perspective, I feel motivated to work harder because opportunities in my country, especially in the creative field, are limited and resources are scarce. This drive, further acts as a stimulus for students like myself to bring about change, and to grasp every opportunity.”

leila katerina Third-year, fashion

“I have a passion for making garments that will empower the person wearing them while promoting sustainability. My best advice to other aspiring fashion students is to be determined, manifest your goals, believe in yourself, and not give up no matter how many times you fail.”

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SIMONE CUTLER raphael bahindwa Fourth-year, fashion

Second-year, painting

“I try to keep a positive attitude, a to-do list on me at all times, an enjoyment for what I do, and good people around me. In my opinion, it’s crucial to have a good support system that helps drive you. These simple but effective things can help you keep a level head and create authentic work.”

“Painting is my main focus, but I like to do fashion and business. I learned a lot by collaborating with my peers, and that led me to work with people and companies that I never thought I would be able to.

Collaboration is the key for success.”

SCAN MAGAZINE SPRING 2020

A GUIDE TO

HUMBLE

LIVING

Written by Julie Tran Illustrated by Kate Soyuznova

Namaste, class. Normally I would say good morning, but since time is entirely a social construct born out of our restrictive minds and materialistic anxiety, I feel more fulfilled by a simple greeting from our souls.

We are here stranded in the wilderness in a downtown Los Angeles park because life is hard. Through no fault of our own, the world has made us horrible people made of hollow shells and balls of rage, not unlike a gas station taco. But to that we say, no more! Because today we will be transformed and reborn. I, myself, am proof of its success, since I took the class five times before I became an instructor two weeks ago — best $3,000 I’ve ever spent of my parents’ money when they told me I had to get a job or I’d be kicked out.

I’ve brought a wondrous creature who will serve as our wolfish spiritual guidance: A shiba inu named Tinkle (I couldn’t get a license for a wolf and I read online that shiba inus and wolves are like, really close). Now, class, please form a circle around Tinkle and me, close your eyes and breathe.

In the vast darkness of your mind, summon Tinkle’s squishy face. Let him guide you to the distant past.

That time in kindergarten when you wanted another kid’s toy but he was unwilling to trade you for it, so you stole it and in turn, he shoved you into the sandbox.

What was that? No, Caren, it doesn’t matter if you were homeschooled. The point is, class, it was the first time

the world was violent to you. Breathe, imagine you’re Tinkle and say to the boy, “I forgive you.”

Now, as young millennials living in the city of angels, I know we’re all in crippling debt. Your student loans to that private college, the four zeros on your credit card statement, it’s pressing on your shoulders and your chest. I want you to take another deep breath, imagine grabbing that block of pressure with your hands and lifting it off you.

You are now free of outside nonsense, like money or the current political climate. Let the spirit of Tinkle guide you to observe the space within yourself — inside that temple, that palace, that ziggurat! Look into the eyes of the spirit of Tinkle and make a vow to make our Goddess Gwyneth Paltrow (ICYMI, the inventor of veganism) proud.

Now move close to Tinkle and reach out to him. Caren, what was that? You’re allergic to dogs? You know, you have been very disruptive. Do you want to be reborn or not? Alright, touch the dog, then!

And breathe, class, look further within you, for your soul is troubled — by your father, who did not care enough, and also forgive your mother and your grandmother so they’ll write you back in the will. Forgive everyone, in fact, because when you’re reborn you’re going to be better than them anyway. Namaste, class. You can Venmo or Cash App me @tru_soul_guru.

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HOW TIMES

HAVE

CHANGED

20 15

Infographic by Roberta Nicastro

13 02 According to Shakespeare’s tragedy, which takes place in the 14th century, Romeo marries Juliet when she is only 13.

13 64 20 18 Justin Bieber and Hailey Baldwin get married. At the time, she was 21 and he was 24.

The first recorded use of a firearm.

They were known as hand cannons, and are a catalyst to the creation of modern guns.

Americans are equally as likely to die from gun violence as they are from traffic accidents.

Approximately, 93 people are killed per day by each .

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15 00 The global population reaches 400 million people and the average European life expectancy is about 54 years of age.

