OLUME
PARSONS AAS / GRAPHIC DESIGN / WORK 2008 / VOLUME 2
10 12 14 132 144 158 174 178
Note from the Chair Pamela Klein
Note from the Director Katarzyna Gruda
Student Work
Collaboration Release
Featured Faculty Claudia Brandenburg
Featured Alumna Emily Wardwell
AAS Faculty
Acknowledgments & Credits
13 27 2 2 Alaska
Ireland
2
Canada
United States
Hawaii
Mexico
8
United Kingdom
2
Puerto Rico
Bolivia
2
Argentina
4
2 5
Germany France
3 4 2 3
PARSONS
Brazil
Where are you from?
Sweden
Spain
4
Italy
1
1 1
Estonia
5
Russia
6 4 3 1 3 1 2 3 2 1 Georgia
Israel
7 6 Korea
Turkey
China
India
Thailand
Sudan
Japan
Philippines
Kenya
Australia
South Africa
New Zealand
5
typefaces ow stat spread
13,968 Total number of typefaces owned
wned
233 Total number of typefaces actually liked
34.5 49
69.5
Monday
Number of hours you spend in class each week 8
Tuesday
41.75
64.25
Wednesday
Friday
Thursday
9
NOTE FROM THE CHAIR 10
This year, the Graphic Design graduating class has once again produced outstanding work. How is this consistently high level of creativity and execution possible? We have terrific teachers and we’ve worked hard to provide instruction that reflects the ongoing evolution in the industry, but these factors by themselves can’t account for the excellent work that students produce after only two or three semesters of study. The answer has to be our students, themselves. We know that students choose the best education they can, based on the reputation of the school, the faculty, and the school’s connections to the design industry. But, perhaps the most important factor in the learning process itself is the caliber of the student in the next seat. AAS students come from everywhere —Argentina, California, Alaska, Colorado, France, Korea, Kenya, New York, Texas, and more. And in their previous lives they’ve been everything: ballet dancers, attorneys, writers, engineers, financial analysts, teachers, chefs, stockbrokers, fine artists and most any other profession you can think of. This provides a rich and unique learning environment because our students benefit from each other’s informed opinions and approaches to design problems. They help each other, compete with each other, and never stop until the solution is the best available. We challenge them; they challenge us; and they challenge themselves. From my side of the desk, it’s a thrilling, rewarding, and breathtaking process. Pamela Trought Klein Associate Dean of Professional Studies
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NOTE FROM THE DIRECTOR
Katarzyna Gruda, Director
In view of the role visual communications play in our world today, it is exciting to present a graduating class that has produced such wildly inventive and inspirational work. Designers cannot escape social responsibility, and I am proud that our faculty pushes our students to address both commercial and social problems, guiding their responses to the challenges we confront every day. These young designers leave ready to make their own way in the world, fusing their many ambitions with a hard-won sense of good design.
AAS students learn early on that research and resourcefulness are the best-kept secrets of any great designer. Truly understanding a project is essential for innovation, whereas ignorance inevitably produces the expected. Our students look at any situation openly, then dig ever deeper within the substance of the problem, leaving behind the slow decay of “good enough.”
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1
7
Number of cups of coffee or tea you drink a day
Kruti Joshi
Ela Jacoby
Dan Hoffman
Adam Headrick
Aaron Gwirtz
Tim Geesman
Cristopher Gedda Westrell
Sharon Gamss
Farrah Fine
Yfat Eyal
Hansul Amy Cho
studen wor
Natalie Waterbury
Shelly Suzuki
Aditi Rao
Masakazu Okura
Monica Miranda
Caloline Maher
Jon Lopkin
Diana Lim
Ariel Lapidus
Jennifer Lankford
Eileen Kinsella
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1
Where From Korea; Previous College Centenary College; Where do you plan to live after graduating? NYC
1 Book Cover, The Story is True, Dimensions: 5.5 x 8.5 in; 2 Book Cover, Intuition, Dimensions: 6 x 9.5 in 16
2
17
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Hansul Amy Cho, continued 3 Accordion Fold Brochure for Beckett Paper Company, Dimensions: 5 x 5 in; 4 Accordion Fold MoMA Brochure, Dimensions: 5 x 5 in; 5 Apple Calorie Widget 18
5
19
1
Where From Baltimore, Maryland; Previous College University of Maryland College Park, BS, Finance; How many hours do you spend in class each week? About 30
1–2 Posters 20
2
21
3
Yfat Eyal, continued 3 Logo /Identity; 4–6 Silk-screened Graphics, T-shirt, Hangtags, Shopping Bag 22
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shirt, tags, bag graphics for BIO clothing
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D@RS SG RSQDDS D@RS SG RSQDDS /DV :N3J /DV :N3J
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BIO BIO BIO 190 east seventh street 190 190 east east seventh seventh street street new york, new york 10009 new new york, york, new new york york 10009 10009
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shirt, tags, bag graphics for BIO clothing
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B10
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BIO 190 east seventh street new york, new york 10009
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23
1
Where From Denver, Colorado; Previous Work Experience Raft Guide; Ski Bum; Previous College University of Colorado
1 Poster, Lecture Series, Body as Source: Biorhythms & Algorithms; 2 Cover, Cookbook, Bible O’Bacon; 3 Spread from book, Walk 24
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Where From Israel; Previous Work Experience No 11 Studio; Resource Magazine; Previous College Hadassah College, AAS in Photography; How many typefaces do you own? Maybe 100 1 Cookbook, Cuisine du Maroc, Dimensions: 10 x 10 in; 2 Movie Poster, In Transit, Dimensions: 27 x 40 in. 26
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Sharon Gamss, continued 3–4 Poster, Program for Lecture Series, Dimensions: 20 x 28 in. 28
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Sharon Gamss, continued 5–6 Poster, Program for Lecture Series, Dimensions: 20 x 28 in. 30
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1
Where From Sweden; Previous Work Experience KraftWorks, NYC; Cadwalk Media, Stockholm; Rapp Collins, NYC; Previous College University of Lund, Sweden; How many hours do you spend out of class each week doing class work? Way too many!
