Madeleine Coultrip :: Design by madeleine coultrip

madeleine coultrip design & illustration

ME IS WHERE

E HEART IS &

IAM’S HOUSE

HOME

AM’S HOUSE

NCHEON

Y 19 2010 th

00 –1:30 PM

ON STUDENT CENTER

HBURG COLLEGE

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a week of recreation and celebration with a special focus on water as a precious resource that is in danger locally and globally

Tuesday April 20

5-11 PM

Depot Grill Fu All profits from

Thursday 4-5:15 PM Hopwood Au “Internationa April 22 Friday April 23

7 PM 9 PM

Saturday All Day April 24

madeleine coultrip 2010

FOLIO PORT

4 o l l he

10-3 PM 1-4 PM 7 PM 9 PM

design & illustration maddie.coultrip@gmail.com 314.814.5418

Lynchburg C St. Baldrick’s Community S

The Pavilion: Jammin’ Jam Beaver Point The Dell: Big B Lynchburg C The Pavilion:

olsen.t@lynch

illustration watercolor & marker 11 x 14 inches

HELLO. 4

I’m Madeleine, but you can call me Maddie. I graduated from Lynchburg College with a degree in graphic design and a minor in journalism/PR. I’m from Saint Louis, Missouri. I’m the middle child in a family of 11 kids (8 boys, 3 girls). I love mangoes and foreign films and spicy thai food. I sometimes carry my own hot sauce around with me. I collect little elephant figures. I dream about design.

SENIOR THESIS Juli Scarves & branding

scarves silk crepe de chine 22 x 22 inches each packaging mixed media posters Photoshop, paper, gold penÂ 30 x 13 inches each

SENIOR THESIS

LC INTERNATIONAL PROGRAMS poster campaign

Photoshop 11 x 17 inches each

GRAPHIC DESIGN

Illustrator 5 x 7 inches

last impressions are important too.

and annual juried student art show

come see ours at the daura gallery April 26 â&#x20AC;&#x201C; May 14, 2011 Opening Reception on Tuesday, April 26, 4-5 PM Refreshments provided

Sarah Bright Jaren Brown Gregor y Bruening Millie Coleman ip Madeleine Coultr n to il m Elizabeth Ha Devon Harp Lauren Miller Victoria Rubnitz Tirsha Tokarskyy Daniel Tone

SENIOR ART THESIS EXHIBITION show card GRAPHIC DESIGN

Photoshop 11 x 17 inches

Lynchburg at College Tuesday April 20

5-11 PM

Depot Grill Fundraiser All profits from meal go towards drilling well in Uganda

Thursday 4-5:15 PM Hopwood Auditorium: Keynote Speaker “International Water Issues” April 22 Friday April 23

7 PM 9 PM

Saturday All Day April 24

2010

a week of recreation and celebration with a special focus on water as a precious resource that is in danger locally and globally

10-3 PM 1-4 PM 7 PM 9 PM

Lynchburg College Women’s Soccer vs. Liberty Univ. St. Baldrick’s Foundation Cancer Service @ halftime Community Soccer All-Star Game The Pavilion: Documentary Flow—The World Water Crisis Jammin’ Jamboree: local bands playing Beaver Point: Bucket Brigade—Hand Dredge College Lake The Dell: Big Brother/Big Sister Kids’ Carnival Lynchburg College vs. W&L Lacrosse Game The Pavilion: No Greater Sky Rock Concert olsen.t@lynchburg.edu or call 434.544.8491

MIRIAM’S HOUSE luncheon logo, advertisement & program cover Illustrator

HOME IS WHERE

THE HEART IS &

MIRIAM’S HOUSE

IS HOME MIRIAM’S HOUSE

LUNCHEON

MAY 19 2010 th

12:00 –1:30 PM BURTON STUDENT CENTER

LYNCHBURG COLLEGE

WADING IN WATER FOR LIFE poster

GRAPHIC DESIGN

BONNER LEADERS PROGRAM recruitment flyers, binder covers & t-shirt designs 5

1. flyer marker & watercolor 11 x 8.5 inches

15 2. flyer mixed media 8.5 x 11 inches 3. binder cover Photoshop 8.5 x 11 inches 4. t-shirt Illustrator 5. binder cover Illustrator 8.5 x 11 inches

GRAPHIC DESIGN

Photoshop 11 x 17 inches each

THE AGING AND CAREGIVING RESOURCE CENTER volunteer recruitment & open house posters