14 55 The first printed version of the bible is created

by Johannes Gutenberg, in Mainz, Germany.

20 17 Through the popularity of mobile devices and e-readers, more than 266 million e-books are sold in the U.S. alone.

20 16 It’s estimated that the world population is more than 7.4 billion people and the general life expectancy is 72 years old.

15 12 Michelangelo completes his painting on the ceiling of the Sistine Chapel, in Vatican City, which you can still view today.

20 19 At Art Basel in Miami Beach, artist Maurizio Cattelan duct tapes a single banana to a wall, which sold for $120,000.

Sources: American Psychological Association. United States Census Bureau. The New York Time, PBS.

DISRUPTING SOUND Written by Manav Chordia Illustrated by Zachary Edds

Since the beginning of human existence, we have used music to express societal and cultural ties. The creation and interpretation of music are intertwined with many basic human needs and are the result of thousands of years of neurobiological development — we probably sang before we made guided sounds of language.

Sound and music were and still are universal concepts, that defy limitations and solidify connections.

In a more contemporary timeline, music and artists are expected to fit themselves into limited genres. A few decades ago, the best way to guarantee an album’s commercial success would largely be based on the aesthetic of the artist selling it.

Take Madonna’s iconic persona, a personification of a sex sells mentality, which came to bloom in the ‘80s with her albums, “True Blue” and “Like a Prayer.” A decade before that, American rock band KISS rose to popularity because of its consistent heavy metal image. Music suited singular genres and audiences, and an opposing fluid and flexible artist just wasn’t successful.

But times seem to be changing. With the latest influx of younger, more fluid artists, music has become less of a category and more of an artist’s identity and the energy

they choose to represent. Billie Eilish, the 18-year-old who cleaned up the major awards at this year’s 62nd Grammy Awards, is praised for creating music that transcends boundaries. In an interview with Vogue, the singer said, “I’m a rule-breaker. Or I’m anti-pop, or whatever. I’m flattered that people think that, but it’s like, where, though? What rule did I break? The rule about making classic pop music and dressing like a girly girl? I never said I’m not going to do that. I just didn’t do it.” Her music is pop, alternative rock, experimental pop and moody alternative R&B. The point is, she doesn’t fit into a box, or wants to.

Another Grammy winner, Tyler, The Creator said, “I mean guys that look like me, do anything that’s genre-bending or anything, they always put it in a rap or urban category.”

Nick Jourdan, a third-year animation student and general manager of SCAD Atlanta Radio, said, “I think award shows need to add more genres because there are tons of music that could, yes, fit into a ‘rap’ blanket, but why limit it to that.” He continued, “The [award shows] want to fit music into categories that are the safest and the most marketable. Once they see themselves as a place for accurate representation of music’s quality, that’ll make all the difference.”

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Another artist pioneering this new change of ideology is Lil Nas X, the artist behind the global hit “Old Town Road.” Considered to be the artist who popularized the country-rap genre, Lil Nas X is praised for breaking the traditional mold of who is considered a rap artist. The rapper showed up to the Grammy Awards in an outfit that both embraced and rejected the ideals of both rap and country — a Barbie-pink Versace cowboy getup, decked in jewelry and gold.

And who can forget the seemingly out-ofnowhere rise of the flute-tooting sensation Lizzo? Despite only achieving mainstream popularity in 2019, she released her first album six years ago and was co-signed by Prince before his death in 2016. In an interview with Rolling Stone in 2018, she said, “I’m too weird for the rappers and too black for the indies.” But her music isn’t the love child of rock, R&B and hiphop genres, rather, it is a blend of them creating a genre of its own.

Music is no longer expected to fit a certain sound, nor be produced by a certain image. Change is coming, and the music industry better be ready.

EMBELLISHED photography CONRAD MAXWELL-GIROD creative direction and makeup TYLER JUDSON models VANESSA GUVELE and ANDREW CHAVES photo assistant NORA BENJAMIN

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SCAN MAGAZINE WINTER 2020

CODING: THE RENAISSANCE OF LANGUAGE Written by Rachita Vasandani Illustrated by Koby Griggs

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H

umans created language to communicate and share ideas. Today, there are roughly 6,500 languages spoken around the world. Our forms of communication are framed by the advancement of technology and a language shaped by ones and zeros, brackets and slashes, dots and spaces: code.

