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Showcase of work from Parsons AAS program in Graphic Design, 2008
Citation preview
PAR
SO
NS
AA
SG
RA
PH
ICD
ES
IGN
WO
RK
2008
VO
LUM
E 2
PARSONS AAS /
GRAPHIC DESIGN /
WORK 2008 /
VOLUME 2
101214
132144158174178
Note from the Chair Pamela Klein
Note from the Director Katarzyna Gruda
Student Work
Collaboration Release
Featured Faculty Claudia Brandenburg
Featured Alumna Emily Wardwell
AAS Faculty
Acknowledgments & Credits
44
Where are you from?
2
4
2
45France
Puerto Rico
2731
23
2
3
82
22 PARSONS
United Kingdom
Ireland
Germany
Sweden
Spain
Canada
ItalyUnited States
Mexico
Brazil
Bolivia
Argentina
Alaska
Hawaii
55
1
13
63
7
5
2
21
1
1
1
46
India
Georgia
Turkey
Israel
China
Korea
Russia
Japan
Thailand Philippines
Australia
New Zealand
Sudan
Kenya
South Africa
Estonia
3
typefaces owned stat spread
13,968Total number of typefaces owned
typefaces owned stat spread
Total number of typefaces actually liked
233
8
Tuesday
Monday
Number of hours you spend in class each week
69
.5
34
.5
49
9
Friday
Thursday64
.25 41
.75
34
.5
Wednesday
10
NOTEFROM THECHAIR
11
NO
TENOTE
FROM THECHAIR
This year, the Graphic Design graduating class has once again produced outstanding work. How is this consistently high level of creativity and execution possible? We have terrific teachers and we’ve worked hard to provide instruction that reflects the ongoing evolution in the industry, but these factors by themselves can’t account for the excellent work that students produce after only two or three semesters of study. The answer has to be our students, themselves.
We know that students choose the best education they can, based on the reputation of the school, the faculty, and the school’s connections to the design industry. But, perhaps the most important factor in the learning process itself is the caliber of the student in the next seat. AAS students come from everywhere —Argentina, California, Alaska, Colorado, France, Korea, Kenya, New York, Texas, and more. And in their previous lives they’ve been everything: ballet dancers, attorneys, writers, engineers, financial analysts, teachers, chefs, stockbrokers, fine artists and most any other profession you can think of. This provides a rich and unique learning environment because our students benefit from each other’s informed opinions and approaches to design problems. They help each other, compete with each other, and never stop until the solution is the best available. We challenge them; they challenge us; and they challenge themselves. From my side of the desk, it’s a thrilling, rewarding, and breathtaking process.
Pamela Trought KleinAssociate Dean of Professional Studies
12
NO
TE
FR
OM
TH
ED
IRE
CTO
R
AA
S st
uden
ts le
arn
earl
y on
that
rese
arch
and
reso
urce
fuln
ess
are
the
best
-kep
t sec
rets
of a
ny g
reat
des
igne
r. T
ruly
und
erst
andi
ng a
pro
ject
is
ess
enti
al f
or i
nnov
atio
n, w
here
as i
gnor
ance
ine
vita
bly
prod
uces
th
e ex
pect
ed. O
ur s
tude
nts
look
at a
ny s
itua
tion
ope
nly,
then
dig
eve
r de
eper
wit
hin
the
subs
tanc
e of
the
pro
blem
, lea
ving
beh
ind
the
slow
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cay
of “
good
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”
In v
iew
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vis
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com
mun
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pla
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our
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, it
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ildly
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espo
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stu-dentwork1 7
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1 Book Cover, The Story is True, Dimensions: 5.5 x 8.5 in; 2 Book Cover, Intuition, Dimensions: 6 x 9.5 in
Where From Korea; Previous College Centenary College; Where do you plan to live after graduating? NYC
1
17
2
18
3
4
Hansul Amy Cho, continued
3 Accordion Fold Brochure for Beckett Paper Company, Dimensions: 5 x 5 in; 4 Accordion Fold MoMA Brochure, Dimensions: 5 x 5 in; 5 Apple Calorie Widget
19
5
20
1–2 Posters
Where From Baltimore, Maryland; Previous College University of Maryland College Park, BS, Finance; How many hours do you spend in class each week? About 30
1
21
2
22
Yfat Eyal, continued
3 Logo/Identity; 4–6 Silk-screened Graphics, T-shirt, Hangtags, Shopping Bag
3
23
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BIO IDENTITY
shirt, tags, bag graphics for BIO clothing
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BIO190 east seventh streetnew york, new york 10009
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shirt, tags, bag graphics for BIO clothing
4
5
6
24
1 Poster, Lecture Series, Body as Source: Biorhythms & Algorithms;2 Cover, Cookbook, Bible O’Bacon; 3 Spread from book, Walk
Where From Denver, Colorado; Previous Work Experience Raft Guide; Ski Bum; Previous College University of Colorado
1
25
2
3
26
1 Cookbook, Cuisine du Maroc, Dimensions: 10 x 10 in; 2 Movie Poster, In Transit, Dimensions: 27 x 40 in.
Where From Israel; Previous Work Experience No 11 Studio; Resource Magazine; Previous College Hadassah College, AAS in Photography; How many typefaces do you own? Maybe 100
1
27
2
28
Sharon Gamss, continued
3–4 Poster, Program for Lecture Series, Dimensions: 20 x 28 in.