1 Poster on Global Warming; 2 Luc Besson Movie Poster Series 32
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Cristopher Gedda Westrell, continued 3–4 Luc Besson Movie Poster Series 34
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5
Cristopher Gedda Westrell, continued 5 Book, Hollywood Remix, Dimensions: 8 x 5.5 in; 6–8 Interior Spreads 36
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1
Where From Mishawaka, Indiana; Previous Work Experience Segal Savad; Sotheby’s; LPL Financial Services; Previous College Ball State University, BS, Marketing major, Journalism minor; How many typefaces do you own? Over 1,500 1 Book, Dylan’s Muses, Dimensions: 6 x 9 in; 2 Fashion Look Books, Dimensions: 5 x 7 in; 3 Logo /Identity, Clothing Line (Hang Tags and Labels) 38
2
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Tim Geesman, continued 4 Logo /Identity for Restaurant (Logo, Menu, Folder, Letterhead, Notepad and Envelope); 5 Poster, Dimensions: 15 x 20 in. 40
5
41
An idea whose time has come.
6
Sustainable Durable Nutricious Versatile Renewable Clean Natural Lasting Cheap Safe Strong 7
Tim Geesman, continued 6 –9 Brand Book, Hempowered, Dimensions: 10 x 16 in. 42
Illegal
Our audience is young and involved citizens who are tired of excuses and dogma. They think differently about the environment, and are ready to act.
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8
Advertisement
We’re fighting climate change with one hand tied behind our backs. Industrial hemp is sustainable, efficiently grown, versatile, nutritious and all-natural. It requires no pesticides or herbicides.
Hempowered
So why is it illegal? Learn more at Hempowered.org Hempowered
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43
9
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1
Where From New York City; Previous Work Experience Pfizer Pharmaceuticals; MTV Networks; Spike Television; Previous College Neighborhood Playhouse School of Theater; Where do you plan to live after graduating? New York City
1 Igor Stravinsky Poster; 2 –3 Random House Modern Classic Logo 44
2
3
45
1
Where From Stillwater, Oklahoma; Previous Work Experience Publishing Inventory Analyst; Captain, New York Army National Guard (OIF Veteran); Previous College Oklahoma State University; Had you been to NYC before entering Parsons? Yes 1 Red Dirt Beer hand rendered label design; 2 Hand assembled CD Package; 3 Album release promotional poster, Dimensions: 18 x 24 in. 46
2
3
47
1
Where From Florida; Previous Work Experience Taylor, Hartman & Associates; Blue Dolphin Films; Ilex Services; Previous College University of Central Florida; How many typefaces do you own? 6
1 Print from etching; 2 Book Cover, White Noise 48
2
49
3
Dan Hoffman, continued 3 Logo Design; 4 Advertisement, Rock and Roll Hall of Fame Museum; 5 Advertisement, Lids Apparel 50
4
5
51
1
Where From Tbilisi, Georgia; Previous Work Experience Teen Vogue; Time Warner; Ogilvy Healthworld; Previous College University of Central Florida; How many cups of coffee do you drink in a day? 3 1 Movie Poster, The Diving Bell and the Butterfly; 2 Book Jacket, Women in Love; 3 Packaging Design 52
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53
1
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Where From New York; Previous Work Experience Kate Spade; Real Simple Magazine; Previous College University of San Francisco, BA, Marketing; Had you been to NYC before entering Parsons? Yes
1 Book, Modernist Malice, Dimensions: 5.5 x 7.25 in; 2 Interior Spread 54
“
Modernism’s call-to-order may have originated from the desire to create massproduced buildings and objects for the emancipated proletariat, but its rectilinear grid creates Caligari-reminiscent visual cages for the hapless characters who encounter it in the movies.”
