Undergraduate Viewbook
Differently
↓ Your art and design education should be about more than building skills. It should be about transforming the way you see your world, your creative practice, your future. At Stamps, you learn to be an original thinker, a problem solver, a global citizen, a leader. That’s what universities do. That’s what we do. S E E what an art and design education looks like at the University of Michigan.
Cornelia Stiles From an “altered head” assignment in the photography course, Making Pictures.
Your Community /pg4 Your Curriculum /pg22 Your Career /pg44 Your Future /pg52 Creative Work /pg60 How To Apply /pg126
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Your Community
STAMPS Y O U R C O M M U N I T Y / 5
“The people who you can meet here... the ideas... there’s just so much that you can be exposed to. And it’s really only going to add to the experience and how you develop. I came here because I knew I wasn’t going to be trapped in some art school bubble, with everyone around me in the same classes, doing the same type of work.” MAX COLLINS, BFA student 6 / STAMPS U N D E R G R A D U AT E V I E W B O O K
charcoal and gesso
Self in the Eyes of Others
Hillary Butterworth
“It was very important to me to get a solid academic education in addition to art. A lot of the art schools I looked at wanted me to declare what my focus would be when I entered. And I just wasn't ready to commit to one media. The Stamps School fixed that problem for me by allowing me to take literally every kind of class imaginable.” PARIS GLICKMAN, BFA student STAMPS Y O U R C O M M U N I T Y / 7
Small School
A close-knit Community of 600+ students, faculty & staff
“I plan on using the school’s plentiful resources to try different mediums and styles and hopefully mold them into new styles of my own. Being surrounded by clever artists and wise professors... I’ve been inspired to leave my comfort zone.” WAKE COULTER, BFA student
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19 schools
260 degree
& colleges
programs
1,400 + student clubs
A global network of 550,000 + alumni
and organizations
Big University Connect to the diversity and resources of a world-class university One of the Top 5 public universities in the U.S.
university in the U.S.
83% of U-M undergrads
Innovate Blue:
are involved in community service or outreach
Campus-wide innovation and entrepreneurship initiative
18 residence halls where 97% of freshman live
100+ study
every
Students from state & 114 nations
#1 public research
abroad programs
The Big
House
(The largest football-only stadium in the world)
“I came to Stamps because the resources here are vast. I love art but I’m also really interested in Computer Science, so I decided to pursue a dual degree in Art & Design and Computer Science (LSA).” BEIATRIX PEDRASA, BFA student
STAMPS Y O U R C O M M U N I T Y / 9
“Since coming to Stamps, I have designed a game for the medical school, developed sets for student productions, ‘performed’ in a life drawing class at the Ross Business School, shown in the Engineering Design Expo, traveled around the country coding with Michigan Hackers, built Javanese musical instruments, and learned to weld, slipcast, and pour bronze. Sure, some other art schools have loose majors, but I don't think any other schools could have provided such a wealth of experience.” SAM OLIVER, BFA student
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You'll have
You'll
Access
Collaborate with…
to…
world-class studios
engineers
2 Stamps School galleries
filmmakers
radiology lab
dancers
state-of-the-art digital media labs
climatologists
multi-camera HD video studios
architects
robotics institute
astrophysicists
virtual reality cave
playwrights
3D printers, routers, and scanners
urban planners
physical computing studio
musicians
materials library
art historians
computer and video game archive
public policy makers
nanotechnology institute
journalists
industrial knitting machine map libraries 7-axis robotic fabrication system large format printers electronic music studios 24-ft astro-tec dome planetarium 7 U-M museums artificial intelligence lab motion capture facility MRI scanners 20+ U-M libraries anatomy labs professional audio recording studios botanical gardens entrepreneurship clinic 121 music practice rooms
microbiologists
You
nanotechnology researchers anthropologists curators sound engineers social workers chemists ecologists neuroscientists botanists information architects data analysts cancer researchers egyptologists poets forensic scientists
dance studios
screenwriters
Gamelan ensemble
entrepreneurs
1.7 million plants in the Herbarium marine hydrodynamics lab
and more…
public health experts 3D modeling experts
and more… STAMPS Y O U R C O M M U N I T Y / 11
“The diversity of the courses and faculty here have helped me figure out what I'm really passionate about... As an aspiring industrial designer, I strive to solve environmental and social issues in intuitive, accessible ways, allowing my work to be easily incorporated into people’s lives.” ARWIN WANG, BFA student
100% of
Stamps students participate in community-based creative work 12 / STAMPS U N D E R G R A D U AT E V I E W B O O K
35% of
Stamps students are dual degree STAMPS Y O U R C O M M U N I T Y / 13
“I’m learning so much. I’m meeting kind and talented artists and designers who have made wonderful careers. I’m working with professors who are engaging and challenging, and I’m collaborating with other students who are uniquely smart and wicked talented.” WILLIE FILKOWSKI, Interarts student
Students work with 60 + internationally recognized faculty
Closely
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A Sampling of Recent Faculty Accomplishments:
Pulitzer Prize Winner David Turnley Chosen as Best New Filmmaker
Phoebe Gloeckner’s Diary of a Teenage Girl Becomes Major Motion Picture
John Marshall’s Work Featured in Wired, FastCo and Dezeen
Matt Kenyon Selected as TED Fellow
Heidi Kumao Wins Best Experimental Film at Female Eye Festival
David Chung’s Drawing Placed in Whitney Permanent Collection
Endi Poskovic Awarded U.S. Senior Fulbright Scholar Grant
Holly Hughes Wins Award for Performance and Activism
Read more Stamps faculty news at: stamps.umich.edu/news
“I initially thought I would get a very traditional art education at Michigan, and I was planning to transfer to a stand-alone art school. But after seeing the investment by my professors in their work and teaching, my view changed 180 degrees — they made the experience really special.” ROSE JAFFE, BFA student STAMPS Y O U R C O M M U N I T Y / 15
“Each week during the academic year, students have direct access to a wide array of creative innovators who are part of the Stamps Distinguished Speaker Series and the Witt Visitors Program. For all four years, you’re part of a classroom of over 700 people where you’ll learn from the world's most creative makers and thinkers.” CHRISSTINA HAMILTON, Director of Visitors Programs
You'll
Meet
high profile innovators from around the world 16 / STAMPS U N D E R G R A D U AT E V I E W B O O K
Recent speakers: Author Lemony Snicket - Daniel Handler Nike Shoe Designer - Wilson Smith Artist/Activist Collective - Pussy Riot Dancer and Choreographer - Bill T. Jones Filmmaker - Oliver Stone Graphic Designer - Stefan Sagmeister Performance Artist - Marina Abromovic Architect - Bjarke Ingels Filmmaker - Ken Burns Cartoonist - Lynda Barry Interaction Designer - Massimo Banzi Fashion Designer - Zandra Rhodes Perfumier - Sissel Tolaas Installation Artist - Mary Sibande Photographer - Mary Ellen Mark Painter and Collagist - Wangechi Mutu Creator of Fantastic Machines - Francois Delaroziere Typographic Designers - Matthew Carter and Roger Black Industrial Designer - Tim Brown Outlaw Organist - Cameron Carpenter Composer - Philip Glass Director and Playwright - Robert Wilson Designer - Michael Graves Ernesto Neto, Installation Artist ANTHROPODINO photo by JAMES EWING
Photographer - Sally Mann Animator - PES Cartoonist - Alison Bechdel MOMA Senior Curator, - Paola Antonelli
Temple Grandin, Author and Designer STAMPS Y O U R C O M M U N I T Y / 17
“The city has the flavor of Europe, the intellectual horsepower of an Ivy League community and an honest Midwestern spirit that is reflected in hyperactive volunteering and a boundless local food movement as intense as California’s.” MICHELLE KRELL KYDD, Alliance for the Arts in Research Universities
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The
Best College Town Stamps students exhibit in the heart of Ann Arbor at Work Gallery, a space dedicated to their work.