GRAPHIC DESIGN

GOODWILL INDUSTRIES

poster campaign Illustrator 16 x 20 inches each

HOWEVER YOU CAN, SUPPORT

WHATEVER IT IS, RECYCLE IT AT

YOUR COMMUNITY WILL THANK YOU

YOUR PLANET WILL THANK YOU

GOODWILL GOODWILL

WHATEVER IT IS, FIND IT AT

GOODWILL YOUR WALLET WILL THANK YOU

GRAPHIC DESIGN

ALPHABOOK

accordian fold book

design & construction InDesign, cut paper 5 x 2.5 inches each page

PUBLICATION DESIGN

AUROUS

JOURNAL OF VISUAL ARTS AND CREATIVE WRITING

cover art, layout & art direction

JOURNAL OF VISUAL ARTS AND CREATIVE WRITING

LYNCHBURG COLLEGE 2010-2011

Table of Contents

AUROUS

4 5 6 8 9 10 11 12 14 15 16 17 18 21 22 24 25 26 27 28 29 30 31 32 33 34 35 36 37 38 39

Dean of the School of Communication & the Arts

Art Director’s Note Welcome to the inaugural edition of the Aurous! The title, Aurous, means of or containing gold, and we think it hits the mark exactly. We have selected from many wonderful entries what we think are exceptional works of art to showcase. We were overwhelmed with the positive response from the students and faculty and we want to thank every person who entered. We hope you find this selection of entries to be as inspiring, delightful, and stimulating as we do. In the design and layout, we tried to move fluidly from one to the next, mixing and matching images and text for a balanced combination that was both cohesive and exciting. Art speaks for itself, so we kept the other design elements and font variety to a minimum. We began with a simple mission: to showcase the best of the best here at Lynchburg College, and I think we have accomplished that goal. Please enjoy the issue! -Maddie Coultrip

Cover Art: Untitled, From Life Series,

First North American serial rights, individual copyrights revert back to their authors after publication

Maddie Coultrip, Waterolcor & Pen

Doll Pet Millie Coleman Digital Photography

Riggs Hundley, Springtime and Ewe Millie Coleman, Sunbathing Tori Rubnitz, Sea Life Ellen Reynolds, Green and Rust Lauren Dunn, Aged Industry Dana Constanzer, Untitled 1 Laura Albrecht, Emotion Maddie Coultrip, Untitled, From Life Series Millie Coleman, Doll Pet Jill Markwood, Triptych of Shells Cathy Williamson, The Portrait Edgar Reyes, Disheartened Grace Mattox, Spiral Descent Jennifer Watlington, Value study of Franz Marc/ The Large Blue Horses Tirsha Tokarsky, Winter’s Landscape Millie Coleman, Jardin des Tuileries Millie Coleman, Pont Neuf Tarcha Joyner, Mannequins III Edgar Reyes, Self-Portrait Edgar Reyes, Suppressed Heather Dodge, Fork Art Riggs Hundley, Wind Chill Tarsha Joyner, Another Millenium: I’ll Wait For Her IV Lindsey Sullivan, Beauty in the Kitchen James Young, A Powerful Hat Stephanie Best, Untitled 1 Heather Dodge, Rubik’s Cube Edgar Reyes, Van Gogh Study Riggs Hundley, Sailboat Shaped Poem Laura Albrecht, Dragonfly Rachel Matney, Anatomy of a Smoker

Triptych of shells

Jill Markwood Encaustic drawing created with graphite, charcoal, wax, and India ink 3 drawings each 22 x 30 inches

Aur o us

InDesign 40 pages 8.5 x 8.5 inches

PUBLICATION DESIGN

STREET ART EDITORIAL layout, poster &

collateral

e r stre t a t

a c ri m e th a ts go o d fo r so c ie ty ? M ad d ie C ou lt rip

he reasons and motivation vary so greatly for each artist that the purpose of street art also eludes most, but with more street artists speaking openly about their work, and more in depth research being done, the mystery and anonymity of street art is dissolving. What began as a desperate attempt to escape definition and to move fluidly between art and advertising and remain on the streets where it would be seen, street art is now stuck in limbo in galleries, priced at millions, being studied as species of advertising in its rhetoric, and its place in the public realm being questioned, the

