issue 02 • april 2011

FEATURES06 the vigorous “hunt”14 exploring the depths24 lost in transition

PROGRAMS10 interior20 industrial28 graphic34 architecture38 studio arts40 landscape

02

With one goal in mind: To inspire creativity. Since then, the Catalyst team has been striving to bring you something different. After our first release, we decided to re-work the way we’ve gone about our process of bringing student work to the foreground. With a new design concept, more content, and more student work we are proud to introduce to you our second issue. Look for us next semester as we push Catalyst to print.

IT STARTED LAST AUGUST...

FOUNDERS:Parker Peterson Seth Lunsford Chelsea Evers ART DIRECTION:Michael Davis

DESIGN:Parker PetersonJessica Cremers

PROMOTION & WEB:Eric Andren

EDITING:Hannah Gilman Chelsea Evers

WRITING:Ryan HubbardBrandon Alvarado Parker PetersonEric Andren Michael DavisJessica CremersNathan Kirkman

CONTRIBUTORS:Gina LeoneDana SorensenLauren ClarkAlex Meyers Jordan MauriceAubrey Orisek

LOGICSomething to consider about

cat·a·lyst noun | katyl-ist |: an agent that provokes or speeds significant change or action

Coming up with awesome ideas is hard. Unless you subscribe to the notion that some people are inherently “better” at brainstorming than others, there must be some strategy involved in developing ideas for work. One great place to start might be to acknowledge (or at least consider) the damning effects of logical thinking on the early stages of process.

Try actually keeping a sketchbook of ideas, instead of just doing it because you need the grade. Start with a couple of random thoughts or observations and see where they take you. Create a mind map of sorts and elaborate on areas while jotting down other thoughts that pop into your head. Logic is harmful at this step in that it might cause you to ignore ideas that don’t seem reasonable or “good,” despite the fact that even bad ideas might lead to insightful observations or innovative thoughts. Try not to worry about whether people will be impressed with the idea, or whether or not the idea will create an awesome final product.

Some ideas don’t pan out, and that’s fine. The objective is to make an active effort to stop logical thinking from limiting your possibilities and forcing you to think in terms of the solution. For example, pretend you have to create work that is low cost, mass-producible, and looks good. It might be more effective to brainstorm outside of constraint, and then take the best ideas and start working with them to meet the restrictions. Logic, on the other hand, would have you conduct all of your ideation within the given restraints, making your solutions more predictable. Whether or not you agree, it’s something to consider as you evaluate your own creative process.

“HUNT” FOR A CAREER

VI GO RO US

THE

PARKER PETERSON

That’s right. It’s that time of year for most juniors and graduating seniors. Where am I going to be working or interning? The real world is approaching fast for many design students. The hair-pulling experience of the job search is one that is no stranger to Derek Hunt, a 2009 Iowa State graphic design graduate, who spoke with Catalyst about how he prepared for the grueling process of finding a career in today’s competitive design market. Hunt says young designers absolutely must develop some sort of online presence. Having something to show firms right away is important. Social media is indeed playing an active role in the job market. In a “who-you-know” and not “what-you-know” world, getting your name out there is key. Although sites such as LinkedIn, Behance Network, and deviantART can be helpful, it is crucial as a designer to have your own personal portfolio online for public viewing and self-promotion.

Hunt had his online portfolio established around the same time as the senior portfolio night. His personal portfolio for portfolio night consisted of an oversized 12x18 book. Since everyone typically strives to do something different, it is often hard to give advice on format, etc. The one thing that can be said, however, is that doing something different will help set your work apart from other designers’.

Hunt started his job search shortly after he graduated by compiling a list of firms he wanted to work for. He narrowed his list down by cities and found that his top picks were New York and San Francisco. He assembled his list and started making contacts as well as following leads from friends. From that point, he realized he wanted to work in New York. After applying at and talking to numerous firms, Hunt landed a paid internship with Method Inc.

SET YOURSELF

APART FROM

THE CROWD.

07

“THE BEST IDEA IS GOING TO BE PUSHED AND EXECUTED.”

After two months with Method, he left to take on a job with Base, another design firm in New York. Experience working at Base helped Hunt decide that he wanted to gain more insight in the field of interactive design. In July of 2010 he was hired back by Method and has been designing there since. When you’re putting together your list of firms, don’t just look for a place to work, look for a place that will ultimately push your abilities as a designer. “You are always going to feel more comfortable when you are doing things that are more in line of what you feel should be done whether it be stylistically or conceptually,” says Hunt. So make sure you find a place that fits you for you.As designers roll through college, time management can often times be an issue when trying to meet deadlines. “Method is very collaborative, everyone’s voice is taken into consideration,” says Hunt. In the workplace deadlines are deadlines, but there will never be a rushed solution. “The best design is going to be pushed and executed, whether the solution comes from the art director or even an intern.” These are definitely encouraging words for young and aspiring designers. The best ideas can come from anywhere.

Looking back at his time at Iowa State, Hunt says he wishes he would have taken more risks with his design work. Many times when students get into their programs at Iowa State, they are experimenting without a clue as to what they are doing or what they are trying to accomplish. Often times there are experiences we go through that push your work individually, and those experiences allow you to make that giant leap of progress in your work. “I don’t think I really knew what I was doing until close to the end of my junior year,” says Hunt. “At that point I had started reading more books and blogs, as well as having more discussions and smaller critiques with classmates.” Hunt’s advice is to really push yourself to do things you aren’t comfortable with and experiment as much as possible. “It is important to be able to really articulate what you are really trying to accomplish in your work. Talking about work is a skill that many graphic designers don’t have. So practice it. It is very important for each person to come up with their own conclusion about what their work is, because it’s theirs and nobody else’s,” says Hunt.