STAMPS Y O U R C O M M U N I T Y / 19
Ann Arbor by the
2 # “Best Cities for
Numbers
Young Adults” KIPLINGER • 2013
7 # “Best Cities for
Ann Arbor and Beyond
Ann Arbor is consistently ranked one of America’s best college towns, offering a rich cultural and intellectual life, and
College Grads” L I VA B I L I T Y • 2 0 1 4
a vibrant sense of community. Students also benefit from the urban energy and collaborative opportunities of a creative corridor extending from Toronto, through Detroit, to Chicago.
4 # “Most Creative Cities”
4 # “Most Walkable Cities”
T H E D A I LY B E A S T • 2 0 1 2
GOVE RNING .COM • 2013
1 # “The 10 Most Intelligent
6 # “Best Cities for
ZOOMTENS.COM • 2014
U S A T O D AY A N D G A L L U P • 2 0 1 4
5 # “Happiest Cities
1 # “Most Educated Cities”
College Towns in America”
in America”
T H E D A I LY B E A S T • 2 0 1 2
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Well-Being”
FORBES.COM • 2014
2 # “Best Cities for New
7 # “Best Cities in America
KIPLINGER • 2013
US NEWS • 2012
13 # “Top 100 Best Cities
1 # “Best College
Grads
to Find a Job”
to Live”
Sports Town”
L I VA B I L I T Y. C O M • 2 0 1 4
FORBES • 2010
4 # “Best College Towns for
15 # “Times Higher Education
THRILLIST • 2015
TIM E MAGA ZIN E • 2014
13 # “Best Cities for
1 # “Most desirable city to live
FORBES • 2015
AMERICAN INSTITUTE OF ECONOMIC RESEARCH • 2015
1 # “Educational Attainment
2 # “Most E-Literate
Food and Drink”
Millennials”
in Communities with 100,000+ Residents”
World Rankings”
and work for millenials”
Cities in America” T H E AT L A N T I C . C O M • 2 0 1 2
BUSINESS JOURNALS “ON NUMBERS” • 2011 STAMPS Y O U R C O M M U N I T Y / 21
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Your Curriculum
Wearable by BFA students Audrey Smith and Kalli Kouf, based on a drawing made by Witt visiting artist Pierre Gour. STAMPS Y O U R C U R R I C U L U M / 23
“The program was perfect for me. I loved not just focusing on making alone but including conceptual thinking as an important part of the curriculum.” ELIZABETH REDMOND, BFA student
Our Open Art & Design Curriculum... → allows you to personalize your education → encourages social responsibility and global citizenship → gives you experience in cross-disciplinary collaboration → emphasizes critical thinking and creative problem-solving 24 / STAMPS U N D E R G R A D U AT E V I E W B O O K
4 Programs
to
Choose
from
BFA, BA, Dual Degree, or Interarts Performance BFA in
BA in
For students interested in an intensive studio-focused program.
For students interested in a broader exploration of academic resources.
A R T & DE SIGN
Stamps Studios
56%
Academic
44%
ART & DESI GN
Stamps Studios
33%
Academic
67%
Dual Degrees
BFA in
→ College of Engineering
For students with interests in both performance and art and design.
W IT H
→ School of Music, Theatre & Dance
I NTERARTS PERFO RMANCE*
→ School of Kinesiology → College of Literature, Science & the Arts → School of Nursing → School of Education → Taubman College of Architecture and Urban Planning
Stamps Studios
25% Music, Theatre & Dance Studios
Academic
50%
25%
→ Ross School of Business
*A joint program with the School of Music, Theatre, and Dance.
STAMPS Y O U R C U R R I C U L U M / 25
How to get in: 50% : Your portfolio 50% : Academic work
Kyle Oberleiter Shell wood, audio
“I looked at other art schools, but they often seemed narrow. There’s not much else you can take besides art classes. I liked being at U-M and being able to pursue my interests in literature and the sciences as well.” BEN SCHNEIDER, BFA student 26 / STAMPS U N D E R G R A D U AT E V I E W B O O K
“I can’t think of another school that asks you to come up with your own responses to a problem, and then learn how to defend it in front of a group. It’s not about a right answer— there is no right answer. It’s a whole process of learning how to embrace problems, think for yourself, justify your thinking and verbally explain why you did what you did.” MIKE WANG, Dual Degree - Engineering and Art & Design
Average class size at Stamps: 15
STAMPS Y O U R C U R R I C U L U M / 27
BFA
The YE AR 1
Y EA R 2
YE A R 3
YE A R 4
Foundation Study
Explore Electives
Focus Your Interests
Senior Integrative Project
Explore media 2D, 3D, 4D
Begin exploring your unique areas of interest
Continue to tailor your courses to meet your goals
Independent research for Integrative Project
You’ll never have to declare a major
International Experience
Take more advanced studios
Build your research skills
Midyear Senior Review
Apply for summer internships
End of year Senior Thesis Exhibition
Begin study in critical thinking & creative inquiry
Take Stamps courses in art and design, history and contemporary practice
Choose courses throughout the university
Explore a minor
Sophomore Studio & Review
“Instead of being prepped to fit into a specific career path, going to Stamps gave me the tools to figure out what I really wanted to do, and the ambition to figure out how to get there.” HEATHER ANNE LEAVITT, BFA student
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“The best thing about being a student at Stamps is the fact that we don't have to declare a specific major. I had the opportunity to explore all forms of art that interested me. I didn't have to restrict my curiosity to fulfill required classes. Since I had the chance to explore, I was able to figure out — at my own pace — the direction I wanted to take my art.” GRACE LUDMER, BFA student
Wearable by Audrey Smith and Kalli Kouf, BFA students
Design your own program STAMPS Y O U R C U R R I C U L U M / 29
Travel the
World
“Travelling is this magical thing where you learn more about yourself and others in a matter of weeks than you could in a lifetime staying at home.” ADRIANA ZARDUS, BFA student
Students in China at the Great Wall. 30 / STAMPS U N D E R G R A D U AT E V I E W B O O K
“Stamps is one of the only schools I know of where International Experience is required. Becoming an artist/ designer is about altering your perspective. It's also about understanding the context of your creative work in relation to the world around you. There's no better way to learn this than immersing yourself in another culture.” SANDRA WILEY, International Engagement Coordinator
Stamps students, faculty and community members in Tanzania.
100%
of Stamps students have an international experience STAMPS Y O U R C U R R I C U L U M / 31
Become part of a global
Community STAMPS STUDENTS OTHER U-M STUDENTS
Travel with Stamps programs or with other U-M programs such as: Literature, Science & Arts Business Engineering Law Kinesiology Nursing Theatre & Dance Medicine Social Work The International Institute Rackham School of Graduate Studies Ford School of Public Policy
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From her book A&D/Abroad
Public Health
Map concept and design by Hye In Jung
Music
Travel
Students Argentina Australia Bolivia Brazil Canada Chile China Costa Rica Cuba
Czech Republic Denmark Dominican Republic Ecuador Egypt Finland France Germany
Ghana Greece Hong Kong India Indonesia Ireland Israel Italy Jamaica
Japan Kenya Liberia Malaysia Mexico Netherlands New Zealand Peru Poland
to: Russia Senegal Singapore Slovakia South Africa South Korea Spain Switzerland Taiwan
Tanzania Thailand Turkey Uganda United Kingdom Vietnam Zambia and more....
STAMPS Y O U R C U R R I C U L U M   / 33
“Part of the curriculum here at Stamps is engaging with communities, whether it be high school students in Detroit, Alzheimer's patients, or a village in Tanzania. Students go into these classes thinking they’re going to make a difference and they do. But another profound change is what happens inside, when their worlds expand.” CHARLIE MICHAELS, Coordinator, Detroit Connections
Make a
Real
difference
Creating a mural in the Brightmoor neighborhood of Detroit — part of an ongoing Stamps revitalization effort collaborating with Brightmoor schools and community organizations began more than five years ago.
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Designing cook stoves in Tanzania Students in Tanzania work with community members to build more efficient, environmentally friendly cookstoves — reducing pollution and enhancing the lives of residents.