What began as a “risk to achieve fame through a name,” graffiti originally was the language of a subculture fighting for territory and power. Although its origins are unclear, street art eventually crept in and the media became fascinated with it. Street art is celebrated by the media because it appears “to represent something almost universal and safe, but with a slight edge, despite the animosity from graffiti writers and the law.” There is no official definition of the street art movement but it has generally become accepted to include any “art” seen on the streets. In the very broadest terms, graffiti is writing and drawing done illicitly on a public wall, including street art. The term graffiti, however, comes with a negative connotation because of the association with gangs, tags, and destruction of public property. For this study, graffiti will refer to any and all writing and drawing done illegally in a public space, including street art. But street art, as a sub-section of graffiti, will be more explicitly defined and separated from other forms of graffiti. This definition will be the first step towards understanding street art in context. global street art movement seems to have confused its own place and role in the world. Many other areas have been impacted by and are impacting street art, but it should be realized that street art is its own enterprise and must remain as such, even as it evolves and expands. From its rough beginnings to its current controversial status, street art captures the fascination and imagination of many different people and is involved in many subjects. In what may have originally been a state of rebellion against law enforcement and rules of society, graffiti was born out of a need to be

noticed and leave a mark on territory. This kind of writing still exists, but it has been overwhelmingly covered by a more aesthetically invigorating kind of mark referred to as street art. The Global Street Art Movement is evolving daily. While the artistic merit of street art is still being debated, its value in other areas such as urban planning and advertising is beginning to take shape. As this movement evolves in technique, subject matter, market importance, and purpose, its importance as rhetoric for creativity and viewing public space is also evolving. Although not a fully formed movement, street art already has

Illustrator & InDesign

‘‘

Tags represent street art in an early

form, focused on spreading an individual’s name. Often repetitive, these marks appeared everywhere and were relatively simple.

Highly stylized writing evolved from tags and focused on a more aesthetic practice of self-affirmation.

s a Sticking

is a practice of posting drawings, messages, or symbols so as to spread short messages quickly and broadly. This form allows most of the work to be done before the artist hits the street.

Stenciling is a form which allows the artist to mimic the same symbol over and over easily and quickly in many places by using a cutout of some sort.

Poetic assault

is one of the more recent manifestations of street art, consisting of infusing dull public places with poetic content.

Urban design relates to public

beatification of architecture with an aesthetic focus.

Finally, one study presents four different theoretical purposes behind street art for redefining public space: (i) private appropriation of public space, (ii) dweller’s resistance to the alienation of public space, (iii) artists’ claim for street democracy, and (iv) joint striving for common place. All of these have to do with both the artists’ drive and the viewers’ response. These four theoretical purposes give us something more concrete to apply to street art and help to identify a message of communication in the public sphere. Allowing for a vast number of possibilities, the purpose of street art, according to these theoretical purposes is as varied as the artists’ who make it. Street art is not fine art, graffiti, public design nor advertising, although all of these areas can learn from it just as much as they inform and influence it. Street art is in limbo, which allows it to constantly transform and reinvent itself according to its creator and location. This idea speaks to the blurry lines that make up so much of mass culture. Neither black nor white, street art is literally a splash of color in our sometimes gray world.

Art is not like other culture because its success is not made by its audience. The public fill concert halls and cinemas every day, we read novels by the millions and buy records by the billions. We the people, affect the making and the quality of most of our culture, but not our art. The Art we look at is made by only a select few. A small group create, promote, purchase, exhibit and decide the success of Art. Only a few hundred people in the world have any real say. When you go to an Art gallery you are a simple tourist looking at a trophy cabinet of a few millionaires.” -BanKSy

st re et ar t as

THeSe Seven caTergOrieS will HelP yOU recOgnize STreeT arT

useful facet for social analysis. Its creates intersections where legitimate and illegitimate meet and enables cultural groups to give themselves solidity and definition…it is often produced by those without power, to negotiate relationships with both the society from which they are disempowered and other within their own groups. If graffiti is a window into a culture…then it is the same window that people use to look in on themselves as they actively construct the guidelines and concerns of their lives. In this sense, street art, in order to remain legitimate, must continue on the streets, by people, for people, and address the people’s concerns. Others can learn from it, try to understand it, purchase it, and imitate it, but the fabrication and commercialization will never ring as true or be as much of an art as the pure erratic and beautifully unpredictable nature of art on the streets: “Perhaps we lose sight of this basic need for expression, as unsightly as it may seem. Graffiti may never be embraced wholeheartedly, and perhaps it must remain on the fringe of social acceptability to preserve the authenticity of its character.”