3
29
4
30
Sharon Gamss, continued
5–6 Poster, Program for Lecture Series, Dimensions: 20 x 28 in.
5
31
6
32
1 Poster on Global Warming; 2 Luc Besson Movie Poster Series
Where From Sweden; Previous Work Experience KraftWorks, NYC; Cadwalk Media, Stockholm; Rapp Collins, NYC; Previous College University of Lund, Sweden; How many hours do you spend out of class each week doing class work? Way too many!
1
33
2
34
Cristopher Gedda Westrell, continued
3–4 Luc Besson Movie Poster Series
3
35
4
36
Cristopher Gedda Westrell, continued
5 Book, Hollywood Remix, Dimensions: 8 x 5.5 in; 6–8 Interior Spreads
5
37
6
7
8
38
1 Book, Dylan’s Muses, Dimensions: 6 x 9 in; 2 Fashion Look Books, Dimensions: 5 x 7 in; 3 Logo/Identity, Clothing Line (Hang Tags and Labels)
Where From Mishawaka, Indiana; Previous Work Experience Segal Savad; Sotheby’s; LPL Financial Services; Previous College Ball State University, BS, Marketing major, Journalism minor; How many typefaces do you own? Over 1,500
1
39
2
3
40
Tim Geesman, continued
4 Logo/Identity for Restaurant (Logo, Menu, Folder, Letterhead, Notepad and Envelope); 5 Poster, Dimensions: 15 x 20 in.
4
41
5
42
Tim Geesman, continued
6 –9 Brand Book, Hempowered, Dimensions: 10 x 16 in.
An idea whose time has come.
SustainableDurableNutriciousVersatileRenewableCleanNaturalLastingCheapSafeStrong
Illegal
6
7
43
12 13
Our audience is young and involved citizens who are tired of excuses and dogma. They think differently about the environment, and are ready to act.
42 43
We’re fighting climate change with one hand tied behind our backs.
Industrial hemp is sustainable, efficiently grown, versatile, nutritious and all-natural. It requires no pesticides or herbicides.
So why is it illegal?
Learn more at Hempowered.orgHempowered
Hempowered
Advertisement
8
9
44
1 Igor Stravinsky Poster; 2 –3 Random House Modern Classic Logo
Where From New York City; Previous Work Experience Pfizer Pharmaceuticals; MTV Networks; Spike Television; Previous College Neighborhood Playhouse School of Theater; Where do you plan to live after graduating? New York City
1
45
2
3
46
1
1 Red Dirt Beer hand rendered label design; 2 Hand assembled CD Package; 3 Album release promotional poster, Dimensions: 18 x 24 in.
Where From Stillwater, Oklahoma; Previous Work Experience Publishing Inventory Analyst; Captain, New York Army National Guard (OIF Veteran); Previous College Oklahoma State University; Had you been to NYC before entering Parsons? Yes
47
2
3
48
1
1 Print from etching; 2 Book Cover, White Noise
Where From Florida; Previous Work Experience Taylor, Hartman & Associates; Blue Dolphin Films; Ilex Services; Previous College University of Central Florida; How many typefaces do you own? 6
49
2
50
Dan Hoffman, continued
3 Logo Design; 4 Advertisement, Rock and Roll Hall of Fame Museum; 5 Advertisement, Lids Apparel
3
51
5
4
52
1 Movie Poster, The Diving Bell and the Butterfly; 2 Book Jacket, Women in Love; 3 Packaging Design
Where From Tbilisi, Georgia; Previous Work Experience Teen Vogue; Time Warner; Ogilvy Healthworld; Previous College University of Central Florida; How many cups of coffee do you drink in a day? 3
1
53
2
3
54
1 Book, Modernist Malice, Dimensions: 5.5 x 7.25 in; 2 Interior Spread
Where From New York; Previous Work Experience Kate Spade; Real Simple Magazine; Previous College University of San Francisco, BA, Marketing; Had you been to NYC before entering Parsons? Yes
1
1
55
(continued on page 66)
34
beautiful Maria-points out Lang’s main argument against modernism when she exclaims, “Between the mind that plans and the hands that build there must be a Mediator, and this must be the heart.” The film’s narrative arc follows the toppling of Fredersen’s rarefied architectural and the establishment of a workers’ paradise.