Tackling Ebola in a three-day multi-disciplinary design workshop One team addressed the issues of improved personal protective equipment, designing a suit with panels that stretch to accommodate different sized wearers, and breathe for more comfort in the heat.
The Embrace is a large fabric panel that allows a hug between an infected and non-infected person. The panel is made of dual layers of protective material with four offset sleeves and a viewing window. STAMPS Y O U R C U R R I C U L U M / 35
Finding solutions for the homeless Students in the Stamps course Experimental Architecture designed and built a low-cost, 90-square-foot structure that addresses the challenges faced by a local homeless community: space constraints, access to electricity, and lack of shelter and heat.
“This wasn't simply a design class, it was a design and build class. The students really got the concept of design and reality of building it. We provided the purpose, but they provided the possibility.” TATE WILLIAMS, co-founder of the homeless community Camp Take Notice
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Led by socially-engaged and committed faculty, Stamps students... Conduct ceramic workshops with visually-impaired kids Provide art workshops for Michigan prisoners Visit Michigan farms to learn how to design sustainable food solutions Work with students in Flint on short videos Travel to Madagascar to design and build water pumps Create sustainable design solutions for an off-the-grid artist house in Detroit Build a screenprinting business with Detroit high school students Collaborate with elders with dementia in U-M hospitals Work on public sculptures for the Michigan metropark system Collaborate with the Maasai in Tanzania on environmentally-friendly cookstoves Design a 90-square-foot house for a homeless community in Ann Arbor Work with Iraq veterans to tell stories through video Travel to Ghana to teach locals how to make charcoal from industrial waste Transform an abandonded building into a community billboard And more…
STAMPS Y O U R C U R R I C U L U M / 37
all
Bring together your experiences During senior year every BFA student is given 1 individual studio
2 faculty members dedicated to helping you realize your goals 1 year to complete a self-directed thesis project
= I.P. (Integrative Project) “Toward the end of my junior year, I started working on my Integrative Project (I.P.). I was given the opportunity to make whatever I wanted. I just put all of my effort into it. Now I realize what it takes to make the work you want. Until my senior year I felt like an art student. Now, as a senior in I.P., I feel like an artist.” ADAM MORATH, BFA student
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“During my senior year, I experienced a whole new level of confidence about myself and my work. I’ve switched from asking for permission to saying, ‘this is really what I want to do,’ and understanding that it will ultimately be my choice.” EMILY COLEMAN, BFA student
STAMPS Y O U R C U R R I C U L U M / 39
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Senior Studios
STAMPS Y O U R C U R R I C U L U M / 41
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Your Career
Stamps School alumna Candy Chang reimagines public spaces to help us make sense of our lives. After losing someone she loved, she created the Before I Die public art project inviting people to share their personal aspirations in public space. Since then, over 1000 Before I Die walls have been created by people in over 70 countries. Chang has also completed public projects in New Orleans, Hong Kong, Las Vegas, and New York City. Her work has been exhibited in the Venice Biennale, and the Smithsonian Cooper-Hewitt National Design Museum and she is a TED Senior Fellow, a Tulane Urban Innovation Fellow, and a World Economic Forum Young Global Leader. STAMPS Y O U R C A R E E R / 45
“Networking and internships are going to be a vital part of preparing for graduation. Career counseling starts in your first year. It’s my job to set you up and help you find your way.” JOHN LUTHER, Career Development Coordinator
How
to
prepare
“My senior year I served as photo editor for the student run magazine, Shei. I worked as a designer for all three U-M student newspapers. I’ve also had internships with two firms as a designer and a photographer. I wouldn't have had these opportunities at a smaller university.” ADAM MORATH, BFA student
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“Internships were critical. My two design internships provided me with the experience of collaboratively working on real projects for real clients. I got insights into how the industry actually functions.” ALYSSA ACKERMAN, BFA student
Our students have interned with... American Greetings
DETNY (shoe design)
iDL Merchandising Solutions
Pixel/Starcom MediaVest
Ann Arbor Film Festival
Doner Advertising
Inner Concept Media Studio
Proteus Design
Anna Sui Corp.
Donghia Furniture & Textile
Interlochen Arts Camp
Publicis Hong Kong
Anthropologie
Duncan Fuller Interiors
J Walter Thompson
Saatchi and Saatchi (Taiwan)
Apple
Elle Magazine
Liz Claiborne Inc.
San Diego Union Tribune
Arnold Worldwide
Endgame Entertainment
Mad Magazine
Superfly Presents
ArtsAlliance
Food Network Magazine
Mars Advertising
Surface Magazine
Band of Angels
Foreign Policy Magazine
Massachusetts Audubon Society
Roger Brown Study Center
Betsey Johnson
GE Medical Systems
Moosejaw Mountaineering
The Rockport Company
Biolumina
General Motors Design Center
MTS Seating
Toledo Museum of Art
Campbell-Ewald
Giorgio Armani
MTV Networks
U-M Matthaei Botanical Gardens
Coach
Glacier National Park
MOCAD
Vogue
Conde Nast
Glamour Magazine
NBC News
Warner Music Group
Cranbrook Art Museum
Graphis
New Line Cinema
Whitney Museum of American Art
Domestic Violence Project, Inc.
Hearst Design Group
The New Museum
And more... STAMPS Y O U R C A R E E R / 47
80% = Stamps
students whose first jobs were related to art & design.
Hania Bigo Apollo Illustration A series of interpretive illustrations on the Overview Effect as experienced by the astronauts of the Apollo Space Missions.
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100% = CEOs* who cite creativity as a top hiring priority. * a recent poll of Fortune 500 CEOs
“Studying at Stamps shaped what I wanted to do and how I wanted to do it. I learned that ultimately, you are responsible for your own ideas. And whatever your constraints, you learn to make something happen. I know I can solve a problem, match a vision, and have creative confidence.” TORI TERZAKIS, BFA 2006 Floral Designer
STAMPS Y O U R C A R E E R / 49
After
Graduation...
I’m now an account manager at Google I’m a Senior Designer for Global Brand Design at Nike I’m Global Director of Design at Team Detroit I started my own business in color correction for feature films I spent a year in the Peace Corps doing graphic design in Zambia I’m Director of Marketing & Operations at CCS Architecture I’m at National Geographic as an art director I recently became VP of Operations at LUNAR I’m now the founder & chief designer of Plae, a company that designs customizable children’s shoes. I am currently a fashion photographer in New York, NY. My photos have been in Elle, Cosmo, Seventeen, Surface and Glitterati magazines.
My first job was with Dish Network, and recently I became a Project Manager at IPC Systems in New York I’m now a lead designer at Synata in San Francisco In school I was interested in environmental conservation and design. That led me to a position as Annual Giving Programs Manager for the Matthei Botanical Gardens I now have a job as Product Designer for Mobile Ad Experiences at Twitter, San Francisco I have a position as an Interaction Designer at Huge, which means I have a great job… and I get to live in San Francisco. I’m now an Account Director at WIRED Media Network Full Stack Engineer at Disqus, a web discussion system I fell in love with motorcycles, so now I’m the lead creative for Electric Moto Industries
I created my own “art cake” business in Ann Arbor
I’m in my final year of an MFA program at University of Iowa
I opened a painting studio in Detroit and sell my work at national galleries
I’m interested in photography, film and graphic design, and I’m now an art consultant with the Carrie Fell Gallery in Vail, Colorado where I also get to ski and snowboard.
I am the arts coordinator at an afterschool youth program
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Your Future
Alumni stories
Cynthia Pachikara and Judy Bozone Vertical Horizont(tal) variation 2 light, sound and shadow Installation
STAMPS Y O U R F U T U R E   / 53
Designer and illustrator working with the National Park Service. Michael Liang BFA ‘08
I WA S I N T E R E S T E D I N E N V I R O N M E N TA L I S S U E S so I
started at U-M in the PitE (Program in the Environment), but I realized I needed a formal art education to achieve my career goals. A F T E R M Y F R E S H M A N Y E A R , I interned with the Student
“Combining the creative process with formal critiques was a huge part of my training at Stamps. I see myself as sort of an ambassador, bringing that art school culture to my position with the national parks. What I learned in school about taking initiative and learning from peers and professors definitely prepared me for a leadership role that collaborates with different groups of people, like law enforcement, scientists, and communication specialists.”