ba si ca ll y

much to offer. But most importantly, it should be considered a separate entity, remaining in the streets where it can influence fine art, public art, and advertising, but never forget its ties to freedom and community. Although the drive and purpose varies greatly from artist to artist, there is a general acceptance by artists and viewers that street art is both a means to creative self-expression and a public gift of beautification. Giving art back to the society from which it comes, artists such as Banksy work hard to make the marks mean something, educate and/or entertain. Others are simply trying to communicate with as many people as possible. And still others look for ways to make the world less gray. Defining the artistic worth of this genre is no easy feat. While some form the opinion that street art holds very little, if any artistic worth, others argue that it moves modern art forward in a new direction unlike any other genre before it. Because of such a range of ideas, street art must be viewed, as any art is, on a piece by piece basis and not through a vague “good” or “bad” window. While artistic merit is being debated and judged, street art is being studied in many different areas. Finally, looking at its successes, it seems that advertising has a lot to learn from street arts effective use of language. Street art, with its many forms, seems to have seven cohesive rhetorical practices, which can help explain its success in communicating to the public. They are (1) aestheticization, (2) playfulness and cheerfulness, (3) meaning manipulation, (4) replication, (5) stylistic experimentation, (6) rediscovery, and (7) competitive collusion. These seven practices provide a means to expand creative output in many areas. Advertising, if it could harness the power of street art, in theory, could occupy overwhelming power in the market. Some feel that this would only make people suspicious and feel cheated. The future will be telling. Even if advertising could learn to emulate street art, there might always be a piece missing in the equation. Essentially, legal graffiti-like advertising would lose some of its merit because the act of vandalism is what makes street art so interesting and empowering: It is vandalism, no matter how ordered or beautiful. In fact, it is precisely in its illicit aspect that graffiti presents its most

rec laim ing pub lic spa ce

THere are BaSically TwO DifferenT wayS TO lOOK aT THiS STUff in SOcieTy

inDiviDUaliSTic view

cOllecTiviSTic view

Private appropriation of public space & Dweller’s resistance to the alienation of public space

Artists’ claim for street democracy & Joint striving for common place

PUBLICATION DESIGN

THE BONNER BEAT layout & illustrations 26

InDesign & Photoshop 8.5x11 inches

PUBLICATION DESIGN

THE REAL SHOW ENTRY FOR PROTO layout & MAGAZINE illustrations

InDesign & Photoshop 8.5 x 11 inches

PUBLICATION DESIGN

layout InDesign 8.5 x 11 inches

THE SOCIETY OF WESTOVER FELLOWS newsletter layout

PUBLICATION DESIGN

THE CRITOGRAPH newspaper layout layout InDesign 11.5 x 14 inches

Student Newspaper of Lynchburg College critograph.lynchburg.edu

Volume 98, Issue 22 March 17, 2011

Brewed may be renovated Megan Delp Assistant Editor

LC tuition to rise 3 percent for 2011-2012 school year Victor Munson Copy Desk Chief

ynchburg College may renovate Brewed Awakenings, John Knaus, owner of Brewed Awakenings, said. “I know it’s more than a rumor, of course I have seen meetings, I’ve seen people with their measuring tapes measuring the condiDelp ment table and all,” Knaus said. Knaus has not heard whether the school has decided to go through with expanding Brewed Awakenings. “I would imagine that they are exploring something, but them being prudent they don’t want to say what it is

See Brewed pg 4

Photo by Greg Bruening

Run for Anna

Over $15,000 were raised from The Run for Anna that took place March 1 to raise money for a well in Gulu, Africa. The run was dedicated to the memory of Anna Wright ‘11, a former member of the Lynchburg College Women’s Soccer Team who died in a car crash last year. Over 180 runners pre-registered for the race, Todd Olsen, head coach of women’s soccer and assistant professor of health promotion, said.

Brewing Beer goes here for fun and stuff

inside:

More pictures on pg 8

Cornell study shows Facebook can elevate selfesteem levels pg 5

he cost of attending Lynchburg College will rise by 3 percent for the 2011-2012 acaMunson demic year This increase translates to $450 more for tuition and $180 more for room and board per semester. “The 3% increase applies to tuition and the base room and board rates,” Associate Vice President for Business and Finance John Lewis said in an email. “The other fees such as student activity fee, technology and facilities fee are not increasing.” The increase to room and board rates comprises a $60 increase to room rates and a $120 rise in meal plan rates, which includes $100 to each student’s LC Express account at a discounted rate of $85, Lewis said in the email. This feature was previously offered as an option on meal plans. LC builds a budget model each year based on guidelines from the Board of Trustees, Lew-

Photo by Greg Bruening

TeenNick to air 90s Nickelodeon programming starting Fall 2011 pg 5

TAKE OUR READERSHIP SURVEY FOR A CHANCE TO WIN A $25 VISA GIFT CARD

See Tuition pg 3

Student Newspaper of Lynchburg College critograph.lynchburg.edu

Volume 98, Issue 26 April 14, 2011

Buckingham a driving force for women’s lax Adrian Robinett Staff Writer

Heads shaved for cancer Theresa Gillette Staff Writer

wenty-one “shavees” gathered on the steps of Hall Campus Center on Friday, April 8 to shave their

heads for the nonprofit organization St. Baldrick’s, which is aimed at raising money and awareness to supGillette port childhood cancer research.