Modernism’s call-to-order may have originated from the desire to create mass-produced buildings and objects for the emancipated proletariat, but its rectilinear grid creates Caligari-reminiscent visual cages for the hapless characters who encounter it in the movies. Alfred Hitchcock, for one, consistently uses architectural styles to mirror internal states of mind and, in some instances, even employs them as instigators of conflict, confusion, and slipped identity. In an essay in Everything You Always Wanted to Know About Lacan But Were Afraid to Ask Hitchcock, Slavoj Zizek goes so far as to trace Norman Bates’ psychotic split to his inability to locate himself between the anonymous modernist box of Bates Motel and his mother’s Gothic house on the hill-a state that is echoed in the chaos of Lang’s Metropolis, which also lacks a mediation between head and heart, past and present. (Of course mediation-historical or otherwise-was never Modernism’s goal. In fact, its Bauhaus practitioners dismissed all remnants of an architectural past as bourgeois and geared up a utopian effort to “start from zero.”)
Hitchcock’s North By Northwest (1959) is another suspense film that stars modernist design in the role of chaotic catalyst, whether in the sweeping plazas and marble masses of the United Nations, Henry Dreyfuss’s luxury 20th-Century Limited train, or the foreign spy Philip Vandamm’s cantilevered glass-and-redwood house near Mount Rushmore. (So enamored of mid- century style was Hitchcock that he even cast Eve Kendall, the chilly blonde double-agent, as an industrial designer.) It is against all three modernist back-drops that North By Northwest’s lead character, the debonair but hapless Roger Thornhill, becomes literally
cover 35
“ Modernism’s call-to-order may have originated from the desire to create mass-produced buildings and objects for the emancipated proletariat, but its rectilinear grid creates Caligari-reminiscent visual cages for the hapless characters who encounter it in the movies.”
cover
2
56
Kruti Joshi, continued
3 Book, Post No Bills, Dimensions: 8 x 10 in; 4 Magazine, Cover, Dimensions: 8 x 10 in.
3
57
4
cover
In Hollywood, Even Architecture Kills
28
01
66
91
67
15
58
1 Book Cover, Packrat; 2 Book Cover, The Story is True
Where From Hartford, Connecticut; Previous Work Experience Time Warner; New York Parks Department; Previous College University of New Haven, BA Music; How many hours do you spend in class each week? 20 or so
1
59
2
60
Eileen Kinsella, continued
3 Movie Poster, Kill Bill; 4 Poster
3
61
4
62
1 Cookbook, Gourmet Grilling, Dimensions: 7.25 x 9.5 in; 2 Cookbook Spread;3 Poster, Dimensions: 15 x 21 in; 4 Poster, Dimensions: 15 x 20 in.
Where From Maryland; Previous Work Experience Plum Magazine; Previous College Boston University, BA Psychology, minor Biology; Where do you plan to live after graduating? NYC for a few more years
1
2
63
3
42nd Street
79th Street
14th Street
Broa
dway
Fifth
Ave
.
Houston Street
39th Street
86th Street
FROM HERE TO THERE
school
home
work
fun
chores
Line weight increases with each trip along the same path.
N
4
64
Jennifer Lankford, continued
5 Book, Teabag Typography, Dimensions: 6 x 6 in; 6–8 Interior Spreads
5
6
65
7
8
66
Jennifer Lankford, continued
9–12 Interior Spreads, Teabag Typography
9
10
67
11
12
68
1 Movie poster, Heavy Load, IFC documentary film, Dimensions: 26 x 40 in; 2 Poster, We Collect, exhibit of Vintage Vinyl at Seattle’s Experience Music Project, Dimensions: 15 x 22 in.
Where From Seattle, Washington; Previous Work Experience Universal Music Distribution Group; Eeboo!; CZ Design; Previous College BFA, Cornish College of the Arts; How many typefaces that you own do you actually like? 15
1
69
2
70
3
Ariel Lapidus, continued
3 Logo, Greennote Jazz Festival; 4 Apple Widget, Moontime
71
When was the �rst day of your last period?
Cycle Length
Mobile # for SMS
May 25 08
days
206 555 1557 Save
28
moontimewidget.com
4
4/28 6/21 >>
MAY
72
5
Ariel Lapidus, continued
5 Silk screen Poster, Octopus; 6 Logo, Three Peas Kitchens
73
6
K I T C H E N S
74
7
Ariel Lapidus, continued
7 Poster; 8 Program; 9 Event Ticket, Incorporations: The Body as Source Lecture Series
75
8
9
76
1 Photography Book, Richard Avedon, Dimensions: 5 x 7 in, with faux crocodile skin keepsake box; 2–4 Interior Spreads
Where From Vancouver, Canada; Previous Work Experience Martha Stewart Living; Ogilvy; Previous College University of British Columbia, BA, Psychology; How many times a week do you take the stairs (instead of the elevator)? Depends on my mood
1
77
2
3
4
78
Diana Lim, continued
5 Logo/Identity, Ceres Restaurant; 6 Letterhead & Envelope; 7 Business Card; 8 Packaging, Cookies; 9 Packaging, Salad Dressing
5
6
7
79
8
9
80
Diana Lim, continued
10 Logo, Wattbusters Company; 11 Branding System; 12 Keychains
10
11
81
12
82
Diana Lim, continued
13 Silk-screened Poster for a Cherry Blossom festival in Yokohama, Japan, Dimensions: 18 x 24 in; 14 Silk-screened Poster for Knoll Office Chairs Exhibit, Dimensions: 15 x 21 in.