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Conservation Association. This began a continuing series of grand western adventures, including summers at North Cascades National Park and cross-country road trips. S O P H O M O R E Y E A R I A D D E D Art and Design classes and
became a dual degree student with Stamps and PitE. R I G H T A F T E R G R A D UAT I O N I took a job at North
Cascades National Park, combining my position as an interpretive park guide with visual media. T H AT L E D TO A J O B in a national park regional office in
Philadelphia, providing 80 national parks with technical and creative support on publications, website, social media, and museum exhibits. L A S T Y E A R , I’ve worked at Santa Monica Mountains National Recreation Area in Los Angeles, making the transition from sole designer to manager of other creative people. SINCE
Graphic Designer for Film and Television Megan Greydanus BFA ‘07
M Y D R E A M was always to be a creative director at
an advertising agency. I didn't even know there was such a thing as “graphic designer for film and tv.” A F T E R G R A D UAT I O N I worked for advertising
“I really ended up finding the perfect job for me.
firms, but advertising wasn’t what I had expected. Eventually I became a freelancer so I could choose my own projects.
It wasn’t a clear path, like when you go to medical
T H E N A F R I E N D S U G G E S T E D I could work as a
I had to trust that it was out there. I had to make it
graphic designer for films. I got connected with the Production Designer on the movie, Flipped, in Ann Arbor. He hired me, and I loved my first experience working in film. T H AT L E D TO M OR E WOR K for art directors and
production designers, producing graphics and brands and logos for films being shot in Michigan. I M E T A LOT O F P E O P L E F R O M L . A . And, as my
connections grew and filming in Michigan slowed down I realized I needed to make the move to L.A. It was a great decision.
school and there’s a certain logic to your trajectory.
myself and pave the road, but eventually I found it. It’s all about talking to people, networking and having a passion for what you do. When I found out about this field, I sought out people whose work I loved to ask them: how can I do this? More often than not, this led to an actual job.”
I N 2 0 1 1 I WA S N O M I N AT E D for an award from the
Directors Guild for my production design work on the film, Drive. B AC K , I learned how to think conceptually at Stamps and to look at the big picture. I’ve built up a lot of trust around my work because art directors see that I’m thoughtful about my choices. LO O K I N G
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Co-founder Tappan Collective Chelsea Neman BFA ‘10
I C A M E TO U - M B E C AU S E I wanted a big college experience: a
beautiful campus, football games, a sorority. Growing up in Los Angeles, I also wanted to experience all four seasons. I U S E D U - M ’ S R E S O U R C E S to expand my worldview. I took classes
in quantum physics, alternate realities—subjects I knew would open my eyes and expand my understanding. While art was always my priority, I took the opportunity to learn from all of U-M’s faculty. O N E O F T H E P I VOTA L E X P E R I E N C E S O F M Y S E N I O R Y E A R
was creating my thesis show with friends, including Erica Fink, Evan McLaughlin, and Kelsey Shultis (who is now a featured artist of Tappan Collective.) Everyone in the group was willing to get dirty, from throwing walls up in the space to making food. That collaborative spirit was something I valued and wanted to have as part of my professional life. R E T U R N I N G TO L A A F T E R G R A D UAT I O N , I got a job with an
interior designer. This allowed me to paint on the side, and I began selling my work to clients all over the world. I became a project manager for the firm, negotiating contracts with international architects and contractors. I went on buying trips to Paris, London, and Russia. I was learning a lot and was still able to create, but I needed art to be more of a professional focus. I M I S S E D T H E C O L L A B O R AT I O N I H A D AT S TA M P S . I missed the
“We really hit the ground in the beginning, networking and attending art fairs and conventions everywhere. Now we’re more focused on our online presence and business outreach, collaborating with companies like
critiques, the whole environment of input and interest, and I missed working with the like-minded creatives I had built relationships with. I STARTE D THINKING ABOU T ANOTHER CARE E R PATH, something
that could really change the way people approach and collect art. At U-M I studied art history with fellow Angeleno, Jordan Klein. Jordan and I began hatching ideas. We figured art was the last thing to go online, part of that untouched market in e-commerce. S O W E F O R M E D T H E TA P PA N C O L L E C T I V E , an online platform
that connects emerging artists to aspiring art collectors. The name came from the long hours Jordan and I spent studying in U-M’s art history library, Tappan Hall. Tappan Collective services artists and collectors in a different way than the art scenes in major cities. Particularly for younger artists, exhibition opportunities are limited. We envisioned a new exhibition space, a community for bringing together emerging artists and their collectors. W E L AU N C H E D I N J U N E 2 0 1 2 W I T H A H U G E PA R T Y, followed
we want to be sure that we keep aligned
by a series of pop-up events. Now we’re more focused on our online presence and business outreach. We want to keep both art direction and internal operations aligned with our mission: promoting young, emerging artists and providing them a place to connect with their collectors.
with our mission: promoting young,
W E’VE BE E N FE ATURED IN G LAMOU R, VOG U E , and the Huffington
MasterCard, Intermix and Sweetgreen. As the company enters its adolescence,
emerging artists and providing them a place to connect with their collectors.” 56 / STAMPS U N D E R G R A D U AT E V I E W B O O K
Post, which is great. We feel like we’re filling a real need for both artists and collectors. And I’ve been able to create that exciting, collaborative working community that I loved at Stamps.
W H I L E I WA S A LWAYS I N T E R E S T E D in fashion design, I
knew I didn’t want to be a product designer. I was much more interested in the historical, social and conceptual questions around why people wear what they wear, and how their environment and aspirations shape these decisions.
Associate Trend Analyst Sara Radin BFA ‘11
W H E N I WA S A J U N I O R , I spent a semester in Rome.
It was such an incredible place; one where Italy’s rich art and architectural history came together with current street wear and public life. I loved the people watching, the architecture and the food! W H E N I C A M E B AC K TO T H E T H E U . S . , I interned for Polo
Ralph Lauren in the trim production department. The team coordinated the production of zippers, belts, buckles and buttons in collaboration with the apparel design team and the factories overseas. B U T I A L S O G OT TO S I T I N O N D E S I G N M E E T I N G S
held in one of the company’s concept rooms. This space was essentially the concept designer’s sanctuary. Through visual research and shopping she would select mood images from magazines as well as vintage clothing samples. Then she would hang them on a wall and through meeting with the designers, she would help them tell stories behind their products. It was like a three-dimensional mood board! W H E N T H E J O B P O S T I N G for a position at Converse came
up, I was on a paid internship at Coach in NYC where I was interning in the handbag design department. T H E I N T E R V I E W E R S AT C O N V E R S E were impressed with
my well-crafted resume. I knew that doing a project was part of the application process so I came to the first interview with one already finished. This included a trend board and seasonal color palette. NOW I’M WORKING AS A TREND ANALYST at The Doneger
Group, where I focus on menswear trend research. As a fashion trend analyst, I research and predict how the industry is changing by collecting observations and interpreting fashion trends. I analyze high fashion, retail, ecommerce, magazine editorials, blogs, interior design and art to predict what colors and products will be key for coming seasons. I also pay attention to socio-cultural trends and how they relate to product design. I create trend reports and publications that are utilized by our clients as a way to help them strategize their product design business as well as stay current in the market. Often, I work with them one-on-one to cater this comprehensive information to their specific brand/consumer and give them forward-thinking insight. This aspect of my job is called concept design.
“As a student, I was always fascinated by visual culture and art history. I loved analyzing art and photography to interpret how they related to history socio-culturally. The BA program was a perfect fit for my range of interests. Along with Stamps studio courses in photography and book-making, or photography and collage, I took history of art courses, and LS&A courses such as the History of American Magazines. Then I rounded it all out with lots of theater production classes, art direction for film, and costume design.”