“There is no such thing as creative people. Everyone is creative,” is a quote Hunt lives by. “Creativity is based on what you know and your personal experiences. You’ll never come up with something out of thin air as it is always a reflection of something you’ve heard, something you’ve seen, or somewhere you’ve been,” says Hunt. Like many designers would tell you, Hunt recommends experiencing new things and traveling to new places. Doing so will not only help keep you inspired, but it will also aid in how you think about problems and design in general.

IT IS IMPORTANT TO BE ABLE TO REALLY ARTICULATE WHAT YOU ARE REALLY TRYING TO ACCOMPLISH IN YOUR WORK. IT IS IMPORTANT TO BE ABLE TO REALLY ARTICULATE WHAT YOU ARE REALLY TRYING TO ACCOMPLISH IN YOUR WORK. IT IS IMPORTANT TO BE ABLE TO REALLY ARTICULATE WHAT YOU ARE REALLY TRYING TO ACCOMPLISH IN YOUR WORK. IT IS IMPORTANT TO BE ABLE TO REALLY ARTICULATE WHAT YOU ARE REALLY TRYING TO AC-COMPLISH IN YOUR WORK. “IT IS IMPORTANT TO BE ABLE TO REALLY ARTICULATE WHAT YOU ARE REALLY TRYING TO ACCOMPLISH IN YOUR WORK.” IT IS IMPORTANT TO BE ABLE TO REALLY ARTICULATE WHAT YOU ARE REALLY TRYING TO ACCOMPLISH IN YOUR WORK. IT IS IMPORTANT TO BE ABLE TO REALLY ARTICULATE WHAT YOU ARE REALLY TRYING TO ACCOMPLISH IN YOUR WORK.IT IS IMPORTANT TO BE ABLE TO REALLY ARTICULATE WHAT YOU ARE REALLY TRYING TO ACCOMPLISH IN YOUR WORK. IT IS IMPORTANT TO BE ABLE TO REALLY ARTICULATE WHAT YOU ARE REALLY TRYING TO ACCOMPLISH IN YOUR WORK. IT IS IMPORTANT TO BE ABLE TO REALLY ARTICULATE WHAT YOU ARE REALLY TRYING TO ACCOMPLISH IN YOUR WORK. IT IS IMPORTANT TO BE ABLE TO REALLY ARTICULATE WHAT YOU ARE REALLY TRYING TO ACCOMPLISH IN YOUR WORK. IT IS IMPORTANT TO BE ABLE TO REALLY ARTICULATE WHAT YOU ARE REALLY TRYING TO ACCOMPLISH IN YOUR WORK. IT IS IMPORTANT TO BE ABLE TO REALLY ARTICULATE WHAT YOU ARE REALLY TRYING TO AC-COMPLISH IN YOUR WORK. “IT IS IMPORTANT TO BE ABLE TO REALLY ARTICULATE WHAT YOU ARE REALLY TRYING TO ACCOMPLISH IN YOUR WORK.” IT IS IMPORTANT TO BE ABLE TO REALLY ARTICULATE WHAT YOU ARE REALLY TRYING TO ACCOMPLISH IN YOUR WORK. IT IS IMPORTANT TO BE ABLE TO REALLY ARTICULATE WHAT YOU ARE REALLY TRYING TO ACCOMPLISH IN YOUR WORK. IT IS IMPORTANT TO BE ABLE TO REALLY ARTICULATE WHAT YOU ARE REALLY TRYING TO ACCOMPLISH IN YOUR WORK. IT IS IMPORTANT TO BE ABLE TO REALLY ARTICULATE WHAT YOU ARE REALLY TRYING TO ACCOMPLISH IN YOUR WORK. IT IS IMPORTANT TO BE ABLE TO REALLY ARTICULATE WHAT YOU ARE REALLY TRYING TO ACCOMPLISH IN YOUR WORK. IT IS IMPORTANT TO BE ABLE TO REALLY ARTICULATE WHAT YOU ARE REALLY TRYING TO ACCOMPLISH IN YOUR WORK. IT IS IMPORTANT TO BE ABLE TO REALLY ARTICULATE WHAT YOU ARE REALLY TRYING TO ACCOMPLISH IN YOUR WORK. IT IS IMPORTANT TO BE ABLE TO REALLY ARTICULATE WHAT YOU ARE REALLY TRYING TO ACCOMPLISH IN YOUR WORK. IT IS IMPORTANT TO BE ABLE TO REALLY ARTICULATE WHAT YOU ARE REALLY TRYING TO ACCOMPLISH IN YOUR WORK. IT IS IMPORTANT TO BE ABLE TO REALLY ARTICULATE WHAT YOU ARE REALLY TRYING TO ACCOMPLISH IN YOUR WORK. IT IS IMPORTANT TO BE ABLE TO REALLY ARTICULATE WHAT YOU ARE REALLY TRYING TO ACCOMPLISH IN YOUR WORK. IT IS IMPORTANT TO BE ABLE TO REALLY ARTICULATE WHAT YOU ARE REALLY TRYING TO ACCOMPLISH IN YOUR WORK. IT IS IMPORTANT TO BE ABLE TO REALLY ARTICULATE WHAT YOU ARE REALLY TRYING TO ACCOMPLISH IN YOUR WORK. IT IS IMPORTANT TO BE ABLE TO REALLY ARTICULATE WHAT YOU ARE REALLY TRYING TO ACCOMPLISH IN YOUR WORK. IT IS IMPORTANT TO BE ABLE TO REALLY ARTICULATE WHAT YOU ARE REALLY TRYING TO ACCOMPLISH IN YOUR WORK. IT IS IMPORTANT TO BE ABLE TO REALLY ARTICULATE WHAT YOU ARE REALLY TRYING TO ACCOMPLISH IN YOUR WORK. IT IS IMPORTANT TO BE ABLE TO REALLY ARTICULATE WHAT YOU ARE REALLY TRYING TO ACCOMPLISH IN YOUR WORK. IT IS IMPORTANT TO BE ABLE TO REALLY ARTICULATE WHAT YOU ARE REALLY TRYING TO ACCOMPLISH IN YOUR WORK. IT IS IMPORTANT TO BE ABLE TO REALLY ARTICULATE WHAT YOU ARE REALLY TRYING TO ACCOMPLISH IN YOUR WORK. 09