13
83
14
84
1 Poster for an annual comedy show at the Upright Citizens Brigade in Manhattan, Dimensions: 13 x 19 in; silkscreen, letterpress with wood type; 2 Poster, quote by Paula Scher from her book Make It Bigger, Dimensions: 20 x 30 in.
Where From Boston, Massachusetts; Previous Work Experience Madavor Media; Bridger Conway; Previous College Boston University, BS, Communications; How many cups of coffee do you drink in a day? 2
1
85
2
86
Jon Lopkin, continued
3–5 Noguchi Museum T-shirt & Cubed Packaging
3
87
4
5
88
Jon Lopkin, continued
6 Brandbook of Brady Campaign to Prevent Gun Violence; 7 Hoodies; 8 Subway Signage; 9 Boston Symphony Poster, Vladimir Feltsman, Piano and Conductor
6
7
8
89
9
90
1–3 Menu, Logo/Identity for Restaurant
Where From New York City; Previous Work Experience Overspray Magazine; Anderson Ranch Art Center; Private Yoga teacher; Previous College Parsons School of Design, BFA; How many times a week do you take the stairs (instead of the elevator)? All the time, afraid of the elevators at Parsons!
1
91
2
3
92
Caroline Maher, continued
4 Poster, Program for Lecture Series; 5–7 Cookbook Cover and Interior Spreads
4
93
5
6
7
94
1–2 Poster, Incorporations: The Body as Source Lecture Series, Dimensions: 20 x 28 in.
Where From Puerto Rico; Previous Work Experience Taught at Fieldston School in NY; Previous College Sarah Lawrence College; Where do you plan to live after graduating? Same apartment I have now.
Lecture SeriesOctober 12–14, 2007The Cooper Union for the Advancement of Science and Art
Language, Sensuality, and PowerOctober 12, 8:00 pm
Claude Fouchy-Billancourt
Biorhythms and AlgorithmsOctober 13, 2007, 8:00 pm
Manoela dePasão
Corporeal Architecture: Living SpacesOctober 14, 2007, 3:00 pm
Heinrich Utenrraden
Three-lecture fee: $120 Individual lectures: $50Cooper Union faculty and students attend free, but must register in advance. Please provide your Union faculty or student ID number to waive the registration fee.The lectures are open to the public. Advance reservations are required. Please call The Cooper Union Office of Public Programs at 212.436.0187 or go online to www.cooper.edu/body to register.
“?%&,˜˚{[>*@\”
)!)
˚
Inco
rpor
atio
ns:
The
Body
as
a So
urce
The Great Hall1 Cooper Sq, NYC
1
95
The Cooper Union for the Advancement of Science and Art
A discussion the physics of speech and cognition as related to the development of sexual power
Mr. Fouchy-Billancourt is a professor of linguistic anthropologyat the University de la Sorbonne in Paris, France. He is arecognized authority on linguistic ideology.
Thursday October 12, 8:00 pmClaude Fouchy-Billancourt
Three-lecture fee: $120 Individual lectures: $50Cooper Union faculty and students attend free, but
must register in advance. Please provide your Unionfaculty or student ID number to waive the registration fee.The lectures are open to the public. Advance reservations
are required. Please call The Cooper Union Office ofPublic Programs at 212.436.0187 or go online to
www.cooper.edu/body to register.
> ,(
Inco
rpor
atio
ns:
The
Body
as
a So
urce
The Great Hall1 Cooper Sq, NYC
#@!
Language, Sensuality, and Power
2
96
Monica Miranda, continued
3–4 Poster, Incorporations: The Body as Source Lecture Series, Dimensions: 20 x 28 in.
Three-lecture fee: $120 Individual lectures: $50Cooper Union faculty and students attend free, but must register in advance. Please provide your Union faculty or student ID number to waive the registration fee.The lectures are open to the public. Advance reservations are required. Please call The Cooper Union Office of Public Programs at 212.436.0187 or go online to www.cooper.edu/body to register.
The Cooper Union for the Advancement of Science and Art
Friday October 13, 8:00 pmManoela dePasão
Inco
rpor
atio
ns:
The
Body
as
a So
urce
The Great Hall1 Cooper Sq, NYC
Biorhythms and Algorithms
[1342 76895The presentation will focus on numeric sequencing systems developed from biofeedback for application in medical and robotic manufacturing computation
Ms. dePasão is a Fellow of the Instituto Mechanicode São Paolo, Brazil, and a visiting chaired lecturer atHarvard College’s School of Applied Mathematics
.
