E. GENEVIEVE WILLIAMS SCHOOL OF VISUAL ARTS & PRIVATE TEACHING Junior Typography, Senior Portfolio, Editorial Design, Intermediate Design, Basic Design, Hand Processes
COURSE BLOGS: Typography: http://typobloger.blogspot.com/ Senior Portfolio: http://whitespacefpo.blogspot.com/ Editorial Design: http://editdesign101.blogspot.com/ Intermediate Design: http://intermediatewithgen.blogspot.com/ Basic Design: http://23rdand3rd.blogspot.com/
TEACHING PHILOSOPHY
students is an important part of the learning process. My communication with students
I believe that every student
includes classroom lessons,
first artists, form tends to
group critiques, peer group
emerge intuitively. Recognizing
interaction, field trips, and
and being able to articulate
one-on-one discussions. I use
the concept behind the work
various modalities for critiques
is often slower and more
and discussions in and outside
difficult. In our work together, I
of the classroom including
attempt to bring each student
face-to-face meetings, phone,
to a level of conceptualizing
email, iChat, screen share,
and rendering their work that
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learns differently. As we are
SCHOOL OF VISUAL ARTS YEARBOOK, NYC 2011
Facebook, Skype, video or
is sophisticated, personal, and
phone conferencing, and
accessible to others. I tailor
blogging. Each course I teach
each course to the specific
HANDS ON Q PUBLICATION DESIGN WORKSHOP, GUAYAQUIL, ECUADOR, 2009
needs of the students by altering my syllabi, creating
has it’s own blog. Students are required to participate in the blogging and commenting
more assignments per course,
aspect of the course. The
encouraging student initiated
blogs are updated daily with
projects, and working across
interesting work, techniques
Open communication with
SCHOOL OF VISUAL ARTS YEARBOOK, NYC, 2010
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media platforms.
and tips, resources, and job opportunities. They also list
the names and private blogs of each student enrolled past and present. In other words, we communicate in multiple ways. Thus, we are able to see the creative process in motion and act on projects collaboratively and individually. Along with creating work, it is crucial that students are involved in current creative discourses across disciplines including fine arts, graphic design, performing arts, installation, space design, industrial design, sustainable design, exhibition design, writing, music, fashion, academics, and so forth. This requires that students and instructor are consciously and constantly aware of and engaged in art and design
trends, art and design theory, and academic discourse. In other words, I can’t stress enough the need for good research, whether this means noting what we do everyday, but don’t consider research, or conducting research in a particular area in order to address a project with expertise. To this end, my art practice includes academic
design from print to installation,
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studies as well as art and SENIOR PORTFOLIO, SCHOOL OF VISUAL ARTS, NYC, 2011
painting and sculpture, writing,
and exterior). My students add their own references
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and space design (interior
HANDS ON PUBLICATION DESIGN WORKSHOP, GUAYAQUIL, ECUADOR, 2009
enabling the community to be multidimensional, crossing cultures and decades. Finally, I think it is important to provide students with career
SCHOOL OF VISUAL Q ARTS YEARBOOK, NYC, 2011
guidance. For instance, I help
For a new graduate or
students refine their career strategies and counsel them on how to develop creative
HANDS ON PUBLICATION DESIGN WORKSHOP, GUAYAQUIL, ECUADOR, 2009
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careers. I also teach them
someone making a career change, being able to support oneself and doing creative work don’t necessarily go
the value of networking and
together, at least not for a few
maintaining professional
years. I try to help students find
connections, key skills for
a balance between what they
getting into the job market. I
are able to get paid to do and
listen to and watch how each
what they’d like to do, striving
student thinks and creates,
always for the latter, but also
what they are looking for in a
preparing for the former. In
career, who they admire, and
addition, I sometimes network
try to counsel each accordingly.
students to individuals in the
To ensure that students have both a marketable portfolio and internship
field willing to mentor young professionals In my experience, using this
experience, I encourage and
framework for teaching helps
help place interns, hire talent
students become creatively
for Six Sisters Design projects.
and professionally resilient
I also post jobs from creatives
and therefore ultimately better
looking to offer young talent
designers –- fulfilling their
experience in the marketplace.
hopes and mine.
whitespacefpo SENIOR PORTFOLIO / GDD-4060-A / T, TH 3-6PM
clockwise from top left: Marcela Albuquerque, 2012 thesis, horizontal web scroll on camouflage; Johnross Post, type sample; Bryan Farevaag, 2008 thesis, “World Oil Reserves and Consumption,” information graphics, book, posters; Jacqueline Tomlinson, business cards: Mike Kuhn, 2012 thesis, food truck selling empanadas; Jane Youn, 2011 thesis, “Origin of Man,” exhibition design, collateral, book, information graphics; Ledi Lalej, 2011 type poster, leave behind.