VERAWANGONE INTERIOR DESIGN GROUP STEPS US THROUGH THEIR PLANS TO REVOLUTIONIZE THE BRIDAL SHOPPING EXPERIENCE AND BRING HAUTE COUTURE TO DES MOINES.

CORISSA HUIBREGTSE Interior Design Junior

VERAWANGexperience was also set apart because it was by appointment only, not allowing someone just walking through the mall to be able to walk into this Vera Wang store. Having the entire store allows a bride to have the space and luxury of going through each dress with just her family, without having other brides around her doing the same. We also looked at creating a private environment in the area where the bride would show off the dress by blocking off most views to that space.

Did you learn anything from studying Vera Wang you couldn’t have obtained somewhere else?For our studio, we took a trip to Toronto, Canada. While we were there we went to their shopping district and were able to look around. Vera Wang was having a trunk sale at the Toronto store, and they were kind enough to schedule an appointment with us where we were able to go into a current store, talk with the sales associates and really get a feel for what the bridal experience with Vera Wang is really like. Through talking with a few people that work with Vera Wang we were able to get some additional information that we benefited from.

What were the primary goals of this project?The primary goal for this project was to design an elegant boutique for a designated space in Jordan Creek Town Center in Des Moines, Iowa. This space was for high-end designers, specifically for my group, Vera Wang. The hope was that bringing in big names of the fashion industry to Jordan Creek Town Center would take the mall to the next level in what it offers for its customers.

Did you set any personal goals?I had goals of creating an experience throughout the entire space in which we were given. Vera Wang is known for her bridal gowns and my group (Alisha King, Emily Erbes, Lindsey Renken and myself) decided that we could really go with that idea and create a one-of-a-kind experience within the event of shopping for a bridal gown.

How do you feel you accomplished this idea of creating a one of a kind experience? We believed that by committing the entire retail space to one bride at a time, we would be able to create the one of a kind bridal experience. The shopping

11

I DO NOT THINK I WOULD DO ANYTHING DIFFERENTLY BECAUSE I BELIEVE THAT ANY PROJECT I WORK ON IS A LEARNING EXPERIENCE FOR THE FUTURE...

Would you have done anything different looking back?

I DO NOT THINK I WOULD DO ANYTHING DIFFERENTLY BECAUSE I BELIEVE THAT ANY PROJECT I WORK ON IS A LEARNING EXPERIENCE FOR THE FUTURE...

Would you have done anything different looking back?

EXPLORE THE DEPTHS: THE IMPORTANCE OF RESEARCH AND CONCEPT

EXPLORE THE DEPTHS: THE IMPORTANCE OF RESEARCH AND CONCEPT

The word “shallow” is likely to produce some sort of negative connotation in most people. Being called a shallow person is amongst one of the more serious insults one can receive. Making a shallow argument means that you not only lost the argument, but you likely got embarrassed in the process. Just about the only instance when hearing the word “shallow” may be a good thing is if you aren’t a strong swimmer and you find yourself in a pool or some other body of water. The design world is no exception to this. Creating meaningful work is a struggle for designers in all disciplines. It should be a goal for all projects; to make something intriguing on more than just a visual level. While there are many ways to accomplish this, the first and most important step is to do your research and have a solid concept.

RYAN HUBBARD

15

Research and concept are two words that have been forced down our throats and hammered into our brains since we started design school. It seems like kind of a no-brainer to say that there may be a reason for the constant cycle of research followed by concept development in every project we’ve done to date. For whatever reason, however, research and concept are falling by the wayside more and more and being replaced by simple theme. Particularly in student work, the way something looks is beginning to trump meaning and what the work is meant to accomplish. Want some examples? Check out sites such as www.ffffound.com or www.designspiration.net and ask yourself what the function of each design piece is. You’ll find that, for a good amount, the purpose or concept is difficult to decipher. There really isn’t a purpose other than to look cool (or in the case of ffffound, to have an excuse to post a picture of a nipple on the internet).

Just to clear things up, I’m not saying you shouldn’t value making your work beautiful. When work is done well it

should absolutely be intriguing visually, but for it to be truly good work it needs to have depth. Knowing from the beginning what you want your work to accomplish and how it is to function is crucial. If the way a piece functions isn’t a core part of your thinking and process, chances are people will not connect with it. Design is, after all, for people. It is very difficult to make a case for success when people aren’t connecting with your work.