3
97
[ {>[ [/(
=The Cooper Union for the Advancement of Science and Art
Saturday October 14, 3:00 pmHeinrich Utenrraden
Inco
rpor
atio
ns:
The
Body
as
a So
urce
The Great Hall1 Cooper Sq, NYC
Corporeal Architecture: Living Spaces
Three-lecture fee: $120 Individual lectures: $50Cooper Union faculty and students attend free, but
must register in advance. Please provide your Unionfaculty or student ID number to waive the registration fee.The lectures are open to the public. Advance reservations
are required. Please call The Cooper Union Office ofPublic Programs at 212.436.0187 or go online to
www.cooper.edu/body to register.
A moderated panel of noted architectswill discuss their explorations of user-centered
building in the context of a presentation on stylisticand functional trends of the past century
Mr. Utenrraden is a Professor Laureate of theBern Architectural Academy in Switzerland.
4
98
Monica Miranda, continued
5 Logo, Milagros Café Mexicano; 6–9 Logo /Identity for Clothing Company(Shopping Bag, Hang Tags and Labels)
5
99
6
8
7
9
100
Monica Miranda, continued
10 Logo/Identity System; 11 Business Card (Front & Back); 12 Letterhead & Envelope
10
101
DETITECNY
You blinked.It’s over.I cracked the case.
film noir music718.344.1212www.mfd.com
MYFUNDETITECNY
You blinked.It’s over.I cracked the case.
PO Box 123 Brooklyn 11205 718.344.1212 www.mfd.com
.
11
12
MYFUNDETITECNY
PO Box 123Brooklyn NY 11205
102
1 Poster; 2–3 Book Jackets (Front & Back)
Where From Japan; Previous Work Experience FutureBrand NY; How many typefaces do you own? About 100
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2
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Masakazu Okura, continued
4–6 Movie Poster Series, Dimensions: 20 x 30 in.
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1 Book, Versus, Dimensions: 5.5 x 8 in; 2–3 Interior Spreads
Where From Thailand; Previous Work Experience JWT Bangalore; Lowe Bangkok; Hill & Knowlton NY; Previous College Mount Carmel College, Bangalore, BA, Economics, Psychology, English Literature; How many typefaces do you own? 955
1
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14 15
NEW DELHI —By the year 2050, China will no longer be the most populous country in the world. India will see its population grow by 700 million people by 2050, the U.S. Census bureau estimates. That distinction will pass to India, where more than 1.8 billion people could be competing for their country’s resources, according to the U.S. Census Bureau’s International Data Base. The 2007 population estimates from the U.S. Census Bureau and the United Nations Population Division set China’s current population at around 1.3 billion people, and India’s at around 1.1 billion. If population continues to grow at the estimated rate, such rapid growth in India between now and mid-century could lead to overpopulation and an uncertain future for the environment and the people living there. While organizations like the Population Institute and the United Nations Population Fund are working to promote the human rights and environmental consequences of overpopulation, not everyone views the newest population estimates with pessimism.“Nothing ever continues at its present rate, neither the stock market nor population growth,” said Doug Allen, the dean of the school of Architecture at the Georgia Institute of Technology.
“Nothing ever continuesat its present rate,neither the stock marketnor population growth.”
Overpopulation could be people,planet problem
16 17
Don’t wear black shoes with light colored clothing unless the sandals are extremely dainty. –The Lifestyle Channel
Global Warming:A natural cycle or human result?
2
3
108
Aditi Rao, continued
4–5 Museum Brochure (Front & Back), Dimensions: 28.5 x 8.5 in.
Jackson Pollock. One: Number 31, 1950. 1950.
Oil and enamel on unprimed canvas.
Sidney and Harriet Janis Collection Fund (by exchange).
8'10" x 17'5 5/8" 9'2 3/4" x 7'11" x 42' 8 3/4"
7'11 3/8" x 17'9 1/4" Barnett Newman. Vir Heroicus Sublimis. 1950-51.
Oil on canvas. Gift of Mr. and Mrs. Ben Heller.
10' x
58
7/8"
x 6
1' 7
/8"
BIG Size does matter.
Claes Oldenburg.
Giant Soft Fan. 1966-67.
Vinyl filled with foam
rubber, wood, metal,
plastic tubing, fan.
The Sidney and Harriet
Janis Collection.
10'5 1/8" x 17'4 7/8"
Gary Simmons.Boom.
1996/2003. White pigmented
pastel on blackboard-paint
primed panel. Gift of the Friends of
Comtemporary Drawing and of the
Friends of Education of the Museum
of Modern Art,1999.
Henri Rousseau.The Dream.
1910. Oil on canvas.
Gift of Nelson A. Rockefeller
6'8 1/2" x 9'9 1/2"
Pipilotti Rist.Ever Is Over All.
1997. Video installation, two
overlapping projections
(color, sound with Anders
Guggisberg).