beautiful Maria-points out Lang’s main argument against modernism when she exclaims, “Between the mind that plans and the hands that build there must be a Mediator, and this must be the heart.” The film’s narrative arc follows the toppling of Fredersen’s rarefied architectural and the establishment of a workers’ paradise. Modernism’s call-to-order may have originated from the desire to create mass-produced buildings and objects for the emancipated proletariat, but its rectilinear grid creates Caligari-reminiscent visual cages for the hapless characters who encounter it in the movies. Alfred Hitchcock, for one, consistently uses architectural styles to mirror internal states of mind and, in some instances, even employs them as instigators of conflict, confusion, and slipped identity. In an essay in Everything You Always Wanted to Know About Lacan But Were Afraid to Ask Hitchcock, Slavoj Zizek goes so far as to trace Norman Bates’ psychotic split to his inability to locate himself between the anonymous modernist box of Bates Motel and his mother’s Gothic house on the hill-a state that is echoed in the chaos of Lang’s Metropolis, which also lacks a mediation between head and heart, past and present. (Of course mediation-historical or otherwise-was never Modernism’s goal. In fact, its Bauhaus practitioners dismissed all remnants of an architectural past as bourgeois and geared up a utopian effort to “start from zero.”) Hitchcock’s North By Northwest (1959) is another suspense film that stars modernist design in the role of chaotic catalyst, whether in the sweeping plazas and marble masses of the United Nations, Henry Dreyfuss’s luxury 20th-Century Limited train, or the foreign spy Philip Vandamm’s cantilevered glass-andredwood house near Mount Rushmore. (So enamored of mid- century style was Hitchcock that he even cast Eve Kendall, the chilly blonde double-agent, as an industrial designer.) It is against all three modernist backdrops that North By Northwest’s lead character, the debonair but hapless Roger Thornhill, becomes literally
34 cover
(continued on page 66)
cover 35
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Kruti Joshi, continued 3 Book, Post No Bills, Dimensions: 8 x 10 in; 4 Magazine, Cover, Dimensions: 8 x 10 in. 56
1
cover
28016 69167
5
In Hollywood, Even Architecture Kills
4
57
1
Where From Hartford, Connecticut; Previous Work Experience Time Warner; New York Parks Department; Previous College University of New Haven, BA Music; How many hours do you spend in class each week? 20 or so
1 Book Cover, Packrat; 2 Book Cover, The Story is True 58
2
59
3
Eileen Kinsella, continued 3 Movie Poster, Kill Bill; 4 Poster 60
4
61
1
2
Where From Maryland; Previous Work Experience Plum Magazine; Previous College Boston University, BA Psychology, minor Biology; Where do you plan to live after graduating? NYC for a few more years 1 Cookbook, Gourmet Grilling, Dimensions: 7.25 x 9.5 in; 2 Cookbook Spread; 3 Poster, Dimensions: 15 x 21 in; 4 Poster, Dimensions: 15 x 20 in. 62
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79
Line weight increases with each trip along the same path.
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FROM HERE TO THERE
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63
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Jennifer Lankford, continued 5 Book, Teabag Typography, Dimensions: 6 x 6 in; 6–8 Interior Spreads 64
7
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65
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Jennifer Lankford, continued 9–12 Interior Spreads, Teabag Typography 66
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Where From Seattle, Washington; Previous Work Experience Universal Music Distribution Group; Eeboo!; CZ Design; Previous College BFA, Cornish College of the Arts; How many typefaces that you own do you actually like? 15 1 Movie poster, Heavy Load, IFC documentary film, Dimensions: 26 x 40 in; 2 Poster, We Collect, exhibit of Vintage Vinyl at Seattle’s Experience Music Project, Dimensions: 15 x 22 in. 68
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Ariel Lapidus, continued 3 Logo, Greennote Jazz Festival; 4 Apple Widget, Moontime 70
MAY
> 4/28
6/21 >
When was the first day of your last period? May
25
08
Cycle Length 28 days Mobile # for SMS 206 555 1557
Save
moontimewidget.com 4
71
5
Ariel Lapidus, continued 5 Silk screen Poster, Octopus; 6 Logo, Three Peas Kitchens 72
K 6
ITC
HEN
S
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7
Ariel Lapidus, continued 7 Poster; 8 Program; 9 Event Ticket, Incorporations: The Body as Source Lecture Series 74
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75
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Where From Vancouver, Canada; Previous Work Experience Martha Stewart Living; Ogilvy; Previous College University of British Columbia, BA, Psychology; How many times a week do you take the stairs (instead of the elevator)? Depends on my mood 1 Photography Book, Richard Avedon, Dimensions: 5 x 7 in, with faux crocodile skin keepsake box; 2–4 Interior Spreads 76
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Diana Lim, continued 5 Logo /Identity, Ceres Restaurant; 6 Letterhead & Envelope; 7 Business Card; 8 Packaging, Cookies; 9 Packaging, Salad Dressing 78
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79
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Diana Lim, continued 10 Logo, Wattbusters Company; 11 Branding System; 12 Keychains 80
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13
Diana Lim, continued 13 Silk-screened Poster for a Cherry Blossom festival in Yokohama, Japan, Dimensions: 18 x 24 in; 14 Silk-screened Poster for Knoll Office Chairs Exhibit, Dimensions: 15 x 21 in. 82
14
83
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Where From Boston, Massachusetts; Previous Work Experience Madavor Media; Bridger Conway; Previous College Boston University, BS, Communications; How many cups of coffee do you drink in a day? 2 1 Poster for an annual comedy show at the Upright Citizens Brigade in Manhattan, Dimensions: 13 x 19 in; silkscreen, letterpress with wood type; 2 Poster, quote by Paula Scher from her book Make It Bigger, Dimensions: 20 x 30 in. 84
2
85
3
Jon Lopkin, continued 3–5 Noguchi Museum T-shirt & Cubed Packaging 86
4
5 87
6
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8
Jon Lopkin, continued 6 Brandbook of Brady Campaign to Prevent Gun Violence; 7 Hoodies; 8 Subway Signage; 9 Boston Symphony Poster, Vladimir Feltsman, Piano and Conductor 88
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89
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Where From New York City; Previous Work Experience Overspray Magazine; Anderson Ranch Art Center; Private Yoga teacher; Previous College Parsons School of Design, BFA; How many times a week do you take the stairs (instead of the elevator)? All the time, afraid of the elevators at Parsons! 1–3 Menu, Logo / Identity for Restaurant 90
2
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91
4
Caroline Maher, continued 4 Poster, Program for Lecture Series; 5–7 Cookbook Cover and Interior Spreads 92
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93
Incorporations: The Body as a Source Language, Sensuality, and Power October 12, 8:00 pm Claude Fouchy-Billancourt Biorhythms and Algorithms October 13, 2007, 8:00 pm Manoela dePasão
Three-lecture fee: $120 Individual lectures: $50 Cooper Union faculty and students attend free, but must register in advance. Please provide your Union faculty or student ID number to waive the registration fee. The lectures are open to the public. Advance reservations are required. Please call The Cooper Union Office of Public Programs at 212.436.0187 or go online to www.cooper.edu/body to register.