We all know how to add this to our work. We’re all capable of doing great things. We just need to remember where all great work starts-with research and concept. It takes a little time, but the result is well worth it. Decisions will be well informed and come quickly, you’ll have a bank of knowledge and inspiration readily available and most importantly your work will have a backbone.

FOR WHATEVER REASON, RESEARCH AND CONCEPT ARE FALLING BY THE WAYSIDE MORE AND MORE AND BEING REPLACED BY SIMPLE THEME.

17

MEDIOCRITYSomething to consider about

Everyone has heard about how important it is to stand out, and the basic nature of how studios are run makes comparisons between students unavoidable. Interestingly, the people who seem to be “better” often set themselves apart in ways other than what their work looks like.

Consider why you’re here. You must love what you do, but in what way? Did you choose your major because it seemed more fun that biology? Or was it because you’ve spent your whole life aspiring to be an amazing architect? Neither answer is wrong, but try to figure out what you want to get out of your short time here. If you’re simply trying to make it through school, going project-to-project, try to rethink your strategy. See if there’s a way to get more excited about what you’re doing. The designers and artists you admire are probably driven by internal reasons, rather than getting grades or a paycheck.

The easiest way to improve the quality of your work is to add a personal touch to it – to find a way to get personally involved in what you’re doing. It’s always easier to create great things if you’re excited to work on it. If you are able to dive into a piece of work with personal investment, you will obviously care more about how it turns out. The quality of your work will improve and you will be more likely to learn from it upon reflection. Don’t be afraid to bend the limits of your assignments if the result will be work you are more proud of.

JACOB MARTINSON, LIKE MANY OTHER STUDENTS, HAS FOUND SOLACE IN THE COD’S NEW INDUSTRIAL DESIGN PROGRAMTHE FORMATION OF ISU’S NEW PROGRAM HAS ALLOWED MARTINSON TO FOCUS HIS LIFELONG INTEREST IN WATCH AND FURNITURE DESIGN INTO AN EDUCATIONAL CONTEXT. “I WAS GOING TO APPLY TO ARCHITECTURE FIRST BECAUSE IT WAS AN ESTABLISHED PROFESSIONAL PROGRAM, BUT I TALKED TO MY ADVISOR AND HE SAID THEY WERE FOR SURE HAVING AN INDUSTRIAL PROGRAM… SO I PUT IT DOWN AS AN OPTION AND GOT IT.” MARTINSON HAS SINCE BEEN THRILLED TO HAVE THE OPPORTUNITY TO DEVELOP HIS SKILLS AND SHARE STUDIO SPACE WITH LIKE-MINDED PEOPLE.

JACOB MARTINSONIndustrial Design Sophomore

21

In his final project of the previous semester, Martinson had to create a series of products as a brand extension in a way that related to an in-depth aesthetic analysis of several brands.

“We all had to research three brands and then pick one of them. Then we had to dissect the key characteristics of it and make a product line based off of it. I picked Skagen, a watch brand, and I ended up taking them into office accessories.”

The studio spent a fair amount of time picking apart their brands. “We took a few weeks actually to just look at the basic things that make the brand.” The extensive brand analysis translated into a set of qualities and concepts that helped direct form exploration. Martinson says that their class was encouraged to challenge the normal expectations of their products and, in a sense, reinvent them.

With just four weeks to complete everything, the project moved quickly in order to cover a lot of ground. “It was another one of those ‘post thirty or more sketches on the wall and narrow it down

from these projects.” Students then just jumped right into developing their ideas through detailed sketches and modeling. “I had a huge cardboard box in my apartment full of blue foam models… maybe like twenty,” he says laughing. Martinson then switched to yellow foam (a denser foam that allows for better detailing) and created a few final studies before deciding on the final form for each of his products.

The results of his hard work are impressive. In addition to testing his ability to abstract form and generate new shapes, the project has given this kind of problem solving a practical context by applying the solutions to an existing brand. Martinson says he is excited to get further into the program and start applying his skills to his specific areas of interest. “It’s a really fun program,” he says. “There’s something for everyone in it.”

ANY GIVEN PROJECT CAN NECESSITATE ADDRESSING A VARIETY OF NEEDS, RANGING FROM AESTHETIC CONSIDERATIONS TO FUNCTIONAL QUALITIES AND MATERIAL USE.

23

The things that we make, whether in-line with contemporary tastes or diachronically opposed to them, are the result of the context of the environment in which we create. In the last few months, I’ve heard that our visual culture is finally moving out of Post-Modernism, but with no real discussion on where it’s moving to. So I’ve begun reflecting on what that means to me as a new, green-horned designer. I’m realizing how confused I am when considering my place, my aesthetic language in design between the polar opposites that have defined design as I begin to enter it: Modernism and Post-Modernism.

An argument can be made that graphic design, with its roots and history, tends to stick strongly to Modernism. However, this might just be the result of my perspective in design in the time that I am learning it. The inescapable context of my existence. For me this has been a very difficult context to come to terms with. Partly due to my own indecisiveness, I have found myself lost in between the transition of Modernism, Post-Modernism, and whatever we are moving into next. The influences I take in exist in both areas and this tension has been with me since my design education started.

It is understood that as designers and artists, we are products of our time.