Fractional and promised gift of
Donald L. Bryant, Jr.
10'2" x 28'3"
Pablo Picasso.
Les Demoiselles d’Avignon.
1907. Oil on canvas.
Acquired through the
Lillie P. Bliss Bequest.
8' x 7'8"
Jeff Wall. Restoration. 1993.
Silver dye bleach transparency
(lifochrome), aluminum light
box.
46'7/8" x 16'7/8"
Arthur Young. Bell-47D1 Helicopter.
1945. Aluminum, steel, acrylic, plastic.
Manufactured by Bell Helicopter Inc.,
Buffalo, NY.
Marshall Cogan Purchase Fund
Are you looking for that larger-than-life experience? We’re here to provide you with one, literally. Since modern artists often created larger pieces, MoMA was forced to expand to accomodate such art, because let's face it— bigger is better.
With Big MoMA, you will be guided through the museum to view some piec-es that are just really, really big. We guarantee this tour will leave you overwhelmed and amazed, and possibly feeling really, really small.
65432
4
109
Jackson Pollock. One: Number 31, 1950. 1950.
Oil and enamel on unprimed canvas.
Sidney and Harriet Janis Collection Fund (by exchange).
8'10" x 17'5 5/8" 9'2 3/4" x 7'11" x 42' 8 3/4"
7'11 3/8" x 17'9 1/4" Barnett Newman. Vir Heroicus Sublimis. 1950-51.
Oil on canvas. Gift of Mr. and Mrs. Ben Heller.
10' x
58
7/8"
x 6
1' 7
/8"
BIG Size does matter.
Claes Oldenburg.
Giant Soft Fan. 1966-67.
Vinyl filled with foam
rubber, wood, metal,
plastic tubing, fan.
The Sidney and Harriet
Janis Collection.
10'5 1/8" x 17'4 7/8"
Gary Simmons.Boom.
1996/2003. White pigmented
pastel on blackboard-paint
primed panel. Gift of the Friends of
Comtemporary Drawing and of the
Friends of Education of the Museum
of Modern Art,1999.
Henri Rousseau.The Dream.
1910. Oil on canvas.
Gift of Nelson A. Rockefeller
6'8 1/2" x 9'9 1/2"
Pipilotti Rist.Ever Is Over All.
1997. Video installation, two
overlapping projections
(color, sound with Anders
Guggisberg).
Fractional and promised gift of
Donald L. Bryant, Jr.
10'2" x 28'3"
Pablo Picasso.
Les Demoiselles d’Avignon.
1907. Oil on canvas.
Acquired through the
Lillie P. Bliss Bequest.
8' x 7'8"
Jeff Wall. Restoration. 1993.
Silver dye bleach transparency
(lifochrome), aluminum light
box.
46'7/8" x 16'7/8"
Arthur Young. Bell-47D1 Helicopter.
1945. Aluminum, steel, acrylic, plastic.
Manufactured by Bell Helicopter Inc.,
Buffalo, NY.
Marshall Cogan Purchase Fund
Are you looking for that larger-than-life experience? We’re here to provide you with one, literally. Since modern artists often created larger pieces, MoMA was forced to expand to accomodate such art, because let's face it— bigger is better.
With Big MoMA, you will be guided through the museum to view some piec-es that are just really, really big. We guarantee this tour will leave you overwhelmed and amazed, and possibly feeling really, really small.
65432
5
110
1
1 Book Design, Pollution3: Air, land and water pollution in New York City;2–4 Interior Spreads
Where From Kailua, Hawaii; Previous Work Experience Advertising Account Service at Laird Christianson Advertising, John Duarte Design Group and Team Vision in Honolulu, Hawaii. Design Internships at Y Interact, Windup Design (New York, NY) and Red Rover Creative; Design Job at Basik Group (New York, NY); Previous College Claremont Mckenna College, BA, Economics & Psychology; How many typefaces do you own? 659
111
2
3
4
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Shelly Suzuki, continued
5–6 Package Design, Petit Chocolat, Dimensions: 4 x 4 x 2 in; 7 Advertisement, Petit Chocolat, 2 Page Spread
5
6
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7
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Shelly Suzuki, continued
8–9 Cookbook Design (Front & Back Cover), Deconstructing the Hawaiian Plate Lunch, Dimensions: 10 x 10 in; 10–12 Interior Spreads
9
8
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10
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12
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Shelly Suzuki, continued
13 Magazine Design, Cover Magazine, Dimensions: 10 x 10 in; 14 –16 Interior Spreads
13
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14
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16
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Shelly Suzuki, continued
17–18 Package Design, Light Bulb Basic 60; Dimensions: 2.25 x 5 in. folded, 9 x 5 in. flat;19 Website Design, Gray’s Papaya Homepage; Dimensions: 980 x 570 pixels
17
18
119
19
120
1
1 Poster, Bangaluru 2007 Digital Film Festival; 2 Poster, A Retrospective
Where From San Francisco, California; Previous Work Experience Nylon Magazine; HDR Architects, Inc; Previous College Northwestern University, BS, Radio/TV/Film; How many typefaces do you own? 5,000
121
2
122
Natalie Waterbury, continued
3–4 Logo/Identity System, Good Soles Shoes
3
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4
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Natalie Waterbury, continued
5–7 Logo, Website and Collateral, Politicalsieve.org
5
6
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7
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Natalie Waterbury, continued
8 Magazine, Cover; 9–11 Interior Spreads
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Natalie Waterbury, continued
12 Logo/ Identity System, Manhattan Vintage Car Show; 13 Package Design, Mustard
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5 6
9 10
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8
3
7
11Average number of blocks walked to get to school
4
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collaboration
1 Release 2008 Cover
RELEASE MAGAZINE