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Corporeal Architecture: Living Spaces October 14, 2007, 3:00 pm Heinrich Utenrraden
Lecture Series October 12–14, 2007 The Cooper Union for the Advancement of Science and Art The Great Hall 1 Cooper Sq, NYC
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Where From Puerto Rico; Previous Work Experience Taught at Fieldston School in NY; Previous College Sarah Lawrence College; Where do you plan to live after graduating? Same apartment I have now.
1–2 Poster, Incorporations: The Body as Source Lecture Series, Dimensions: 20 x 28 in. 94
Incorporations: The Body as a Source
Language, Sensuality, and Power Thursday October 12, 8:00 pm Claude Fouchy-Billancourt
The Cooper Union for the Advancement of Science and Art The Great Hall 1 Cooper Sq, NYC
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A discussion the physics of speech and cognition as related to the development of sexual power Three-lecture fee: $120 Individual lectures: $50 Cooper Union faculty and students attend free, but must register in advance. Please provide your Union faculty or student ID number to waive the registration fee. The lectures are open to the public. Advance reservations are required. Please call The Cooper Union Office of Public Programs at 212.436.0187 or go online to www.cooper.edu/body to register.
Mr. Fouchy-Billancourt is a professor of linguistic anthropology at the University de la Sorbonne in Paris, France. He is a recognized authority on linguistic ideology.
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95
Incorporations: The Body as a Source
Biorhythms and Algorithms Friday October 13, 8:00 pm Manoela dePasão The Cooper Union for the Advancement of Science and Art The Great Hall 1 Cooper Sq, NYC
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The presentation will focus on numeric sequencing systems developed from biofeedback for application in medical and robotic manufacturing computation
Three-lecture fee: $120 Individual lectures: $50 Cooper Union faculty and students attend free, but must register in advance. Please provide your Union faculty or student ID number to waive the registration fee. The lectures are open to the public. Advance reservations are required. Please call The Cooper Union Office of Public Programs at 212.436.0187 or go online to www.cooper.edu/body to register.
Ms. dePasão is a Fellow of the Instituto Mechanico de São Paolo, Brazil, and a visiting chaired lecturer at Harvard College’s School of Applied Mathematics
3
Monica Miranda, continued 3–4 Poster, Incorporations: The Body as Source Lecture Series, Dimensions: 20 x 28 in. 96
Saturday October 14, 3:00 pm Heinrich Utenrraden
The Cooper Union for the Advancement of Science and Art The Great Hall 1 Cooper Sq, NYC
A moderated panel of noted architects will discuss their explorations of user-centered building in the context of a presentation on stylistic and functional trends of the past century
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Incorporations: The Body as a Source
Corporeal Architecture: Living Spaces
Mr. Utenrraden is a Professor Laureate of the Bern Architectural Academy in Switzerland.
Three-lecture fee: $120 Individual lectures: $50 Cooper Union faculty and students attend free, but must register in advance. Please provide your Union faculty or student ID number to waive the registration fee. The lectures are open to the public. Advance reservations are required. Please call The Cooper Union Office of Public Programs at 212.436.0187 or go online to www.cooper.edu/body to register.
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Monica Miranda, continued 5 Logo, Milagros CafÊ Mexicano; 6–9 Logo / Identity for Clothing Company (Shopping Bag, Hang Tags and Labels) 98
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Monica Miranda, continued 10 Logo / Identity System; 11 Business Card (Front & Back); 12 Letterhead & Envelope 100
NY
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film noir music 718.344.1212 www.mfd.com
You blinked. It’s over. I cracked the case.
11
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PO Box 123 Brooklyn NY 11205
You blinked. It’s over. I cracked the case. .
PO Box 123 Brooklyn 11205 718.344.1212 www.mfd.com
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Where From Japan; Previous Work Experience FutureBrand NY; How many typefaces do you own? About 100
1 Poster; 2–3 Book Jackets (Front & Back) 102
2
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103
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Masakazu Okura, continued 4–6 Movie Poster Series, Dimensions: 20 x 30 in. 104
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105
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Where From Thailand; Previous Work Experience JWT Bangalore; Lowe Bangkok; Hill & Knowlton NY; Previous College Mount Carmel College, Bangalore, BA, Economics, Psychology, English Literature; How many typefaces do you own? 955
1 Book, Versus, Dimensions: 5.5 x 8 in; 2–3 Interior Spreads 106
“Nothing ever continues at its present rate, neither the stock market nor population growth.”
NEW DELHI—By the year 2050, China will no longer be the most populous country in the world. India will see its population grow by 700 million people by 2050, the U.S. Census bureau estimates. That distinction will pass to India, where more than 1.8 billion people could be competing for their country’s resources, according to the U.S. Census Bureau’s International Data Base. The 2007 population estimates from the U.S. Census Bureau and the United Nations Population Division set China’s current population at around 1.3 billion people, and India’s at around 1.1 billion. If population continues to grow at the estimated rate, such rapid growth in India between now and mid-century could lead to overpopulation and an uncertain future for the environment and the people living there. While organizations like the Population Institute and the United Nations Population Fund are working to promote the human rights and environmental consequences of overpopulation, not everyone views the newest population estimates with pessimism.“Nothing ever continues at its present rate, neither the stock market nor population growth,” said Doug Allen, the dean of the school of Architecture at the Georgia Institute of Technology.
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Overpopulation could be people,planet problem
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Don’t wear black shoes with light colored clothing unless the sandals are extremely dainty. –The Lifestyle Channel
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Global Warming:A natural cycle or human result?
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107
BIG Size does matter.