LOST IN TRANSITION

BRANDON ALVARADO

Artistic movements and stylistic periods are, for better or worse, rough estimates when it comes to placing them on the timeline. Dates are nearly always in contention and so it becomes difficult to put a number to something that involves a group consensus, a similar desire and thought pattern. This only becomes more difficult between different art movements, ones that live by a dogmatic set of principles with little deviation and ones which praise simultaneity. Its the former of these that are easier to pinpoint. The entire Modernist movement is much easier to track, and this is partly due to a paper trail. The modern art movement simply could not move without a Manifesto, printed inch by inch in the newspaper, some publicly observed manner of written expression. These publications serve really well for the starting date and the manifest of the next avant-garde movement makes for a good stopping point. The method is almost too clean to really exist. There were people working on Cubism even after another style became dominant, and people were working towards Dadaism even before Hugo Ball opened the curtains of the Cabaret Voltaire. However, the point is that the “master narrative” paved the thinking that each step replaced the one before it in constant progression. This trend works well until the narrative reaches its end and the final step becomes its own deconstruction. This paradox embraces the concept of simultaneity, of saying that there is more than one solution to convey a message or represent an idea. It took up the task of historical imitation, eclecticism. It mixes them with novelty, with fun, with what Milton Glasier terms “delight.”

This next step was Post-Modernism, and for all the devastating it did to Modernism, it plays on being playful, on poking fun, on allusions and metaphors, and humanistic qualities that were forgone since the days of academic art. It makes the point to play with humor, to strip away the stark, stoic, clarity of the modernist ideal. But because this movement thrives on this openness, this accepting of all things before and after it, it is difficult to find out where it exactly started and where it stopped. As to my knowledge, there was no manifesto, no statement that said history and openness and fun. It was merely a transition, a result of the law of diminishing returns, a boredom with the transparent, serious, clarity of things as they were.

I find a good harmony with Post-Modernism. It is fun. It plays with the audience and humor has always been a significant tool in communication. Post-Modernism embraces eclecticism and loves history. In a quote by designer and writer David McCandless in his book Viscual Miscellaneum: “Overall, Postmodern art says there’s no difference between refined and popular culture, “High” or “Low” brow. It rejects genres and hierarchies. Instead, it embraces complexity, contradiction, ambiguity, diversity, interconnectedness, and criss-crossing referentiality.”

25

Following this definition, I often fit well into the Post-Modern frame of thinking. I love history; it is integrated into my work and if you take a look at my process it is almost impossible for me not to dig into every historical precedent imaginable before I feel comfortable beginning my next project. I have an openness to other design solutions and rarely will I ever assess anything as “done the wrong way” but rather play the devil’s, deciding how it might become the right solution. Yet at the same time I feel such passion for the strict, rigid confidence of well-proportioned, well-thought out Modernism.-The strong, emotional power of an uncrossed gridline. In Modernism’s corner is well-known designer and partner at Pentagram, Michael Bierut. He writes in his recent essay “Battle Hymn of the Tiger Mentor, or, Why Modernist Designers are Superior:” “I learned attention to detail. Working with a limited palette of elements leaves a designer nowhere to hide. With so little on the page, what was there had to be perfect. I learned the importance of content.” To me, modernism has such confidence on a printed page that I almost immediately become envious. It is so clean, so strong, and so certain of its own correctness. And on those days when

I feel like I could jump head first into post-modern openness, I suddenly get stopped short by the shocking assurance of something completely sure of itself. To me, Modernism’s most enviable trait is the sense of purpose, the sacred quality given by the “master narrative” that reminds me that just as modernism gets stuck in the boredom of style, post-modernism can get crowded and lost in its own complexity.Finally , after mulling this confusion in my attempt to calm this dissonance I am reminded about something we are constantly taught as creative thinkers. By the nature of our professions, our best solutions come from the juxtaposition of two seemingly different things. Like a Venn Diagram, we bring them together, blend them, and take apart the commonalities and distinctions within each. I was reminded of this during Frank Chimero’s lecture: The Shape of Design during the 2010 Build Conference when he argued creativity involves embracing paradox and rationalizing the differences inside ourselves. So, the solution to my problem may be as simple as to bring the two together, forcing them to confront one another and clash horns, pulling apart the common ground and using the best of both forms to help me better tackle the obstacles of whatever design movement we move into.

I OFT

EN F

IT W

ELL

INTO

TH

E

POST

M

ODER

N

FRAME OF THINKING.

27

BEING A NO-TALENT HACK IS SUDDENLY EASIER THAN EVER

PATRICK CROWLEY Graphic Design Senior

“For our class project, we were asked to create a company that parodies American culture. I chose to focus my project on the lack of creativity in the music industry— everything on the radio sounds the same! A lot of that can be attributed to “super producers,” like Max Martin, Dr. Luke, RedOne and Ryan Tedder. For instance, “Tik Tokk” by Ke$ha and “Cali Gurls” by Katy Perry are almost identical — and yet, both songs went to number one on Billboard. I created a brand called Hitnotize, and they would have a program that would generate hits that were clones of each other.

GRAPHIC DESIGN SENIOR PATRICK CROWLEY FILLS US IN ON ONE OF HIS MOST RECENT PROJECTS...

07tips for

success

>Ke$ha, Beyonce, Christina and Usher share their experiences with Hitnotize.

02 SAMPLING SONGS 101

03 MEET NATALIA KILLS

04 KATY PERRY TAKES OVER

08 ON THE CHARTS

09 Q&A WITH P!NK

03

09

win

ter

2011

NO TALENT?NO PROBLEM.

Just look at what we did to this guy’s career. Hitnotize can generate beats that can disguise your voice. And with our latest autotune technology, you’re minutes away from creating a number one hit!

NO TALENT?NO PROBLEM.