The Eugene Lang College literary magazine Release is the product of a three-year collaboration between students and faculty from Lang and Parsons School of Design. This innovative partnership, in which writing students at Lang edited the magazine and students from the Parsons AAS program designed and produced it, has represented the best of the cross-disciplinary possibilities offered at The New School. By combining the creative literary talent of Lang’s writing students with the Parsons’ students’ innovative design vision and expertise, Release has become a first-rate, professional publication. Producing it has enriched students in both schools, offering them real-world publishing experience while also yielding extraordinary educational benefits—honing skills as writers, editors and designers, and, as important, fostering a creative community engaged in productive dialogue around a meaningful project.
Neil GordonProfessor, Literary StudiesDean of Eugene Lang College The New School for Liberal Arts
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2
2 Release 2008 Front & Back Cover; 3 –5 Release 2008 Interior Spreads
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10 Release 2007 Cover; 11–12 Release 2007 Interior Spreads
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13–14 Release 2007 Interior Spreads; 15 Release 2006 Cover
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collaboration
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16–17 Release 2006 Interior Spreads
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collaboration
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1 Claudia Brandenburg
FE
ATU
RE
D
FAC
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YB
egin
wit
h a
clev
er c
once
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Fini
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, you
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prin
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Or,
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choo
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teac
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your
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nd y
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’ve
save
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of p
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I sn
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new
boo
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w
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be
a gr
aphi
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sign
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I firs
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My
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145
1
146
2 Sleeve Box; 3 Cover; 4–6 Interior SpreadsThe Andy Warhol Foundation for the Visual Arts 20-Year Report, 1987–2007,The Andy Warhol Foundation for the Visual Arts3 Publications & Sleeve Box, 10 x 10 in, 96 Pages EachAll artworks © The Andy Warhol Foundation for the Visual Arts
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7 Cover; 8–10 Interior SpreadsLong Island City: Connecting the Arts. The Design Trust for Public Space, Case Study Publication, 7.5 x 11 in, 88 Pages
7
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11 Cover; 12–14 Interior SpreadsMake It Now: New Sculpture in New York. SculptureCenter Exhibition Publication, 6.5 x 9.25 in, 96 Pages
11
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14
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15 Fold-out Spread; 16–19 Covers,The Center of It All, Abrons Arts Center Seasonal Event Program & Calendar, 9.5 x 13 in, 8 Pages
15
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17 18 1916
154
20–22 Posters, Considered Space Benefit Art Auction (2002, 2003, 2005), The Design Trust for Public Space Posters, 43 x 64 in. each
20
155
21
22
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23–26 Mailers, SculptureCenter Exhibition Announcements, 9.5 x 13 in. each
23
24
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26
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1 Emily Wardwell
FEATUREDALUMNA
My undergraduate degree in liberal arts was from Indiana University. After three and a half years working first on the account management and then production side in various big-name advertising agencies, I changed my focus to the creative side of the industry.
Parsons’ Associate Degree Program was the perfect catalyst for such a change. After an intense year and a half of “design boot camp” at Parsons, I felt very prepared to reenter the professional world. The mentors I found in the AAS faculty raised my expectations of the type of people I chose to work with right out of school, and that I continue to choose to this day—people such as Lina Kutsovskaya and Charles Churchward, with whom I was lucky enough to work with while he was still directing Vogue magazine on the book Vogue Living: Houses, Gardens, People.
Redesigns seem to greet me wherever I go. With Lina, I was a part of the redesign of Teen Vogue. From there I moved to the beauty industry where I helped drive the redesign of the Almay brand. Most recently, I have redesigned the beauty section for Glamour magazine, which debuted in its September 2008 issue. There is a ton of process involved in redesigning a brand and /or magazine and I feel very lucky to have had the strong foundation and understanding of design process, color theory, typography and use of photography that I received at Parsons.