4
Aditi Rao, continued 4–5 Museum Brochure (Front & Back), Dimensions: 28.5 x 8.5 in. 108
Sidney and Harriet Janis Collection Fund (by exchange).
Jeff Wall. Restoration. 1993. Silver dye bleach transparency (lifochrome), aluminum light box.
46'7/8" x 16'7/8"
Henri Rousseau.The Dream. 1910. Oil on canvas. Gift of Nelson A. Rockefeller
6'8 1/2" x 9'9 1/2"
Pipilotti Rist.Ever Is Over All. 1997. Video installation, two overlapping projections (color, sound with Anders Guggisberg). Fractional and promised gift of Donald L. Bryant, Jr.
7'11 3/8" x 17'9 1/4"
10'2" x 28'3"
Barnett Newman. Vir Heroicus Sublimis. 1950-51. Oil on canvas. Gift of Mr. and Mrs. Ben Heller.
Pablo Picasso. Les Demoiselles d’Avignon. 1907. Oil on canvas. Acquired through the Lillie P. Bliss Bequest.
8' x 7'8"
9'2 3/4" x 7'11" x 42' 8 3/4"
8'10" x 17'5 5/8"
10' x 58 7/8" x 61' 7/8"
Jackson Pollock. One: Number 31, 1950. 1950. Oil and enamel on unprimed canvas.
Claes Oldenburg. Giant Soft Fan. 1966-67. Vinyl filled with foam rubber, wood, metal, plastic tubing, fan. The Sidney and Harriet Janis Collection.
Gary Simmons.Boom. 1996/2003. White pigmented pastel on blackboard-paint Arthur Young. Bell-47D1 Helicopter. 1945. Aluminum, steel, acrylic, plastic. Manufactured by Bell Helicopter Inc., Buffalo, NY. Marshall Cogan Purchase Fund
primed panel. Gift of the Friends of Comtemporary Drawing and of the Friends of Education of the Museum of Modern Art,1999.
10'5 1/8" x 17'4 7/8"
Are you looking for that larger-than-life experience? We’re here to provide you with one, literally. Since modern artists often created larger pieces, MoMA was forced to expand to accomodate such art, because let's face it— bigger is better.
With Big MoMA, you will be guided through the museum to view some pieces that are just really, really big.
6 5 4 3 2
B
Size does ma
We guarantee this tour will leave you overwhelmed and amazed, and possibly feeling really, really small.
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Where From Kailua, Hawaii; Previous Work Experience Advertising Account Service at Laird Christianson Advertising, John Duarte Design Group and Team Vision in Honolulu, Hawaii. Design Internships at Y Interact, Windup Design (New York, NY) and Red Rover Creative; Design Job at Basik Group (New York, NY); Previous College Claremont Mckenna College, BA, Economics & Psychology; How many typefaces do you own? 659 1 Book Design, Pollution3: Air, land and water pollution in New York City; 2–4 Interior Spreads 110
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Shelly Suzuki, continued 5–6 Package Design, Petit Chocolat, Dimensions: 4 x 4 x 2 in; 7 Advertisement, Petit Chocolat, 2 Page Spread 112
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Shelly Suzuki, continued 8–9 Cookbook Design (Front & Back Cover), Deconstructing the Hawaiian Plate Lunch, Dimensions: 10 x 10 in; 10–12 Interior Spreads 114
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Shelly Suzuki, continued 13 Magazine Design, Cover Magazine, Dimensions: 10 x 10 in; 14 –16 Interior Spreads 116
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Shelly Suzuki, continued 17–18 Package Design, Light Bulb Basic 60; Dimensions: 2.25 x 5 in. folded, 9 x 5 in. flat; 19 Website Design, Gray’s Papaya Homepage; Dimensions: 980 x 570 pixels 118
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Where From San Francisco, California; Previous Work Experience Nylon Magazine; HDR Architects, Inc; Previous College Northwestern University, BS, Radio /TV/Film; How many typefaces do you own? 5,000
1 Poster, Bangaluru 2007 Digital Film Festival; 2 Poster, A Retrospective 120
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Natalie Waterbury, continued 3–4 Logo / Identity System, Good Soles Shoes 122
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Natalie Waterbury, continued 5–7 Logo, Website and Collateral, Politicalsieve.org 124
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Natalie Waterbury, continued 8 Magazine, Cover; 9–11 Interior Spreads 126
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Natalie Waterbury, continued 12 Logo / Identity System, Manhattan Vintage Car Show; 13 Package Design, Mustard 128
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collabo RELEASE MAGAZINE The Eugene Lang College literary magazine Release is the product of a three-year collaboration between students and faculty from Lang and Parsons School of Design. This innovative partnership, in which writing students at Lang edited the magazine and students from the Parsons AAS program designed and produced it, has represented the best of the cross-disciplinary possibilities offered at The New School. By combining the creative literary talent of Lang’s writing students with the Parsons’ students’ innovative design vision and expertise, Release has become a first-rate, professional publication. Producing it has enriched students in both schools, offering them real-world publishing experience while also yielding extraordinary educational benefits—honing skills as writers, editors and designers, and, as important, fostering a creative community engaged in productive dialogue around a meaningful project. Neil Gordon Professor, Literary Studies Dean of Eugene Lang College The New School for Liberal Arts
1 Release 2008 Cover 132
oration 1
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2 Release 2008 Front & Back Cover; 3 –5 Release 2008 Interior Spreads 134
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6–9 Release 2008 Interior Spreads 136
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10 Release 2007 Cover; 11–12 Release 2007 Interior Spreads 138
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13–14 Release 2007 Interior Spreads; 15 Release 2006 Cover 140
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For the past three Spring semesters I’ve taken my Publication Design class on– press for the printing of Release. After critiquing washed-out ink jet pages for 15 weeks, the actual florescent and metallic inks are mesmerizing. Watching the sheet forms roll off the press is dizzying. Seeing the student’s attention and awe, I recognize the beginning of a long and healthy obsession.