Sometimes producers sample their own songs, which is the case for Ryan Tedder, the lead singer or OneRepublic. Ryan used Hitnotize to create the beat he used for Beyonce’s song “Halo” and then recylced it for Kelly Clarkson’s “Already Gone.”

0203

new artist watch

natalia kills

Ficius doloria dolorepratem corum dit, ut officiustium expercius mostem landelles dernam, quatur, sum.

Ficius doloria dolorepratem corum dit, ut officius-tium expercius mostem landelles dernam, quatur, sume laborem fugianti consera vit quam, que ac-culluptam essimagnim senda sitaquiati que de-lecul lorias dit eium escimus dolupta non ressusd aessit vollupti incieni nullam, sequi offictesedic tem si qui remqui reriore mpostius autaspit aut

on trend with Hitnotize

song sampling 101Some of the biggest hits of the past couple years sample other songs. Here’s how the pros do it.

Nicki Minaj’s new single “Check it Out” samples the hook of “Video Killed the Radio Star” by The Buggles. Though Nicki didn’t use Hitnotize for her full album, she decided to release this song over a more original track. Why? Nicki simply says, “the radio audience likes familiarity, so what’s the point of trying something new?”

She hasn’t admitted it publicly — until now — but Lady Gaga’s successful hit “Alejandro” sampled the Ace of Base’s “Don’t Turn Around.” With our program, she was able to discover how people reacted to their megahit and was able to generate the infectious beat that made “Alejandro” a top ten single.

Kanye West has made a career out of sampling well known songs, whether it be “Stronger,” which sampled Daft Punk or “Gold Digger,” which sampled Ray Charles. Since his career began, Kanye has used samples in twelve of his songs.

on trend with Hitnotize

song sampling 101que nihil minullit fuga. Nequi unt.

Gendis aliquae debi-sciis et debit apel eum adi que et endae vo-luptaquam, que prate in reptas doluptate cullendus volutassin cuptinum et pro ber-sped magnia ipis re-sequostis mi, occabo. Eptas aliqu tiordspores iducietiona velia nobit, sit et dol ori bus ullen-to magni sit ipsamus sitia cum volecaboi cone officatecti autem handsset.

Ipsa sedi assumillant ha pereperi doluptat-vendi gnimolo rroris et dent alibus as restor restiist, sunt vmaximus aliquibun reperfernam non reperis estiniat.Pel et fugia voloria do-loratu.Elit a quoditatior moPa dolessi am ip-sunt, consedistota cus aut et volupta tendero-Bus suntint, sin ene qui omnimporate dio tem-perum re, ut od quam quisit ulpa seribusto officatus audae pores et eniatem faci cum dollacima doluptatur, se re laboriorro quam

Ficius doloria dolorepratem corum dit, ut officiustium expercius mo-stem landelles dernam, quatur, sume laborem fugianti consera vit quam, que acculluptam essimagnim senda sitaquiati que delecul lorias dit eium escimus dolupta non res-susd aessit vollupti incieni nullam, sequi offictesedic tem si qui remqui reriore mpostius autaspit aut que ni-hil minullit fuga. Nequi unt.

Ecum et es etur? Nam laut dunt.Bore sendionseque cum sunt ea-

qui odis modipsa ectorepudi quam voluptate volorae perferum quo ex-erferi sectiore, cum quam, tem andia conecto tatquias rehenis ciatecto consed que occum volecea denist, con exeri repernam doloriae. Nam,

ipsam volupta testem. Or minc-tecto volupis aut rectias voluptiis porporro maxim aut eat quam an-tiam quasper umenima quundiciis ipsum autae vel molor magnimus volupicius ad quia di omnimusam di verferu ptatiis rerspeditCeaquam as modit elescie ntestem perspita di in-usdae. Igeni dolo occus est, sim deles as et est ent.

Poribusam hillecaest, es ab ipic tem la poremod igeniti oribus ulle-nis conest explici nobitio. Nam en-daeperunt imus, tem fuga. Isquatet eosto et liquunt otaquis eventium que porere eum dusci desequi asper-cimus audam samAm, con peliquo exceptam qui nis mint qui cum di-tiore ctiusap as ea sa qui autestia-

Katy Perry’s ‘Teenage Dream’ Come True

mus dis illant.Fero velessim net laccum niae sa-

pitis et laccatem as volo etur?Or ad quata inis mo blaut aliquae

plam faccata porpore henimus estio. Ecaborepudam quiderem que name ratium unt.

Nam, net lacerep tatquibusda quatem ut harum re exerspi eniene pore rehent exceptur sunt tis quam aut offic tent ut unt a dic test eosan-di genist et aute rerspis nos dolor-estrum imus porem dolorit etur? Abo. Nem iunt, oditates a con conet od quo veliquias re n

As nit aut magnia dit plabor-por sumendae. Num nobitem doluptat qui ape sum coribus mo tem. Seceat quia quuntia esciis eseque pliqui dolesti assimin tin-ciis quatem nat esequia susae libus, nonsequunt minctaquam rempeli quatiun tendae eiur, eium erspiduci-mi, cul

Adis etur molupta essunt ven-ditio. Is as doluptae optatur? Parum hicia volupta simpore de que nulpar-cius doles remporehent reicilibus ma non postion sequis ipsum qui volor-rum nonetur sum volendi taturit voloriObita nest quatece stiur? Nes ad maion etur, veliquoditam rem vo-luptiaepro volupta aligene reicitatate dolorecest et aut voloria nderro eos-sus et proris am voluptatetus dit pa dolorem unt lacea doluptatque per-atqueVelendaeribus incimil iquodi dolorio et plabo. Caerunt.