Coding has celebrated its inclusion into every aspect of society — looking at Instagram, facetiming a friend, Googling a recipe — it has structured the development and progress of how we talk to one another. We have become accustomed to using computers and phones without any regard to how everything happens, the inner workings of the technology we use on a daily basis are a mystery to a majority of us and have become a process we take for granted.

Coding is, in brief, the act of providing information for a computer to convert into a series of human-readable programming language, aka the source code, in a way that the processor can execute it to perform specific tasks. When you look at a smart device or computer, every action, every word, every text and every image is converted into existence by a programmed code called a script. Much like matter is to being, code is the manual for any digital form.

Each script is written in a code that all work together to display words or images, and every function on a

SCAN MAGAZINE SPRING 2020

website has its own piece of script behind it. Once this is fleshed out, programmers need to pack all the bits of code into a program so that a non-programmer end-user, i.e. you and I, can use it. Every single thing you see on a digital screen is the result of a code, and it is vital to know how code works inside and out because a computer is unable to think on its own and will thus do exactly as it’s told — a missing symbol can cause hours of works to be completely non-functional, or a lack of appropriate parameters can mean a program runs in a way that isn’t as originally intended.

The history of coding and computer programming is a surprising one. Per the University of Florida, the daughter of Romantic poet Lord Byron, Ada Lovelace, spent the years of 1842 and 1843 translating an article written by mathematician Charles Babbage. He wanted to use changeable punch cards to store programs on his invention, the Analytic Engine, also known as the world’s first computer. Lovelace’s notes are considered the first-ever computer program, and the programming language “Ada” is honorably named after her. Those punch cards were then used by Herman Hollerith in his electric tabulating machine as he developed a new type of switchboard, which was designed to perform separate tasks without needing additional attention between each one. The company Hollerith formed would eventually become what is now known as International Business Machines, or IBM. In 1954, an IBM team led by John Backus invented Fortran, a programming language that gave way to many of the higher-level ones modern programmers use now, such as HTML and C++.

But why is coding significant today? We already have phones pre-programmed to do whatever we tell them to, and we have information readily available at the tips of our fingers simply waiting for a command to be inputted.

If we already have computer scientists and software engineers figuring it all out, why do creatives in particular need to be emphasizing programming and computer languages as a part of their skillsets and education?

The short answer is you don’t. The longer answer is you don’t have to, but you should, because knowing how the mediums you are working on, be it as a graphic designer, advertising major or an animator working on Maya, gives you an advantage over the designers and artists that don’t. Much like a second language or being a good public speaker, being familiar with the unique intricacies of code and learning its fundamentals gives you a leg up in the modern world, where everything is done pretty much on a screen. Digital advertisements, TV commercials and online publications — all are built on a foundation of programming, and if you’re someone who can code and design, well, you become someone who can design more empathetically for the web, work better with technical teams, and integrate coding into their creative process to have more control over the finished product.

Code and design are two worlds that are synthesizing at an incredibly rapid rate. Designers are now expected to be able to bring their own mock-ups to life rather than rely on a third party to take their concepts and create a tangible design.

An It’s Nice That “ much like matter article outlines the production process is to being, code as a linear one, a sequence that went: is the manual for ideation, concept, any digital form.” design, prepress, production, delivery.

Today, it is a much more fluid sequence that frequently moves between ideation and production, so a creative that is equally as versatile in conceptualizing an idea and the subsequent assembling of them is a greater asset to a contemporary studio than a creative that needs to go through all the steps all over again, even if it’s a minor change.

SCAD offers an interactive design and game development course called Core Principles: Interactive Design. Odette de Camier, a fourth-year advertising student, took the

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course and explained how they are learning how to formulate HTML and CSS code. The class introduces students “to industry-standard authoring techniques and technologies for delivery on the web and as stand-alone applications.”