“St. Baldrick’s is a non-profit organization that raises money to grant funds for childhood cancer research. [Through] headshaving events organized across the nation, all donations go to St. Baldrick’s foundation to find a cure for children who are diag-

nosed with cancer,” senior Devon Harp, organizer of the event, said in an e-mail. The head-shaving ceremony symbolizes beauty in the children who have lost their hair due to cancer, See St. Baldrick’s pg 4 Photo by Rachel Matney

SGA seeks reconsideration of ROTC Megan Delp Assistant Editor

n ROTC program at Lynchburg College is once again under consideration. LC’s Delp Student Government Association is writing a letter to the faculty encouraging them to re-examine the possibility of an ROTC program now that the military’s

“Don’t Ask, Don’t Tell” policy has been repealed. “The letter isn’t any sort of legislation from SGA. It’s a Bill of Opinion stating that Senate believes it is in the best interest of the student body for the faculty to revisit the idea. Hopefully upon receiving the letter (most likely at the first faculty meeting of the next semester) the faculty will discuss the idea,” said SGA Vice President Vanessa Alberto in an e-mail. Vice President and Dean

Over 500 attend Relay For Life

pg 3

pg 4

inside:

LC alum directs children’s choir in China

‘‘

for Academic Affairs Julius comfortable with any kind of military presSigler said in an ence on a cole-mail that Army lege campusROTC was at LC -an attitude for several years Lynchburg College caused at least during the 70s has never had such partially by the and 80’s. The a policy and it was experience of program was not deemed to be Vietnam large at LC and absolutely contrary to the War,” Sigler was discontinued our traditional policy for a few differ- of inclusion and non- said in the email. “Other ent reasons, Sidiscrimination.” faculty would gler said in the -Julius Sigler argue the bene-mail. “First, many faculty (and efit of having officers who See ROTC pg 3 students) were and are un-

t’s spring at Lynchburg College and the afternoon sun illuminates Shellenberger Field. Robinett Junior Lesley Buckingham, an attacker and midfielder, is sprinting past defensive players, lacrosse stick in hand. The emerald turf cushions under her cleats as she attacks the goal with one swift flick and the red, black and white rise to their feet and cheer. A goal is not an unusual event for this determined player. As a freshman in 2009, Buckingham scored seven goals and started three games. 2010 was even better, as she is described on the LC Athletics web page as being the driving force behind the LC women’s lacrosse offense, scoring a school single-season record of 59 goals and 17 assists. Buckingham hails from Herndon, Va. and has only played lacrosse since her sophomore year of high school.

See Buckingham pg 5

SUBMIT YOUR OPINIONS TO THE CRITOGRAPH: CRITOGRAPH@LYNCHBURG.EDU PUBLICATION DESIGN

H NE NATIONAL ENDOWMENT for the HUMANITIES DIVISION of EDUCATION PROGRAMS 1100 Pennsylvania Avenue, NW Washington, DC 20506 (800) NEH - 1121 info@neh.gov

setting excellence in motion

stationary, envelope & business card InDesign & Illustrator

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35 settingsetting excellence excellence in motion in motion

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NATIONAL ENDOWMENT for the HUMANITIES

Bob McLane Manager 540.754.3458 bob@neh.gov

setting excellence in motion

DIVISION of EDUCATION PROGRAMS

REAL SHOW ENTRY FOR NEH logo & branding BRANDING

MOON branding ROCKS

logo, brochure & packaging Illustrator & InDesign

BRANDING

INDEPENDENT STUDY illustrations pen & watercolor

ILLUSTRATIONS

FILM photographs

PHOTOGRAPHS

“Nothing is original. Steal from anywhere that resonates with inspiration or fuels your imagination. Devour old films, new films, music, books, paintings, photographs, poems, dreams, random conversations, architecture, bridges, street signs, trees, clouds, bodies of water, light and shadows. Select only things to steal from that speak directly to your soul. If you do this, your work (and theft) will be authentic. Authenticity is invaluable; originality is nonexistent. And don’t bother concealing your thievery – celebrate it if you feel like it.” -JIM JARMUSCH