Ur aut la ipitatem net quod mag-nit est verionet aut utem. Ut licabo-rat.

Gias quam, sin ne et reiusam

05

cover story04 AUTOTUNE IS QUITE POSSIBLY THE BEST INVENTION EVER. THAT IS, ASIDE FROM LIP GLOSS.

My logo is a sheep with headphones, which comes from the idea that Americans mindlessly flock to what the industry wants them to. I gave the sheep spirals for eyes to emphasize the “hypnotize” idea. My brand used bright, obnoxious colors, taken from the idea that a lot of this pop music is sugary and too much of it makes you feel sick and dizzy. The colors are also very similar to the Billboard brand.

For one of my brand extensions (we were asked to do two), I made a mini-magazine to promote Hitnotize. The publication was called Hitmaker and would be used as a tool to promote the company. It would have success stories and tips from “musicians” that used Hitnotize.

Not only did I have fun designing this magazine, but I had a blast writing for it as well. I got to make up fake quotes to make the musicians sound as brainless as they seem to be.

I chose to do a magazine for a few reasons. First of all, I plan to pursue a career in editorial design after graduation; it’s my passion. Since most of the senior

projects are geared towards branding, I had to get creative so I could have a project that worked in my portfolio. I also chose to do a magazine because it’s where you already see a lot of these celebrities — on the covers of magazines.

As far as inspiration—this may sound surprising, but I was very inspired by Popular Mechanics while I was working on this magazine. I’m no tech guru, but I love the design of Popular Mechanics. I also see a big influence from the magazines I work on at my internship with Meredith Integrated Marketing.

The hardest part of this project for me was getting over the fact that I was being somewhat offensive towards music I enjoy; I was criticizing myself in a way. I am a huge fan of the singer P!nk, but I devoted a whole page to a fake story about how she had to abandon creativity to write her recent hit “Raise Your Glass.”

Overall, I’m very proud of the project. It’s humorous and well-designed. I can feel confident presenting it during an interview.

31

FAILURESomething to consider about

Everyone likes to succeed. Ironically, there’s always so much pressure to succeed that sometimes we can end up shortchanging our education. Unfortunately there’s no academic reward for spectacular failures, despite the fact that failures can result in some of the most powerful learning experiences.

So which is better, flawed innovation or flawless predictability? Those who worry too much about failure are probably less likely to explore new techniques and entertain new ideas. The creative world is dictated by innovation and originality so naturally there is a need to be fearless.

Consider James Dyson, CEO of Dyson vacuum cleaners. As the inventor of the “Dual Cyclone” bagless vacuum cleaner, he went through 5,127 prototypes, 5,127 “failures,” before arriving on the final design for his vacuum. It feels great to get it right on the first try, but you should never allow an unsuccessful attempt to define your abilities.

Don’t be afraid to explore new techniques. On a more practical level, you wouldn’t want to end your run as an undergraduate with a portfolio full of work that all looks the same. From a business aspect, your effectiveness after graduation will be severely limited if you’re unwilling to take a risk to create something new.

Take the time now, as an undergraduate, to try new things. You’re not obligated by clients or paychecks to do everything perfectly on the first try, so why limit yourself? Do your best to ignore the usual solutions and try to challenge yourself as often as possible.

VELODROMETWO ARCHITECTS WITH A SINGLE GOAL IN MIND

DANA SORENSEN & DEVIN MURRAY Architecture Seniors

DESIGN

VELODROME

DESIGN

1:20Concourse

Tell me about your project.The project was a design for a Velodrome, a race track for a cycling Olympic event. The site was in Boston, just north of the Boston Gardens. There were originally three choices for this project. We chose this site because of the proximity to the train station and its possible connection to the city. The velodrome itself seats 8,000 which is large and the structure is very expressive on the outside.

What inspired this solution? What other works did you look to?Our main precedent study was the Athens Velodrome created by Santiago Calatrava built in 1991 and completed in 2004 for the Summer Olympics. Besides that, the majority of our design decisions came from the site constraints. One of the challenges of this project was the that the site was too small to fit the program. It took some “tricky physics” to make the site work.

Explain some of the innovations you made in this project We cantilevered the structure out over site as a way to get around the size constraints. The structure itself is made of two components: poured in place concrete, and pre-cast segmented beams. There is a highway overpass that goes over the site and it was so close to the main train station that the seating took on an asymmetrical plan. Part of the plan was overlapped by this overpass and so we placed the entrance and lobby under it in order to better integrate the velodrome with traffic from the Boston Gardens. Also, in order to fit the stairs in we had to push them through the wall, which became a pretty interesting detail.

Do you typically find constraints as a vital part of your inspiration? If you have a site that pushes back enough, yes. So in the very dense location of downtown Boston, yes, the site pushed us enough to be innovative, especially in terms of transportation. In the heart of Boston, the site forced us to make decisions a lot quicker than some of the groups that worked on a different site.

How was it working as a team? Pretty good. We shared similar ideas, so it was easy to come to a conclusion. There was a little bit of a push and pull but not as much as expected. A two person group was much easier to work with than a three or four person group.

1:20Concourse

37

JACOB MARTI Integrated Studio Arts Senior

Explain the project. What were you doing? What was the project statement?I was just exploring glazes mostly, surface textures. With that, since I’m also into painting and drawing, I was trying to incorporate that into clay and glazing. So I just made a plate for a more flat open surface, then I had a lot of room to experiment. It turned out really well. I had a cup that turned out really successful [in this style] and ever since then, I’ve been following up on that method of glazing.