“While computer programming is not the field I want to go into, I feel as a SCAD student focused on advertising and for anyone’s general knowledge, you should know about code,” continued de Camier.

Coding isn’t limited to computer programming or game design. Take the role of a video editor for example. If they have to animate a van rolling across the screen, the editor must calculate the speed of the spinning wheels and the speed of the body of the van as it moves across the screen in order to sync them. To do this, the editor must create a code expression to do the math to ultimately link the circumference of the tire with the movement of the van — without being able to communicate this to the computer, the animation would not exist. While much of this complex code is built within the various programs used by animators, editors, architects and designers, basic knowledge of script is a vital tool.

Jabria Oliver, a second-year industrial design student, started to learn the value of understanding coding and computer programming. “When we prototype ideas in class, we use specific software that for some can be difficult to control if you don’t know what you’re doing,” said Oliver. “If you’re a designer that knows how to translate code into an actual prototype, you know your final product better.”

Understanding code is simply recognizing the essential roots of computation, a way to comprehend what a computer program is expected to do on a base level.

By learning the how-to’s of code, a creative is able to manipulate layers of abstraction to manufacture the precise version of their conceptualized idea by directly speaking its language.

DANA SANMAR M.F.A. ILLUSTRATION, 2020

My love for illustration started from an early age due to my parents' admiration for books. I was exposed early on to arts and crafts by my mom which nourished my love for creating things by hand.

Meanwhile, my dad showed me how to work with different materials and the importance of being resourceful.

Because of these influences, I earned a B.F.A. in graphic design from my home country of Colombia. After working for a couple of years as a graphic designer,

I decided to pursue an illustration-based career. I recently graduated from SCAD with an M.F.A. in illustration and work as a freelancer in Atlanta.

My work, consisting mostly of cut paper and digital painting, has had the honor of being recognized by institutions and international illustration competitions like Red Dot Design Award, 3x3 and Creative Quarterly. My work is inspired by nature, Art Nouveau, the Arts and Crafts movement, and Surrealism.

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ARTS CORNER REBIRTH The Renaissance Issue holds significance in the idea of rebirth, in which the meaning of those words hold a different significance and weight to each person. The concept of restarting, whether personal or symbolic, initiates a conversation for change and growth regardless.

– tyler judson, Creative Director

Jihyun Kang Graduate student, illustration

Jose Sanchez Fourth-year, illustration

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Adisa Phillip Fourth-year, illustration

Zach Edds, Digital Illustration Fourth-year, Graphic Design

Hilary Pierce Fourth-year, illustration

Antwon Sylvain Fourth-year, illustration

Shirley Susilo Graduate student, illustration

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RE-ESTABLISH

ambition Written by Valeria Brugueras Illustrated by Jazmin Saunders

Graduating often marks the rebirth of a college student. After four years of classes, constant homework and endless projects — stepping out of the pre-assembled sequence of a confused freshman, slightly less-confused sophomore, fairly certain junior and degree-awarded senior — entering the real world can feel weird and almost violating.

Picture Sandro Boticelli’s iconic “Birth of Venus,” appearing to the world exposed — in our case, we are bare sans our artistic capabilities to disguise our nakedness.

The intensity of an art-focused education can leave students feeling burnt-out. By the start of a graduate’s career, the initial dream is so overworked it becomes more of a nightmare. Many end up in a career that is in the complete opposite direction of what they aspire for. Alumna Silena Luque, B.F.A. fashion (2018), said, “My life out of SCAD was nothing like I imagined, my journey in fashion quickly merged into graphic design and illustration.”

It’s okay to veer from the path, change your mind, or take a break from your chosen field. Oftentimes, one finds that the talents they’ve cultivated are more useful in a different environment, or the obstacles we encounter push us to new endeavors. “Realizing things were not working as I planned was difficult to grasp, but now I am glad it happened as I got the opportunity to explore different industries that I connect more with but still incorporate what I studied,” explained Luque.

Your own expectations may limit your understanding of what you’re capable of, and you’ll never know unless you try and experience as much as you can. Your major may not pave a yellow brick road for career success. Life after college should ultimately be about developing your resilience towards facing obstacles in life and adaptability as a creative.

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