I love printing. I’ve saved stacks of press sheets. I sniff the ink in new books. I wanted to be a graphic designer when I first worked a printing press. During my work-study summer job at RISD’s Type Shop I learned about type and printing while sorting and supervising. Not only could I recognize a 9-point letterform backwards in lead, but I became obsessed with creating many instead of just one. From then on, a single mock-up was not enough. My school projects were about quantity, series and multiples.
Begin with a clever concept. Finish with flawless typography. In between consider your client, your audience, and your printing budget. Or, in school, consider your teacher, your class, and your ink jet.
FEATURE FACULTY
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2 Sleeve Box; 3 Cover; 4 –6 Interior Spreads The Andy Warhol Foundation for the Visual Arts 20-Year Report, 1987–2007, The Andy Warhol Foundation for the Visual Arts 3 Publications & Sleeve Box, 10 x 10 in, 96 Pages Each All artworks © The Andy Warhol Foundation for the Visual Arts
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11 Cover; 12–14 Interior Spreads Make It Now: New Sculpture in New York. SculptureCenter Exhibition Publication, 6.5 x 9.25 in, 96 Pages 150
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FEATURE ALUMNA My undergraduate degree in liberal arts was from Indiana University. After three and a half years working first on the account management and then production side in various big-name advertising agencies, I changed my focus to the creative side of the industry. Parsons’ Associate Degree Program was the perfect catalyst for such a change. After an intense year and a half of “design boot camp” at Parsons, I felt very prepared to reenter the professional world. The mentors I found in the AAS faculty raised my expectations of the type of people I chose to work with right out of school, and that I continue to choose to this day —people such as Lina Kutsovskaya and Charles Churchward, with whom I was lucky enough to work with while he was still directing Vogue magazine on the book Vogue Living: Houses, Gardens, People. Redesigns seem to greet me wherever I go. With Lina, I was a part of the redesign of Teen Vogue. From there I moved to the beauty industry where I helped drive the redesign of the Almay brand. Most recently, I have redesigned the beauty section for Glamour magazine, which debuted in its September 2008 issue. There is a ton of process involved in redesigning a brand and /or magazine and I feel very lucky to have had the strong foundation and understanding of design process, color theory, typography and use of photography that I received at Parsons.
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photographs by James woJcik
best beauty buys of
2008
A record 106,627 of you voted in this year’s Glammy awards, and these are your winners— the makeup, hair and skin-care products Glamour readers just can’t live without. Find your new favorites here!
THE WINNING LIP GLOSSES
from drugstores: maybelline New York shiny-licious lip gloss ($6)
three-time winner! Why it’s still a champ: It looks “rich,” voters say, but it’s never gloppy. from department/specialty stores: Victoria’s secret beauty rush lip gloss ($7, victoriassecret.com) new winner! Comes in 30“delicious”
flavors and has a “sexy sheen.”
w in every single one! enter at glamour.com.
314 glamour .com sep tem b er 2008
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13 Glamour Magazine Opener Spread; 14 Follow-up Spread; 15–18 Glamour Magazine Pages 170
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bIll blaSS
44 WAYS TO LOOK AMAZING NOW
derek lam
eSe y re
fLAKe-prOOf ShAdOW
TrY MATTe ON LIdS, MeTALLIcS ON brOW bONeS.
win it!
win it!
We’re giving away 10 on glamour .com.
chanel limited edition Quadra eye Shadow in beiges de chanel ($56, chanel.com).
ShIMMerY ShAdeS WOrK fOr WOrK. dior
5-colour eyeshadow in Iridescent leather ($54, sephora .com).
The NeW OpAQue GLOSSeS: cOLOr and ShINe.
win it!
We’re giving away 12 on glamour .com.
Shu uemura Vinyl unlimited in or 556 ($20, shuuemura-usa .com).
uSe A SOfTpOINT LINer.
Sue devitt eye Intensifier Pencil in Victoria Falls ($22, barneys.com).
eArThY ShAdeS: fLATTerING ON everYONe. NP
Set Show loose dust duo in egypt ($20, target.com).
Watch a video on how to create a sexy eye at glamour.com/ magazine.
00 Glamour .com oc Tob er 2008
FeNdI
by prepping with concealer.
Trac
derek lam
If you’ve never been sure you could pull off the smoky thing without looking like a linebacker, here’s hope: Fall’s neutral metallics do it a lot more naturally and nonsmearingly. The basic technique: Put a medium-colored shadow on lids, a lighter shade above and a darker one on lash lines. As MAC senior artist Chantel Miller says, “This is easy.”
We’re giving away 10 on glamour .com.
WITh ShAdOW ThIS bOLd, SKIp LINer. Jk Jemma
kidd Hi-design eye colour in urban ($18, target.com).
9 Sexy Updates
doNNa karaN
ruFFIaN
boTTeGa VeNeTa lela roSe
TOO Much fOr YOu?
Try doing just your lids.
SMOKY eYeS
oScar de la reNTa
brIGhTS
10 GreatTakes
TOuch: Gold shimmer on the inner corners.
roberTo caVallI
STIllS: WOrLd pIcTure ServIce. FraNkIe morello, ruFFIaN, doNNa karaN: GO ruNWAY. all oTHerS: MArK LeIbOWITZ
FraNkIe morello
A chIc
Nude colors are nice and all, but nothing’s wrong with makeup that looks like makeup, especially at night. Try one bright, try two! “It’s no longer tacky to have bright lips and eyes; it’s chic,” says makeup pro James Kaliardos, who did the Ruffian runway. Blur lipstick or shadow edges with a finger—hard lines make color look stamped on.