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Lead Singer, graphic designer and writer for the music project, Lord Huron Ben Schneider BFA ‘05
W H E N I C A M E TO S C H O O L I appreciated
being able to take the studios I wanted and not being fenced in by a major. I was encouraged to pursue my interests, no matter what they were. M Y S E N I O R T H E S I S P R OJ E C T fused writing,
painting and music. A F T E R G R A D UAT I O N , I found a job in New York
City as an artist’s assistant, but it wasn't for me. I M OV E D TO L A , and became an Art Director,
“I think you need to really stick with what you’re interested in.
writing commercials and radio spots. I was still messing around with music, but nothing serious. T H E N I W E N T B AC K to Michigan for a vacation
and ended up recording an album there.
Chances are what you’re interested in is
S H O R T LY A F T E R the album was finished, it
going to lead you somewhere, even if you
I had to go for it.
can’t always see where in the moment. Then, learn how to promote yourself. You’re your own brand.”
started to get noticed. At some point, I realized
I D E C I D E D TO Q U I T M Y J O B and I began to
develop the music and the band. N OW, A S T H E L E A D of Lord Huron, it really
is a multidiscipinary project—the paintings, the graphics, the sounds all work in tandem and I work on them concurrently. For me, it’s not just music and it’s not just visuals. It’s both of them being created and influencing each other.
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I C A M E TO S TA M P S because It was very important to me to get
a solid academic education in addition to art. Also, a lot of the art schools I looked at wanted me to declare my focus when I entered. And I wasn't ready to commit to just one media. A S A F R E S H M A N I took pottery, paper sculpture, small metal
sculpture, wood sculpture, metal welding, found object sculpture and more. I decided to start focusing in on animation because of a final project in a digital class freshman year. I had literally no idea what I was doing technically, but I just went with it and ended up loving creating all of those moving images.
Animator/ Designer, Trollback & Associates Paris London Glickman BFA ‘13
I E N R O L L E D I N A N A F T E R E F F E C T S C L A S S for sophomore
year and I found I was really good at it. I understood timing— what made something funny or boring or too fast. Animation also combines so many different media. It was a place where I could bring a lot of different elements together. I H A D T W O S U M M E R I N T E R N S H I P S before I graduated. The
first was working as a computer helper for a comic and animation artist. The second was working for a New York animation studio. I learned so much about After Effects and I got a feel for what it would be like to become a professional animator. A F T E R I F I N I S H E D M Y S E N I O R T H E S I S P R OJ E C T I started
applying for animation jobs and internships all over the country. I got mostly no responses back or the occasional no thanks. When I graduated, I returned to New York. I went on a lot of interviews at a lot of studios. Finally, I made the decision to take an unpaid internship. T H E F I R S T I N T E R N S H I P was with a large, prestigious studio
where I worked for about two weeks, doing not very much. The second internship was for Trollback, the company I still work for almost two years later. Trollback is a very small studio where, even as an unpaid intern, I was being given actual jobs. I definitely learned more technical skills working as an unpaid intern for two months and as a freelancer for another two months than I did during college. W H E N I WA S F I R S T LO O K I N G F O R WO R K in New York, I
realized what I did get from Stamps, that other schools put less emphasis on, was a very solid understanding of creative thinking and creative problem solving. So while I may not have been as technically savvy as some of the peers I was competing with for jobs, I had a different set of skills that are more difficult to learn on the job.
“During junior year I worked as a intern for Nathan Love, a very cool and fun Manhattan animation studio. In those two months I saw what my life would be like if I chose to go into the industry. I learned that it is male dominated, and the hours can be long and unpredictable. But it’s a fast paced, fun environment where everyone cares very much about the work they
A F T E R T H O S E F O U R M O N T H S working both as an intern and
a freelancer, Trollback offered me a full time position as a junior animator/designer. I have since been promoted to animator/ designer. I do mostly motion graphics, creating commercials and title sequences. It is very challenging, but I definitely enjoy and am proud of the work that I do.
are doing and producing something that they are ultimately proud of.”
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Creative Work
Hania Bigo Apollo illustration stamps.umich.edu STAMPS / 61
Man Kuan Lei Tanzania - Market digital photography
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Students in Osman Khan’s Contemporary Sculpture class spent over one hundred hours exploring scale and building techniques, creating a giant troll that was installed in the Nichols Arboretum.
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Emily Thomas veg out ink, digital, and plantable seed paper “A collection of illustrated recipe postcards which aim to de-stigmatize vegan and gluten-free dietary lifestyles.”
Alana Hoey How We Sit plywood, paracord “How We Sit is an experiment to find out how unconventional materials transform our experience with everyday furniture. Sitting in silence, strangers and close friends alike feel even the smallest shifts in weight, balance, and curiosity from one section to another.”
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Jaclyn Caris Let’s Cross Over “A book and an app that was inspired by my study abroad in Florence, Italy. The book is a travel guide and journal meant for other study abroad students to use while traveling in Florence. The app is for travellers anywhere in the world and allows users to document all their trips through journal entries and pictures.”
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Caili Dalian What do you Clutch fabric / clutch purses “I have created a series of clutch purses inspired by conversations with women of different ages. Each pattern and form is inspired by their responses to the question, ‘At this age, what do you clutch?’ ”
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Allison Carron Impact “An exploration of the body, focused on themes of sin, guilt, punishment, and atonement. For this performance I was blindfolded, wearing all white in an all white space. I offered a bag of black chalk to members of the audience who threw the bag at me leaving black residue on my clothes, the floor, and the wall, mimicking bruises. After the bag hit and fell I would then search for it (still blindfolded). Once the bag was found I would return it to an audience member and the exchange would be repeated over and over again.”
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Danielle Battaglia Quintessence: Visualizing a Torodial Universe “An attempt to discover the great order of all things. Studying the theories of Plato, Stephen Hawking, Einstein and others on subjects such as black holes, white holes, wormholes, sacred geometry, Klein surfaces, physics, higher dimensions and space-time, I have come up with a form that could be the basic design of our universe: a torus. To visualize this concept I installed this 3D model in the MIDEN, a 3D virtual space where one can experience the model on a new level, by moving through the space in three dimensions.” stamps.umich.edu STAMPS / 69
Ariana Wescott Dear Diary, I love you. “The prompt for this assignment was time-based. Five days a week, for 13 weeks, we spent five to ten minutes daily doing something of our choice. I chose to keep a visual diary of single panel comics to explore both personal journaling and self-portraiture.”
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Margot Robert Tier Tower
Ian McGreevy Ghostly Host
Video Games In this Stamps course students design, build and publish their first video game for iOS, creatively interpreting the theme of a labyrinth. Each student has two weeks to design, build, test and publish to the Apple app store, and each student was individually responsible for the art, code and soundtrack of his/her game. stamps.umich.edu STAMPS / 71
Alison Blomstrom Studio photography assignment exploring projection.
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Stephanie Casing Finding beauty in an ugly situation: A series of works assuaging my fear of illness in loved ones paper and photography
“Brain scans and transmission electron micrograph images lend themselves to beautiful possibilities. These works are my attempt to come to terms with the possibility of illness in my family and friends.” stamps.umich.edu STAMPS / 73
Tarah Douglas Jahyne screenprint on fabric Large-scale prints inspired by a character created during my time studying abroad in India.
Ellen Rutt A Wicked Problem “A collection of digital collages that illustrate the complexity of sustainability and over-consumption.”
Kevin Dunnell CAD skills were used to design and cut parts for this laminated plywood table.
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Joshua Kochis - Tree Story wood, plaster, steel, acrylic and oil paint on canvas
Carisa Bledsoe - Can I Get In Your Head? Part of a site-specific mini series looking at intersections of identities and perspectives.
Anastasia Skekloff Created in a Stamps foundation course. The assignment: to make a lamp out of plastic sheets.
Hannah Hillier - Everything Will Be Okay “When my father died two years ago, many people didn't seem to know what to say to me. I had the urge to show them what I wanted to hear.”
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Cornelia Stiles Nature By Numbers “The Fibonacci sequence is a series of numbers found in nature. Each drawing uses the sequence to celebrate the beauty of these natural patterns.”