Can you tell us more about your process and how you come up with how you’re going to apply glazes?I started with an under glaze, which is just a dry glaze in pencil form, and that’s what the black lines are that look like a drawing. They are crisp lines applied beneath the glazes. Then I applied a wax coating, following the pencil marks. When the wax dries, whenever you put glaze over top it just runs off. So the pencil shows through and the straight porcelain

shows through on those spots. Then I used two different types of high-fire glazes, a turquoise and an orange, and just splashed those on.

What made this particular piece stand out?The pattern of the splashed-on glazes and the high-fire glazes turned out a lot better and it was just more consistent. Sometimes you wax crazy or something, and when you put on the thicker glazes they just ball up weird and the texture is weird. This is a slightly functional as well as a decorative piece.

How do you feel about being included in the Art andDesign Annual?It’s always nice to be accepted into a show. It’s always really competitive, especially the Art and Design Annual, since every major is putting things into it. There were a lot of really big graphic pieces, architecture drawings, and even 131 gets involved. It’s just really nice

getting involved and then getting awards is a good plus. This was my first award, so that was nice.

How do you think this piece compares to the rest of your bodyof work?It’s a little similar. I have a few pieces that are glazed like this and it does work out with part of my body of work, but not all of it. I’m really more into sculpture projects, like I just made a life size bust from my torso up last semester, but the glazing is more experimental on that too. I enjoy throwing, I have a lot of thrown pieces, so it fits into there.

What sort of direction were you given for this project?It was pretty much wide open this last semester. It was just glaze experimenting and exploration for that project. That is what Ingrid Lilligren wanted me to focus on, and I guess we started off with doing demos of throwing plates and large platters, and this was one of them I practiced with and just glazed.

STUDIO ARTS SENIOR JACOB MARTI TALKS US THROUGH HIS UNIQUE FUSION OF DRAWING, PAINTING, AND EXPERIMENTAL GLAZING TECHNIQUES.

39

Tell us about your final project last semester. What were your concepts and ideas? Did it turn out the way you had originally planned?

Our final project last semester in our urban design studio (LA 402) was a redevelopment plan of the New Bohemia neighborhood located directly southeast of downtown Cedar Rapids. New Bohemia is a neighborhood with a vibrant artist culture and lively nightlife. It was affected tremendously by the flood of 2008 and is finally on its way back to recovery, although there still remains a large number of vacant buildings. We began this project by looking at case studies of redeveloped towns after a natural disaster, and what made them a success or a failure. My partner Adam Novak and I made numerous trips to New Bohemia to interview people living in the neighborhood, as well as people involved with the future success of the neighborhood. We designed a public art installation as a protest to a proposed levy on the north bank of the Cedar River, as the flood prevention method could be detrimental to the strength of Cedar Rapids in many ways—including the fact that only one side of Cedar Rapids would be protected in a future flood. Our installation design used current dilapidated houses and a visual representation of the proposed levy to portray the disconnect associated with the installation of a levy. Towards the end of the semester, we returned to our proposed designs and revised them once more to include the knowledge that was gained during the social and artistic components of the project. I believe that I can speak for Adam and myself when saying that we were pleased with our final solution.

GREG LEICHTYLandscape ArchitectureSenior

LEICHTYSPEAKS UP

I FIND MYSELF LOOKING BACK AT MY PREVIOUS WORK WITH A CRITICAL EYE

How has the work that you’ve been doing this year evolved from your first year?

The evolution of my work from freshman year until now has been pretty fun to watch. As a designer, I am rarely completely satisfied with a final design, but I can definitely tell that my ability to fine tune the final design has greatly increased due to my studio experience as well as internship experience. I find myself looking back at my previous work with a critical eye simply because I understand landscape architecture better now than I did when the work was completed. I still have a long way to go before I can consistently produce beautiful, functional and sustainable landscapes, but I think the best way to get there is to really dive into your studio projects and get as much out of them as you can while getting as much real-world experience as possible.

What are you interested in doing with your degree? Is it intimidating going into our current economy looking for jobs?

After graduation, I would like to work for a landscape architecture firm or a multi-disciplinary firm and gain knowledge from working side-by-side with professionals. It is a bit scary to think that a year from now, I will be looking for my first career, and the competition will be fierce. I am very optimistic about the future of landscape architecture and I feel privileged to have been able to attend an in-state institution that has a landscape architecture program ranked 8th nationally. I can already tell that the connections I have made through Iowa State University will be an important asset that I will have at my disposal for the remainder of my career in landscape architecture.

IT IS A BIT SCARY TO THINK THAT A YEAR

FROM NOW, I WILL BE LOOKING FOR MY FIRST

CAREER, AND THE COMPETITION WILL BE

FIERCE.

43

INSPIRE CREATIVITY

Our aim is to inspire creativity in every possible context. We want to stir change by urging you to think about yourself as an artist or designer. We think it’s equally important to develop an analytical skillset that goes deeper than simple aesthetic decisions. Adressing these issues will result in smarter, more expertly crafted design.

Catalyst is a simple collaborative of students.If you share an interest in design education or would like to get involved with the creation of Catalyst, we would like to hear from you. If you want to submit work, original writings, or offer ideas to improve this publication, please don’t hesitate to get in touch!

http://www.catalyst.stuorg.iastate.edu/