/ SVA MAIN, ROOM 302
http://whitespacefpo.blogspot.com/
C O U R S E O V E R V I E W : You’re a few months from hitting the streets to look for meaningful work in design. We will strive together to prepare you for this step. You will need to do a lot of work. We will have weekly assignments, then a thesis project that will span the winter break. Once back, we’ll focus on summarizing your best pieces, reworking them if necessary, then head into preparing your final portfolio. You are expected to know all aspects of print design, including concepting, art directing, typography, grids, etc. We will also work in multi-media. If there are graphic forms we don’t cover in the weekly assignments, we will cover those in your thesis projects. If you wish to plan ahead, you might be thinking of a thesis topic that you can fold your various “build up” assignments into. We’re going to have fun together and you’re all going to get there in excellent form. That’s my committment to you. Promise!
STUDENT WORK
http://typobloger.blogspot.com/
C O U R S E O V E R V I E W : By now, you’ve mastered the basics of “good type” including the ability to choose appropriate fonts for your projects, set great display and text type, you have excellent kerning skills, you know how to work with leading to tweak your typography, you have a personal library of serif and sans serif fonts, you understand the difference between classic fonts and contemporary fonts, you can recognize “good” fonts as opposed to “bad” fonts, you understand and can use grids. It’s time to make any typeface work for you. From faddish fonts to the finest faces, typography will yield to your command. The objective of this course is to communicate your ideas using typography as part of your visual language. You will complete many projects while you continue to develop your personal voice. Mix fonts, alter them, create your own. Make a statement, take a stand, change the world! This is your moment in history. Let your imagination run free.
Nick Misani, Hand Drawn Type Specimen
April Sharp, Type Specimen, 2010 SVA Yearbook
Amy Decker, Hand Drawn Type Specimen
Johnross Post, Type Specimen Jin Suk Kim, Type Specimen
Dong Hee Choo, Created Type Specimen
Jacqueline Tomlinson, Type Specimen
Mike Kuhn, Hand Drawn Type Specimen
http://editdesign101.blogspot.com/
C O U R S E O V E R V I E W : In this course, you will create your own magazine, newspaper, book, zine, or online magazine app from concept to finished product. You will refine your knowledge of how to package editorial material in a graphic style that represents your personal aesthetic and appeals to your target audience. Weekly critiques will consider page elements such as overall concept, accessibility, aesthetic style, typography, layout, illustration, photography, grids, rubrics, white space, readability, etc. until a cohesive product is achieved that both suits the content of the magazine and appeals to the target audience. You will create covers, logos, a contents spread, a feature well, and department pages. The language of editorial design will become familiar vocabulary. We will visit several major magazines and speak with art directors who will share their insights on how they successfully communicate the message of their publication. We will critique work weekly. Please come prepared each week with your own work and an open mind to join in the critiques.
clockwise from top left: Jade Azevendo, 2012, feature spread Nanako Takashima, 2011, feature spread; Maria Abella, 2011, feature spread; Nabil Samadani, 2010, feature spread; Nanako Takashima, 2011, feature spread; Diana Sanchez, 2006, feature spread.
http://intermediatewithgen.blogspot.com/
C O U R S E O V E R V I E W : This course is designed to jump-start your portfolio. Experimentation and discovering and imprinting your personal aesthetic on your is be strongly ecouraged. You will create projects from conception to presentation. Projects will vary to suit each of your portfolio needs. Assignments may include books, packaging, posters, self-promotion, identity, branding, iPhone and iPad apps, etc. Our goal is to conceptualize projects you want to produce and have fun executing them. Weekly critiques will focus on concept, typography, color, technique, form, and overall design. Work in all media is encouraged.
Nick Masini, 2011, bucket list poster, Paul Segner, 2011, book covers; Nick Misani, 2011, public service announcement posters, Mariya Campwala, 2011, public service announcement poster, Albert Kim, 2011, information graphic, Albert Kim, 2011, iPhone app; Mariya Campwala, 2011, public service announcement poster.
http://23rdand3rd.blogspot.com/
clockwise from top left: Elissa Corwin, 2009, process book; Mark McEnery, 2010, packaging. Jeanette Leagh, 2009, type specimen; Liz Liu, 2010, logo mark development; Diego Barragan, 2009, public service annoncement poster; Rieko Yamanaka, 2011, notebook page.
B A S I C D E S I G N , C O U R S E O V E R V I E W : The aim of this course is to introduce the many ways of communicating visually and to encourage thinking and working in new directions. As background to graphic design history, as well as to expand your visual vocabulary, we will explore Manhattan’s many design resources--museums, galleries, stores, jungle of signage and billboards, libraries, and design studios. Emphasis is placed on developing your uniqueness as a visual communicator. Weekly critiques of projects are designed to refine and perfect your projects. All the major design elements will be discussed: concept, typography, color, layout, form, materials, craftsmanship. You can expect to leave the course with several strong pieces.