Sue devitt microquatic mineral eye Palette in blue Waters ($38, barneys.com).
Tracy reeSe
on top for contrast.
This season there’s no one gotta-do trend—anything goes! That’s the kind of makeup we adore. Here, runway pros make it easy. By Baze Mpinja
LAYer A feW bLueS.
Beauty • the beauty 150
SWeep A LIGhTer ShAde
oc Tob er 2008 Glamour .com
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Beauty • the beauty 150 feel free to blot.
anna
hervé léger
mac emanuel ungaro lipstick in Pure rose ($14, mac cosmetics.com).
cream shadow looks very natural.
win it!
We’re giving away 25 on glamour .com.
00
glamour .com oc tob er 2008
lilac’s also fall-friendly.
chantecaille shadow and rose Palette ($79, bergdorf goodman.com).
20
19–22 Glamour Magazine Pages 172
win it!
We’re giving away 50 on glamour .com.
laura mercier eye basics in buff ($24, laura mercier.com).
rue du mail
preen
valentino try a stroke just in your lid
crease. giorgio armani python palette ($100, giorgioarmani beauty.com).
Brown and Gray: a cool comBo. guerlain
mix Grays with pastels, too.
givenchy prisme again! in precious shimmer ($50, sephora .com).
ombre Éclat 4 shades eyeshadow in Jeu de nuit ($57, saks.com).
a Gunmetal shade douBles as liner.
win it!
We’re giving away 25 on glamour .com. 00
21
glamour .Com oC tob er 2008
Yves saint laurent palette Collection for the eyes ($60, ysl beautyus.com).
stills: world picture service. valentino, rue du mail: mark leibowitz. all others: go runway
fair girls: embrace peach!
your new favorite date
ferragamo
lauder lipstick in creme caramel ($22, estee lauder.com).
Gray on eyes? If you’ve never tried it, you’ll be pleasantly surprised. “It’s super wearable and sophisticated,” says Kaliardos. A sheer wash over your eyes is trendy but daytime-OK. “I like grays with mascara and no eyeliner. It looks softer,” Kaliardos says. In the evening, amp it up with deeper shades and false lashes.
look: gray eyes, berry lips.
preen
pink blush
doubles as eyeshadow.
anna sui gold flecks are glam on dark skin. estée
Grays
11 Fresh looks
keep icy Grays sheer.
opaque seems too powdery.
stills: world picture service. alessandro dell’acqua, thakoon, luisa Beccaria: mark leibowitz. all others: go runway
d&g
For those I’m-feeling-girly days, try one of the new roses for lips and cheeks. (The color looks really fresh in cold-weather months—it’s not like it has some exclusivity deal with spring.) “Anyone can wear pink, and it’s great with smoky eyes because it won’t compete,” says Miller. If your skin is dark, avoid baby pink—it’ll wash you out; do medium hues instead.
luisa beccaria
thakoon dry lips: not so seXy. moistur-
sari gueron
ferragamo
soft pinks
14 easy ideas
iZe! l’oréal Paris bare naturale gentle lip conditioner in soft Petal ($10, at drugstores).
the new Black liner:
gray!
preen
anna
sui
tommy hilfiger
define an otherwise naked face. don’t overpluck!
alexander berardi
preen
sui
it’s just as sexy as shiny.
full brows
glamour The best tips for getting gorgeous this fall (and winter and spring and...)
makeup: jenna anton at see management; hair: diego americo at artmix ny
150 BEAUTY Tricks, TrENDs & frEEBiEs Special section! a whole lot of pages that’ll get you a whole lot prettier.
âžť
photog r a ph by j e sse froh m an
oc tob er 2008 glamour .com
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PAMELA KLEIN, Chair / Associate Professor Degree(s) MFA, BFA, Pratt Institute Course(s) Color Theory katarzYna gruda, Director / Associate Professor Degree(s) MFA, Yale University School of Art; BS, Architecture, City College of New York Course(s) Process & Skills, Graphic Design, Silkscreen & Letterpress; Silkscreen Printing Thomas Bosket, Coordinator / Associate Professor Degree(s) MFA, Yale University School of Art; BFA, Parsons School of Design Course(s) Color Theory, Drawing
Sarah Gephart Degree(s) MFA, Yale University School of Art; BA, Oberlin College Website www.mgmtdesign.com Work Partner, MGMT Design Course(s) Typography 1 & 2 Jonathan J. Gouthier Degree(s) BFA, Hartford Art School, University of Hartford Website www.gouthier.com Work Principal / Creative Director, Gouthier Design Course(s) Graphic Design 1 & 2 Andrew Graber Degree(s) BS, SUNY, Binghamton Work Graphic Designer, Photoeditor Course(s) Digital Layout, Advanced Digital Layout Brett Groves Degree(s) BFA, Pratt Institute Work Master Printer, Axelle Fine Art Prints, Freelance Bookbinder Course(s) Silkscreen Printing
Rolf AndersEn Degree(s) MPS, New York University; Tisch School of the Arts; BFA, Teknologisk Institut, Copenhagen, Denmark Website www.rolf-design.com Work Digital Artist, 2D & 3D, Graphic / Web Designer and Educator Course(s) Digital Layout 1 jason booher Degree(s) BA, Princeton University; AAS, Parsons School of Design, Graphic Design Work Designer, Alfred A. Knopf Course(s) History of Graphic Design Claudia Brandenburg Degree(s) BFA, Rhode Island School of Design Website www.languagearts-ny.com Work Principal, Language Arts Course(s) Typography 1, Publication Design 174