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Claire Jones The Wake/Please Don't Feed the Animals “I was eight years old when I hopped out of a car in Northern Michigan and met the glazed, empty eyes of a deer bound to a truck. This is an abstract interpretation of the grotesque style of taxidermy, exploring animals as natural or as objects.” stamps.umich.edu STAMPS / 77
Hye In Jung - A&D/Abroad A redesigned identity and visual communication system for the Stamps international program including printed booklets and student travelers’ kit.
Anica Presley - Impetus digital and photolithographic prints
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Samantha Levy - Biophilia “A series of screenprinted zines and prints to gratify human beings’ fascination with the strange, humorous, unbelievable, or grotesque. The project emulates feelings surrounding the Age of Exploration—everyone rushing to expose the next great species, to reveal something to the public that they had never seen.”
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Rachael Cross ArtBot From the course Making It Move, a motion and lightactivated robot that creates charcoal drawings.
Making It Move Using electronic sensors, electrical actuators, and computers/microcontrollers, students in this course create works that combine traditional and electronic media to create kinetic sculptures, lightworks, functioning electrical prototypes, and interactive environments.
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Stephanie O'Neil - Discover the Epigenome: An Illustrative Display of Molecular Epigenetics 3D printed sculptures, plastic, scientific illustration A visualization of the tissue environment altering due to the growth of cancer cells.
Holly Prouty - Tink A series of playful objects that are designed to be integrated into the living space as functional sculptures that encourage users to “tinker.” stamps.umich.edu STAMPS / 81
Penn Greene Negotiating Balance “The design and construction of a small, versatile kayak intended for a user wanting to travel as light as possible for long periods of time. It is a negotiation of two highly dynamic elements – the human body and moving water.”
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Paul DiStefano Whirling Dynamics “The goal of these works is to show a different rhythm in each piece, while being aware of the harmony that the drawings create as a series. When people view my drawings I want them to see how rhythm can be created in the world other than through a song.”
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Sam Oliver
Exploring the relationship between our identity and the data we produce,
Quantified Self Portrait
the work juxtaposes a slowly degrading bust of the artist’s likeness,
software, hardware, ink, water
sculpted from ink, with a growing collection of his printed internet history. Each time the artist makes a search, clicks a link, or loads a page, the bust is sprayed with water, melting it further. The printer, fed by the resulting pool of ink, prints the search results.
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Mary Sterling Rountree False Facades and Adulteress sterling silver, fine silver, enamel
Hanna Sakakibara Trust Me stainless steel, carbon steel, wood
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Emerson Schreiner Just Before oil on canvas
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Ian Matchett From the Continuity of Revolution I.P. Project oil on canvas “My project focuses on continuity and connection between revolutionary movements by looking at how organizers and radicals of the past relate to those of the present. When the past is forgotten, or remembered only as a distorted caricature, our ability to unify and act in the present is crippled.”
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Grace Ludmer The Girls I Draw mixed media
Nicholas Tilma Light Objects steel tubing, concrete, light bulbs, wire A series of light objects inspired by urban landscapes.
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Kit Parks Direct Connection multimedia installation A series of photography, video, sculpture, and performative works by one suburbanite in an attempt to establish a connection with the natural world.
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Carlo Lorenzetti - Chair From the course Furniture Making.
Diane Thach Dress paper receipts, shoe laces, ribbon An assignment for the course A Stitch in Time. “I was working at a cafe where we were required to print out receipts for the customers, who then threw them away. I hated how wasteful that was and decided to use them to make a dress, turning the waste into something both useful/functional, and beautiful.”
Alice Bouvier McCarthy - The Definitive Guide to Typotopia “This book serves as a travelogue to the fictional country of Typotopia, an island populated entirely by letters but with some of the societal quirks and blemishes of the real world.”
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Anastassia Fulmer - An Exodus of Sorts woodblock print “Exploring the theme of water, the fish also appear to be birds flying through clouds.”
Sonia Tagari Part of a Stamps foundation course. The assignment: create a map of a place, idea or set of information.
Sydney Markus From a Stamps foundation course. The assignment: to camouflage a cube. The project was preceded by a color study project where students learned to mix color, identify hues, tints, and shades, and match color— skills that helped them to create the camouflage.
Ian Klipa - Project Ultima (community fabrication) workshop / video / 3D work An extracurricular welding workshop in Detroit, inspired by my experiences with the “making” culture of Zanzibar, led to my I.P. project.
Jean Lin - From a Stamps Drawing 1 course. The assignment: to design a game based on Pexeso, a Czech matching game. All games had the same grid.
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Alicia Kolvacheck Anatomy wood “Anatomy is a puzzle and learning tool for all ages. For children, it offers the chance to develop hands-on understanding of how our bodies work. For adults, it makes a fun gift.”
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Levester Williams Space of Whiteness porcelain, Arduino, wire, and wood “An installation deconstructing the notion of a post-racial and equal American society through the exploration of whiteness in its physical and psychological forms.”
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Cole Montgomery laser cut poster Assignment: To consider the use of words in public spaces and their power to inform, motivate and persuade. 94 / STAMPS S T U D E N T W O R K
Hannah Dow Temp Tools “A set of biodegradable camping tools that can be fitted onto sticks found in the woods. They are made using an all-natural composite material and regional flower seeds, encouraging an active re-contribution to nature.”
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Stamps Galleries
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Sarah Renken A Story for a Stranger book of illustrated stories and quotes
Joshua Kochis Treestory installation stamps.umich.edu STAMPS / 97
Grace Ludmer The Girls I Draw mixed media
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Margaret Hitch prints, comics, paintings, doodles
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Margaret Hitch poster design TEDx U of M 2014 Posters to promote the 2014 TEDx U of M conference.
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Sophia Greenbaum Spilt Milk! “Package and product design for a milk container with reusable udder cup. These environmentallyfriendly products incorporate both wit and humor to promote the brand, Spilt Milk. The udder-shaped cup is 3D printed in ABS plastic. Mootrition Facts and creative copy are included on the back of the organic milk package.”
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Melania Plasko Infinity Cloak From the I.P. Project: Embody “A series of five fantastical sculptural garments that utilize technology such as LED lights, phosphorescent wire, and Arduino micro-controllers to extend both the functionality and appearance of clothing. I have also created a narration (including short stories, poems, and collaged images) that further develops each individual garment’s character, personality, time period, and scene. In these photographs, I am the clothing designer, the photographer and the model.”
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Richard Liverance The Hatbox 3D animation “From storyboarding to finished animation, my goal was to learn every part of the 3D animation pipeline and simultaneously tell a story that is entertaining and visually exciting.”
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Zoe Allen-Wickler, Ashley Marie Allis, J'Vion Armstrong, Ashley Boudrie, Stephanie Boxold, Anna Jonetta Brown, Jaclyn Caris, Emily Cedar, Annie Cheng, John Foley, Paris London Glickman, Molly Lester, Rich Liverance, Lonny Marino, Olivia Meadows, Thabiso O Mhlaba, Maggie Miller, Kaisa Ryding and Sarah Schwendeman. Teleporter Travel Tale 3D animation Animation stills from a 2-semester collaboration with the staff of the U-M 3D lab that took students through the 3D animation production pipeline to produce the animated short, Teleporter Travel Tale.
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Erin Murray Face Necklace ceramic and silver
Erin Murray Baby Teapot porcelain
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Samantha Machover - Apes acrylic, brayer, on paper A series of acrylic paintings illustrating the primates at Virunga National Park in Congo.
Zack Moscot 5G Individualized Eyewear “The project uses handcrafted and digital fabrication techniques to generate ergonomically designed frames using consumers’ individual facial and head measurements. With a balance of hand and digital craft, 5G Individualized Eyewear uses Individual Parametric Measurements (IPM) to create frames designed to fit each person.”
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Justin Hein Self Portrait pen and ink on paper
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Shaili Das Cement cast components combine with wood to create gardens.
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Typefaces that are heavy and bold, with hard edges are often understood as ma Delicate, whimsical and curly typefaces considered feminine. Male typefaces are and implacable, while female typefaces ing and elegant. While wildly bright and male animals more readily attract a par group of females, certain typefaces attra types of people, based on cultural assoc with the type’s form.