SVA YEARBOOK I conceived of the yearbook project as a course, wherein I hire student talent for all aspects of the creative process, from conceptualizing the “book,” to set design, to photography, to design of the overall product. I am the creative director, faculty advisor, responsible for administrating and managing the budget ($140k), which includes hiring all support staff and vendors including printing. The book has been a smashing success for the ten years I have been at its helm, earning top professional awards for design, packaging, typography, and photography from the most prestigious national and international design organizations.
2003: Creative Director: E. Genevieve Williams; Art Directors: John Yun, Susan Park; Designer: Jeremy Blakeslee; Photographer: Kanako Sasaki 1) Print Magazine Regional Design Annual 2004: Creative Director: E. Genevieve Williams; Art Directors: Hee Jeong Lee, James O’Brien, Ana Blagojevic; Designer: Diksha Watwani; Photographers: Kanako Sasaki, Michael Bayer, Lindsey Rome 1) The One Club Show 2) Creativity 34 Annual a. Gold medal Creative Achievement in Typography b. Gold medal for Book Design 2005: Creative Director: E. Genevieve Williams; Art Directors: Ha Do, Chris Spooner, Lenny Naar, Lisa Sobczynski, Ana Blagojevic; Photographers: Kanako Sasaki, David Miao 1) STEP Inside Design, 100 Showcasehttp://www.stepinsidedesign.com/ STEPMagazineArticle/28590 2) Design One, 2005 3) The Great Design Show (Carbone Smolan Agency) 2006: Creative Director: E. Genevieve Williams; Art Directors: Hye Jung Chung, Chi Young Cho, Ashley Gretina, Ava Savitsky; Photographers: Jane Huntington, David Miao, Kanako Sasaki 1) How Magazine 2) The Great Design Show (Carbone Smolan Agency) 3) Print’s A+C=D Business Graphics Review 4) 2007 Print Magazine Regional Design Annual 5) The One Club Show 6) Davey trophy 2007: Creative Director: E. Genevieve Williams; Art Directors: Julian Gonzales, Ji Yoon Lee, Tomomi Fujimaru, Jamie Bartolacci; Photographers: Michael Kwiecinski, Jane Huntington 1) Creativity Gold 2) Davey Award 3) Spark Design and Architecture Award 4) Step Inside Design: http://www.stepinsidedesign.com/STEP/Article/28859 2008: Creative Director: E. Genevieve Williams; Art Director/Photographer teams: Daniel Cassaro/Natasha Kaser, John Gilmore/Elleser Galleta, Christopher Lin/Samantha Cohn, Guest Art Director/Designer: Karen Hsin 1) Creativity Gold 2) Spark Design Awards 3) Print Design Annual 2009: Creative Director: E. Genevieve Williams; Art Director: Michael Bebout; Guest Art Directors: Jonathan Han, Steve Attardo, Alex Merto, Eric Ku, Lauren Jantz, Marie Yan Morvan, Katia Hakko, James Hughes, Soo Jung Kwon, Photographers: Samantha Cohn, Bon Duke, Kara Hayden; Writer: Robert Koppel 1) How Magazine 2010: Creative Director: E. Genevieve Williams; Art Directors: Daeeun Kim, Nicole Fischetti; Guest Art Directors: April Sharp, Erin Kim, Erica Chung, Ramon Tejeda; Photographers: Matt Kushan, Ina Jang; Video Direction: Who-fu (Magico + Masayoshi Nakamura); Motion Graphic Design: Kaya Ono, Akira Uchinokura; Additional Compositor: Beryl Chen; Music: Yuuki Ono; Writers: Russell Flinchum, Elizabeth Kaye, Robert Koppel 1) Creativity, Platinum 2) Art Directors Club, Silver 3) In-HOWse Design 4) Communication Arts 5) Tokyo TDC 6) Spark Awards 7) HOW Outstanding Achievement, interveiw with Bryn Mooth 8) Graphis New Talent Annual 2011: Interaction, Observation, Imagination: 2011 School of Visual Arts Yearbook, Creative Director: E. Genevieve Williams; Art Directors: Donghee “Agnes” Choo, Jin Suk Kim; Guest Designers: Ayca Bayer, Amanda Bell, Erica L. Chung, Bryan Farevaag, Ramon Tejada, Olga Vladova; Photographers: Alex Nunez Caba, Ina Jang, JinYu Kuang, AnRong Xu; Writers: Elizabeth Kaye, Robert Koppel, Russell Flinchum 1) Clio Awards, Silver 2) Davey Awards
SIX SISTERS SIS TERS DESIGN
S I X S I S T E R S D E S I G N , L L C
I curated a show for SVA that showed in the SVA Chelsea Gallery entitled, “2003-2007.” Student designers from left to right: Susan Park and John Yun, SVA Yearbook 2003; Hee Jeong Lee and James O’Brien, SVA Yearbook 2004; Lenny Naar, Lisa Sobczynski, Ha Do, and Christopher Spooner, SVA Yearbook 2005; Chi Young Cho, Hye Jung Chung, Ashley Gretina, and Ava Savitsky, SVA Yearbook 2006.