FLIESSEN
VOL. II ISSUE III.
The Advantages of Being a Woman Creator: Never having the pressures of leading the industry. Having feminism as a go-to topic. Getting to use tools online and not the ones for construction. Perfecting your personal branding as you apply for free-lance jobs. Not having to ask for feedback to receive it. Constantly being reminded of your worth. Not having to be in textbooks alongside men. Always being offered constructive criticism. Getting featured in FLIESSEN zine.
Page 4
Amelia Reyes 06
Mahalia Smith 10
Rhea Vergis 12-17
Ashley Fletcher 21
Janina Camp 5 22
Student Submissions 20 24 26
Pages designed by Amanda Bohn 12-17 Isabelle Bryson 3,26,27 Emma Caamano 4,8,9,24,25 Brianna Hawley 20,21 Gabby Napolitano 1,10,11,28 Soffia Obando 6,7
Page 5
Illustration by @jansartcamp
Page 6
Amelia Reyes Corcoran Fine Arts ‘02 Textile Designer
california running trail in mid-october 2020; watercolor + gouache on hot-press paper; 22” x 30”
Paintings by Amelia Reyes
Page 7
california running trail in late august 2020; 22” x 30”; watercolor + gouache on hot-press paper
california running trail in mid-december 2020; watercolor + gouache on hot-press paper; 15” x 22”
Photographs by Emmy Numann
Paintings by Mahalia Smith
Page 12
Rhea Vergis What I learnt as a Graphic Designer Rhea Vergis Graphic Designer As a woman in graphic design, I have always been encouraged by how women support women in the design industry. The women who inspire me are confident in their work and are fearless to go after the projects that they want to work on. It’s hard to keep up in an industry that expects you to have awards, personal projects, an amazing internship straight after college, or a large following on social media. I often find myself caught up in the quest to prove myself to others and forget to create and design for myself. I try to live day to day and enjoy as many little victories as I can. Being able to stay grounded and making beautiful things is an achievement in itself. If there is one thing that I can share with you about being a designer, it is that creativity comes in waves. We often try to be superhuman and crunch out designs even though we are burnt out. Understanding that we need to take the time to recharge and listen to our body and mind is important. I think creating time and space to just be and experience life around you plays a large role in what you produce as a designer. It’s not something that I have mastered myself, but I’m trying to implement this in my daily life. Lastly, always, always support each other. The feedback that you give your peers and fellow designers helps them grow and improve their work. Don’t be afraid to connect or reach out to other women designers and let’s continue to cheer other women who do great things! Illustrations and Designs by Rhea Vergis
Thesis Project
Lost And Yet Searching
Page 13 Project Advisor: Sandra Maxa, Maria Habib, Mark Sanders Maryland Institute College of Art Imagine being part of a world where you don’t feel like you belong. Lost and Yet Searching explores the transition of Third Culture Kids. A Third Culture Kid (TCK) is a person who has spent a significant part of his or her developmental years outside the parents’ culture. The TCK frequently builds relationships with all cultures, without having ownership of any one. They are raised in a “neither/nor” world. It is neither fully the world of their parents’ culture (or cultures) nor fully the world of the other culture (or cultures) in which they were raised. Being a “neither/nor” in a large world with very little guidance on how to navigate through the transition is not easy. The design of two zines, a video and a walk through installation, offer a way through which TCKs can relate and communicate with others. The publications help individuals recognize and use the gifts that the TCK childhood provides and the physical space allows people to experience a sense of community. Through communication and sharing experiences, it is my hope to normalize the third culture experience for this growing population.
Page 14
Richard Niessen
His World of Multicoloured Visuals
&
Rhea Vergis Project Advisor: Maureen Weiss Maryland Institute College Of Art
An exploration into the world of Richard Niessen led to designing a hypothetical graphic design lecture by him. In an interview, Niessen expressed his love for experimentation while working on posters. He challenges the function of graphic design by bending, folding and cutting posters to create interesting visuals. I was inspired by his process and began to create an identity for his lecture by highlighting this process through the use of dotted lines to indicate folding or cutting. The book is informative with details of his background and his most renowned works and follows the design of the dotted line, while the poster and screen design feature the lecture “The Art Of Making” where the dotted lines are deconstructed to showcase his process.
Page 15
Page 16
The Unofficial Guide To
Monopoly
Rhea Vergis Project Advisor: Sandra Maxa, Tony Venne Maryland Institute College Of Art
This guide is an unofficial rulebook for first-time Monopoly players. It equips them with the necessary knowledge of the game and the cut-throat reality of real-estate. An online review mentioned that “Monopoly is the worst; the game never ends, no one knows the ‘actual’ rules, there is no pathway to victory without cheating and scandal…” The idea was to produce a design that aimed to solve the problem
of players not knowing all the rules. The individual cards not only explain the rules but also guide players on how to negotiate to win. The series of 10 icons act as a visual system to inform players of the unofficial rules made up by people who play Monopoly all over the world. The icons are modern and straightforward and the colors are inspired by the property colors in the game but are amplified to create a statement. The use of abstract patterns aims to generate a fun andimmersive experience.
Page 17
Illustration by Isabelle Bryson @brysonize
Page 20
“As a woman photographer I always have to worry about my safety and I’m told to never go anywhere alone. On the other hand, I’ve found that people are more likely to let their guard down when I’m photographing them. There are pros and cons. However, something that I always find true is that I have a constant need to prove myself in a male dominated industry.” - Sydney Walsh
Page 21
Illustrated by:
Ashley Fletcher
Photographs by April Mihalovich
Page 26
It’s hard to sit in an art history class and see how few women were recognized as artists until very recently. Women have always been making art, but they either didn’t receive credit for it or it was reduced to “craft”.
I read this Rupi Kaur poem once about standing o n a moun
what she can do
tain
I think everyone has a
and she asked herself er for future women. to make that mountain tall
but ws exhibiting women o h s o t We can go arti sts an
as ar
wing the mountain in gro y the voic e s f i l p n a c a m tists we
of the women w e wo
dw e ca
n rea
rk w
ith and buy more art n m ade by wome
d their books, listen
to their m usic
Amy Poliero Fine Arts ‘22
I don’t consider my photography to be “feminist art”, but I am thankful for what feminism has made accessible to me and hopeful that I can give back.
BREAK THE CEILING