Erica Neumann Evolutionary Type “A history of typography through the lens of biological evolution presented in a 10"x15" handmade book illustrated with typographic imagery.”
E3
NSITIONAL ographical terms, the word tional" refers to the transition from FIGURE 3 de to Didone typefaces, and thus TRANSITIONAL E3 3 faces incorporateFIGURE Incharacteristics typographical of terms, the word NSITIONAL TRANSITIONAL Transitionals appeared in the 18th "transitional" refers to the transition from ographical terms,Inthe typographical word terms, the word Garalde to Didone typefaces, and thus tional" refers to the "transitional" transition refers from to the transition from ontrast between these thick and facesthin incorporate characteristics of de to Didone typefaces, Garaldeand to Didone thusare typefaces, and thus s, and generous counters. Serifs each. Transitionals appeared in the 18th faces incorporate these characteristics faces incorporate of characteristics of ally sharp and bracketed, and the Transitionals each. Transitionals inare theslightly 18th appeared in the 18th of lowercaseappeared ascenders high contrast between thick and thin
e. The cross bar on the lowercase strokes, and generous counters. Serifs are ontrast between high thick contrast anddesigned thinbetween thick and thin horizontal. FIGURE 3 was generally sharp and bracketed, and the s, and generous counters. strokes, and Serifs generous are counters. Serifs are Baskerville and Bell Bold. serifs of lowercase ascenders are slightly ally sharp and bracketed, generallyand sharp theand bracketed, and the oblique. The cross bar on the lowercase of lowercase ascenders serifs ofare lowercase slightly ascenders are slightly “e” is horizontal. FIGURE 3 was designed e. The cross bar on oblique. the lowercase The cross bar on the lowercase using Baskerville and Bell Bold. horizontal. FIGURE “e”3iswas horizontal. designed FIGURE 3 was designed Baskerville and Bell using Bold. Baskerville and Bell Bold.
FIGURE 5
SCRIPT Script typefaces imitate cursive writing FIGURE 5
SCRIPT FIGURE 5 FIGURE 5 sual scripts. FIGURE 5 was designed using Script typefaces imitate cursive writing SCRIPT SCRIPT Snell Roundhand. Script typefaces imitateScript cursive typefaces writing imitate cursive writing
sual scripts. FIGURE 5 was designed using Snell Roundhand. sual scripts. FIGURE 5 was sual designed scripts. FIGURE using 5 was designed using Snell Roundhand. Snell Roundhand.
Female and male sexual dimorphisms in chicken and deer
E4
ONE lly known as Modern, Didone ces emerged during late 418th and FIGURE 19th centuries. Such typefaces DIDONE E4 FIGURE 4 Formally known as Modern, Didone ONE DIDONE t contrast between thick and thin during late 18th and typefaces emerged ally known as and Modern, Formally Didone known Didone s. Ascenders foot serifs on as Modern, early 19th centuries. Such typefaces ces emerged during typefaces late 18th emerged and during late 18th and 19th Such early typefaces 19thFIGURE centuries. Such typefaces s are centuries. set in narrow width. abrupt contrast between thick and thin designed using Didot, Modern, and and foot serifs on strokes. Ascenders t contrast between abrupt thickcontrast and thinbetween thick and thin ni. s. Ascenders andstrokes. foot serifs Ascenders on and foot serifs on Letters are set in narrow width. FIGURE 4 was designed using Didot, Modern, and s are set in narrow Letters width. are FIGURE set in narrow width. FIGURE Bodoni. designed using Didot, 4 wasModern, designedand using Didot, Modern, and ni. Bodoni.
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FIGURE 6
SLAB SERIF Also known as Egyptian, Slab-Serifs became popular in the FIGURE 19th century 6 when many pre-existingSLAB fontsSERIF were FIGURE 6 FIGURE 6 redone with wider serifs for known display as andEgyptian, Slab-Serifs Also SLAB SERIFpurposes. These SLABtypefaces SERIF advertising became popular in the 19th century Also known Egyptian, Also Slab-Serifs known as Egyptian, Slab-Serifs evolved fromasDidone, but are oftenpre-existing when many fonts were becamehaving popular in the became 19thbracket-less century popular in the 19th century bolder, large, square, redone with wider serifs for display and when FIGURE many pre-existing when fontsmany were pre-existing fonts were serifs. 6 was designed using advertising purposes. These typefaces redone with wider serifs redone for display with wider and serifs for display and Rockwell. evolved from Didone, but are often advertising purposes. These advertising typefaces purposes. These typefaces bolder, having large, square, bracket-less evolved from Didone, but evolved are often from Didone, but are often serifs. FIGURE 6 was designed using bolder, having large, square, bolder, bracket-less having large, square, bracket-less Rockwell. serifs. FIGURE 6 was designed serifs. FIGURE using 6 was designed using Rockwell. Rockwell.
h jagged or asculine. are often e rooted are charmd adorned rticular act certain ciations
Daryl Alexsy Domestic Tourist “The first project I created after moving back from Berlin, this series was intended to reacquaint me with Detroit and to show the rest of the world its beauty. But the images revealed more about my true feelings of being home again.”
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Shadowland Students in a Stamps foundation course design a shadow theater in the video studio that uses three stages with interactive lens-based materials, color and form.
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Colin Fulton video studio performance
A performance in the Duderstadt Center which has professional audio and video studios, a virtual reality den, motion capture facilities, 3D modeling and more. stamps.umich.edu STAMPS / 113
Collin Fulton video studio performance
Dressing Up and Down Each student in this course received a Snuggie. The assignment: to draw/ come up with 10 ideas for how to alter the Snuggie into a wearable sculpture.
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Bianca Ng
Angel Shen
Letter Forming – from a Stamps foundation course. The assignment: to recreate a specific letter ten different ways using found materials and objects.
Katie King
Ji Yoon Lee
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Ronan Lynam Duck & Friends digital prints “A series of personified animal portraits satirizing our narcissistic fascination with human portraiture.”
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Zoe Widmer Blurred Lines A project exploring how society views gender, the importance of the visual to gender identity, and how gender affects how we treat one another.
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Nichole Homfeld digital media The assignment: make an expressive or metaphorical portrait of someone you know, using collage, without showing the person’s face.
Woodblock type in the Letterpress Studio
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Alexander Schlosser From the course Electronic Books. Students produce a complete “multitouch” (interactive) book, consider possible futures of the book (printed and digital) and the impact of technology on artists/authors and readers.
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Beiatrix Pedrasa Talisman Project
Gabrielle FitzGerald Talisman Project From a Stamps foundation course. The assignment: each student is asked to create a wearable talisman for a classmate. 120  /  STAMPS S T U D E N T W O R K
Emma Berger Drop the Needle intaglio, woodblock, ink & watercolor “These etchings expand on the existing culture of screen-printed gig posters. The prints are signed by the bands and auctioned off to support Brandi Carlile’s Looking Out Foundation and Charity: Water.” stamps.umich.edu STAMPS / 121
Christopher Boomer Adrift film “My project deals with my thoughts and perceptions surrounding the notion of isolation among individuals — how little we truly know about so many of the characters that we encounter, however intimately or briefly, in our everyday lives.”
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Corinn Lewis Camp Take Notice visual identity system “Camp Take Notice (CTN) is a democratically self-governing community of homeless people in Ann Arbor, MI. It was important to me to create a visual language that Camp Take Notice could use to tell its story. I was inspired by Ghanaian Adinkra symbols and Hobo symbols from the early 1900s.”
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STAMPS School
Undergraduate Program Details FA L L
WI NTE R
Drawing I
Drawing II
Studio: 2D
Studio: 4D
Studio: 3D
Methods of Inquiry
Art & Design in Context
Art & Design History
University Academic Elective
Intersections
Penny Stamps Speaker Series
Penny Stamps Speaker Series
Elective Studio Courses
University Academic Courses
During your second year, you'll begin taking the Elective Studio courses that allow them to explore and develop specific areas of interest.