JULIA GORTON Degree(s) BA, Parsons School of Design Work Children’s Book Illustrator & Designer Course(s) Graphic Design 1 Dmitry Krasny Degree(s) MFA, Yale University School of Art; BFA, The Cooper Union School of Art Website www.dekadesign.com Work Principal, Deka Design Course(s) Typography 2 Mara Kurtz Degree(s) MA, The New School, Media Studies; BA, New York University; AAS, Parsons School of Design Website www.marakurtzstudio.com Work Graphic Designer, Photographer, Photo/Illustrator Course(s) Graphic Design 1, History of Graphic Design (online)
John Malcolmson Degree(s) MFA (honors), Rhode Island School of Design; BFA, University of Canterbury, New Zealand Website www.teamproam.com Work Partner, Team Pro-Am Course(s) Graphic Design 3 Tamara Maletic Degree(s) MFA, Yale University School of Art; Post-baccalaureate Certificate, The Art Institute of Chicago; BA, UniversitĂŠ des Sciences Humaines, Strasbourg, France Website www.linkedbyair.net Work Partner, Linked by Air Course(s) Typography 1 ted mauseth Degree(s) MFA, Tyler School of Art, Temple University; BA, Michigan State University Work Principal, Mauseth Design Course(s) Graphic Design 3 Martin Mazorra Degree(s) MFA, American University, Washington DC; BFA, West Virginia University Website www.cannonballpress.com; www.martinmazorra.com Work Director, Cannonball Press Course(s) Photo Lithography & Graphic Design, Silkscreen & Letterpress
Christine Moog Degree(s) MFA, Yale University School of Art; MA, University of Toronto; BA, Sarah Lawrence College; AAS, Parsons School of Design; Work Creative Director, Little Spoons Inc. Course(s) Portfolio & Process, History of Graphic Design William Morrisey Degree(s) BFA, Rhode Island School of Design; BA, University of Colorado Website www.wmwmwm.com Work Principal, wmwmwm Course(s) Graphic Design, Silkscreen & Letterpress Renda Morton Degree(s) BFA, Minneapolis College of Art and Design Website www.rumors-online.com Work Partner, Rumors Studios Course(s) Interactive Web Design mark mullin Degree(s) AAS, Parsons School of Design Work Manager of Creative Services and Graphic Designer, Cleary Gottlieb Steen & Hamilton LLP Course(s) Process & Skills
alexa nosal Degree(s) BFA, Montclair University; BA Montclair University Work Creative Director, Leap Course(s) Typography 1, Designing Susan Molnar Degree(s) BFA, Tufts University; Diploma, Symbols, Graphic Design, Silkscreen & Letterpress School of the Musuem of Fine Arts Work Principal, SuMo Design NYC Course(s) Digital Layout 1
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Andy Pressman Degree(s) BFA, Cooper Union School of Art Website www.andypressman.com Work Partner, Rumors Studios Course(s) Graphic Design 2, Process & Skills
Mushon Zer-Aviv Degree(s) MPS, New York University,; Tisch School of the Arts; BDS, Bezalel Academy of Art and Design, Jerusalem Website www.shual.com Work Co-founder, Shual Design Studio Course(s) Interactive Web Design 1 & 2
Jeff Ramsey Degree(s) MFA, The Werkplaats Typografie, Netherlands; BFA, The Savannah College of Art and Design Website www.jefframsey.net Work Advertising Manager / Designer, The Museum of Modern Art (MoMA) Course(s) Portfolio & Process
timothy samara Degree(s) BA, University of the Arts, Philadelphia Work Principal, Stim Visual Communication Course(s) Graphic Design 3
Paul Roeraade Degree(s) MA, Grafiska Institutet; Royal Instititute of Techonology, Sweden; AAS, Parsons School of Design; Website www.windup-design.com Work Principal, Windup Design Course(s) Interactive Web Design 1 & 2 William van Roden Degree(s) BA, Graphic Design, Rhode Island School of Design Work AVP Art Director of Books and Special Projects, Martha Stewart Living Omnimedia Course(s) Typography 2, Portfolio & Process alex w. white Degree(s) MFA, Syracuse University; BFA, Graphic Design, Kent State University Work Design Consultant and Author of Graphic Design Books Course(s) Graphic Design 1 & 2, Portfolio & Process
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Diego Vainesman Degree(s) BFA, Parsons School of Design Diploma, Art Institute of Boston Website www.40N47Design.com Work Principal, 40N47 Design Course(s) Graphic Design 2
director / EDITOR / PHOTOGRAPHER Katarzyna Gruda
art director Claudia Brandenburg
DESIGNER / PRODUCTION DIRECTOR Brian McDermott
Credits and Acknowledgments 178
DESIGNER Shelly Suzuki
PRODUCTION Alix Sorrell
special thanks Thomas Bosket Jim O’Connor Larry Jackson Denise Wallner Annemieke Beemster Leverentz
typefaces Akzidenz Grotesk (Designed by Günter Gerhard Lange), Archer (Designed by Heofler & Frere-Jones Type Foundry)
printer Fernando Luciano, Project 44, Long Island City, NY 179
46% 29% 13% 8% 4% 180
Typography Digital Layout Publication Design Process & Skills Digital Imaging
The most crucial skill obtained while studying at Parsons 181
WO 200 80 70 60 50 40 30 20 10 Number of hours spent on this book 182
Director
Art Director
Designers
ORK 08 Administration
Production
Printing
Delivery 183