Students in the Stamps School participate in the rich intellectual and academic life of a top-tier university. The Stamps School requires liberal arts coursework, but also allows for elective choices.
Integrative Project In the 12-credit Integrative Project, over the course of the final year BFA seniors use the techniques, concepts and skills they’ve learned to plan, conceptualize, and build a single project of their choosing. With the help of faculty advisors, they manage their own creative process and schedules, and work in their own dedicated studio spaces. Each project culminates in a final presentation that engages the public through exhibition, publication or performance, and is supported and documented through a written thesis, website, and digital portfolio.
The First Year As a freshman, all of your courses (except one) are required foundation courses, both studio and academic.
BFA students take 14 elective studios courses (42 credits). BA students take 8 elective studio courses (24 credits). All students are required to take an Engagement Studio, in which they interact with a community outside U-M.
Stamps Academic Courses Stamps requirements are designed to engage students in both the history of art and design and the current practice of emerging artists and designers. Students must take five required Stamps Academic courses (16 - 18 credits). • 3 courses focused on non-studio approaches to art and design • 2 art or design history/theory/ criticism courses of your choice
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BFA students are required to complete a total of 30 - 32 academic credits. BA students are required to complete a total of 60 - 62 academic credits. Requirements: • First Year Writing • Upper Level Writing • Social Science • Natural Science • Analytical Reasoning • Environmental Studies • Race and Ethnicity • Academic Electives Penny Stamps Speaker Series The Penny Stamps Speaker Series brings respected emerging and established creative innovators to the School to conduct a public lecture and engage with students. Students must enroll in the 1-credit/semester Speaker Series and attend the weekly lecture each semester through all four years of the program. G O TO :
stamp s.umich.edu /apply
International Experience The international experience prepares Stamps graduates to enter the globalized economy; makes them more competitive for graduate study, fellowship opportunities, and employment; and helps them to become informed global citizens. Minors The flexibility of the Stamps curriculum allows students to pursue any minor offered at U-M. Most minors require the completion of 15 - 18 credits (5 - 6 courses).
STAMPS School
Undergraduate Admission Information The Stamps School of Art & Design offers four undergraduate programs: • BFA in Art & Design • BA in Art & Design • Dual Degree programs with eight other U-M schools and colleges • Interarts Performance BFA For questions, call the Stamps School at 734 764 0397 or stamps-admissions@umich.edu
How to Apply 1) Submit a completed Common
Application: • Common Application • U-M Member Questions • Counselor Recommendation • Academic Teacher Recommendation • Art Teacher Recommendation • Common Application Essay • $75 application fee (or fee waiver request) • Common Application Art Portfolio: Upload a portfolio of your work using the Stamps School of Art & Design SlideRoom link provided in the Common Application under “Portfolio.” Applicants should upload a total of 12 - 15 items. 2) Request an official copy of your
transcript from your high school. 3) Send test scores directly to the
University of Michigan-Ann Arbor: • ACT (U-M code is 2062) and/or SAT (U-M code is 1839) • MELAB, IELTS or TOEFL (U-M code is 1839) test scores are required of all speakers of English as a second language.
For detailed application information — including additional requirements for Interarts Performance, Dual Degree, Transfer and International applicants — go to: stamps.umich.edu/apply
3) After the Stamps School’s
SlideRoom portal opens, you'll be prompted to login to an existing SlideRoom account or create a new account. 4) After logging into the Stamps
Submitting Your Portfolio Applicants register and submit their portfolio on the SlideRoom website as part of the Common Application Art Portfolio. Your portfolio must include 12 - 15 pieces of creative work in a variety of media to indicate your range of experiences. Every portfolio must include a minimum of 3 drawings or paintings from direct observation. Each piece in a portfolio should be there for a reason — for example, to show a particular skill, or to highlight creativity or concept. Use the SlideRoom description fields to help us understand your work. After starting the Common Application and choosing the University of Michigan as your college, submit your portfolio using the following steps:
School’s SlideRoom portal, you'll see a list of the School’s programs. Undergraduate applicants should choose the program labeled U-M Stamps School of Art & Design BFA/BA Portfolio and click “begin.” 5) Answer questions and add your
creative content to complete your portfolio. 6) SlideRoom checks to see if your
Common Application has been submitted. Once you have submitted your Common Application, you can proceed with submitting your portfolio in SlideRoom. SlideRoom charges applicants a $10 transaction fee to submit a portfolio. Students who receive a fee waiver for their Common Application will also receive a fee waiver for their SlideRoom submission.
1) Stamps applicants must answer
“Yes” to the question below: Do you intend to submit a portfolio so that your special talent in one or more of the arts will be considered as part of the admission process to the University of Michigan? This will turn on a section called “Portfolio” at the bottom of the left sidebar. 2) In the Portfolio Instructions section,
click the “University of Michigan Portfolio Site” link to open the Stamps School’s SlideRoom portal.
G O TO :
stamps.umich.edu /apply
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“Women of Color Portraits,” a stunning series by senior Meghal Janardan, is hanging in the west hall of our building!
Fresh figure collages made by senior Anica Presley (anicajp)!
We are so impressed with the creative work that explored all media, including installations, film screenings, performances, and more!
Grace Ludmer’s senior thesis project was featured on Amy Poehler’s Smart Girls blog!
This is “Angela,” from the Women of Color Portraits by Meghal Janardan @ meghaljanardan. Read the stories of these women as they navigate the complex yet rarely addressed narrative of being a minority on a seemingly liberal campus. –ani
Tumblr
She wheat pasted her life size photomontages straight onto the gallery wall!
Kit Trowbridge’s oil painting took inspiration from her dreams, architecture and favorite films.
Stamps senior Grace Ludmer is making 500 hand-drawn stickers as part of her senior thesis titled The Girls I Draw. From ladies with strawberries for nipples, to intricate collage work, Grace never fails to make these women beautiful inside and out.
If there were an option to start over from scratch, this is the program that would be built. The Stamps School of Art & Design and the University of Michigan have created an opportunity to lead the academic conversation in art and design in this country. A re-accreditation review of the Stamps School by the National Association of Schools of Art and Design (NASAD), elicited this response from the review team.
Apply Now! stamps.umich.edu/apply
C O N TA C T U S : Penny W. Stamps School of Art & Design • 2000 Bonisteel Blvd, Ann Arbor, MI 48109-2069 734 764 0397 • stamps-admissions@umich.edu • stamps.umich.edu
Stamps Design Team Editor
Art Direction
Photography
Kate West
Kate West
James Rotz
Andrew Cohen
Marissa McClain
Design
Carl Greene
Carl Greene
Katherine Weider-Roos
Colin Fulton
Carl Greene
Katherine Weider-Roos
Nicholas Williams
John Baird
University of Michigan Regents
Nondiscrimination Policy Statement
Mark J. Bernstein, Ann Arbor
The University of Michigan, as an equal opportunity/
educational programs and activities, and admissions.
Julia Donovan Darlow, Ann Arbor
affirmative action employer, complies with all
Inquiries or complaints may be addressed to the Senior
Laurence B. Deitch, Bloomfield Hills
applicable federal and state laws regarding
Director for Institutional Equity, and Title IX/Section
Shauna Ryder Diggs, Grosse Pointe
nondiscrimination and affirmative action. The
504/ADA Coordinator, Office
Denise Ilitch, Bingham Farms
University of Michigan is committed to a policy
of Institutional Equity, 2072
Andrea Fischer Newman, Ann Arbor
of equal opportunity for all persons and does not
Administrative Services Building,
Andrew C. Richner, Grosse Pointe Park
discriminate on the basis of race, color, national
Ann Arbor, Michigan 48109-1432,
Katherine E. White, Ann Arbor
origin, age, marital status, sex, sexual orientation,
734-763-0235, TTY 734-647-1388.
Mark S. Schlissel, ex officio
gender identity, gender expression, disability,
For other University of Michigan
religion, height, weight, or veteran status in employment,
information call 734-764-1817.
→ Learn more: stamps.umich.edu
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