159
1
FEATUREDALUMNA
160
2 Teen Vogue Magazine Opening Spread
2
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3 Teen Vogue Magazine Spread
3
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4 Cover Design, Open Magazine; 5–6 Open Magazine Interior Spreads
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7 Vouge Living: Houses, Gardens, People (Front & Back Cover); 8–10 Interior Spreads
7
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11–12 Glamour Magazine Pages
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314 glamour.com septemb er 2008
24bestbeautybuysof2008 A record 106,627 of you voted in this year’s Glammy awards, and these are your winners— the makeup, hair and skin-care products Glamour readers just can’t live without. Find your new favorites here!
THE WINNING LIP GLOSSESfrom drugstores: maybelline New York shiny-licious lip gloss ($6) three-time winner! Why it’s still a champ: It looks “rich,” voters say, but it’s never gloppy.from department/specialty stores: Victoria’s secret beauty rush lip gloss ($7, victoriassecret.com) new winner! Comes in 30 “delicious” flavors and has a “sexy sheen.”
photographs by James woJcik
w in every single one! enter at glamour.com.
13
13 Glamour Magazine Opener Spread; 14 Follow-up Spread; 15–18 Glamour Magazine Pages
14
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15
17
16
18
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19–22 Glamour Magazine Pages
44 WAYS TO LOOK AMAZING NOW
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SWeep A LIGhTer ShAde on top for contrast.
TOO MuchfOr YOu?
Try doing just your lids.
A chIc TOuch: Gold shimmer on the inner corners.
eArThY ShAdeS: fLATTerING ON everYONe. NP Set Show loose dust duo in egypt ($20, target.com).
oc Tob er 2008 Glamour.com 00
LAYer A feW bLueS. Sue devitt mic-roquatic mineral eye Palette in blue Waters ($38, barneys.com).
ShIMMerY ShAdeS WOrK fOr WOrK. dior 5-colour eye-shadow in Irides-cent leather ($54, sephora .com).
WITh ShAdOW ThIS bOLd, SKIp LINer. Jk Jemma kidd Hi-design eye colour in urban ($18, target.com). uSe A SOfT-
pOINT LINer. Sue devitt eye Intensifier Pencil in Victoria Falls ($22, barneys.com).
The NeW OpAQue GLOSSeS: cOLOr and ShINe. Shu uemura Vinyl unlimited in or 556 ($20, shuuemura-usa .com).
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This season there’s no one gotta-do trend—anything goes! That’s the kind of makeup we adore. Here, runway pros make it easy. By Baze Mpinja
FraN
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Beauty • the beauty 150
STIl
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OrL
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TrY MATTe ON LIdS, MeTALLIcS ON brOW bONeS. chanel limited edition Quadra eye Shadow in beiges de chanel ($56, chanel.com).
00 Glamour.com oc Tob er 2008
win it!We’re giving
away 10 on glamour
.com.
win it!We’re giving
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.com.
win it!We’re giving
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fLAKe-prOOf ShAdOW by prepping with concealer.
brIGhTS 10 Great Takes
Nude colors are nice and all, but nothing’s wrong with makeup that
looks like makeup, especially at night. Try one bright, try two! “It’s no longer tacky to have bright lips and eyes; it’s chic,” says makeup
pro James Kaliardos, who did the Ruffian runway. Blur lipstick or
shadow edges with a finger—hard lines make color look stamped on.
SMOKY eYeS 9 Sexy Updates
If you’ve never been sure you could pull off the smoky thing
without looking like a linebacker, here’s hope: Fall’s neutral
metallics do it a lot more naturally and nonsmearingly. The basic
technique: Put a medium-colored shadow on lids, a lighter shade
above and a darker one on lash lines. As MAC senior artist
Chantel Miller says, “This is easy.”
Watch a video on
how to create a sexy eye at
glamour.com/magazine.
Beauty • the beauty 150
alex
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vé l
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anna
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00 glamour.com oc tob er 2008
fair girls: embrace peach! mac emanuel ungaro lipstick in Pure rose ($14, mac cosmetics.com).
gold flecks are glam on dark skin. estée lauder lipstick in creme cara-mel ($22, estee lauder.com).
cream shadow looks very natural. laura mercier eye basics in buff ($24, laura mercier.com).
dry lips: not so seXy. moistur-iZe! l’oréal Paris bare naturale gentle lip con-ditioner in soft Petal ($10, at drugstores).
lilac’s also fall-friendly. chantecaille shadow and rose Palette ($79, bergdorf goodman.com).
thak
oo
n
feel free to blot. it’s just as sexy as shiny.
luis
a be
ccar
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ann
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win it!We’re giving
away 50 on glamour
.com.
win it!We’re giving
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.com.
pink blush doubles as eyeshadow.
soft pinks 14 easy ideas
For those I’m-feeling-girly days, try one of the new roses for lips and
cheeks. (The color looks really fresh in cold-weather months—it’s
not like it has some exclusivity deal with spring.) “Anyone can
wear pink, and it’s great with smoky eyes because it won’t com-
pete,” says Miller. If your skin is dark, avoid baby pink—it’ll wash
you out; do medium hues instead.
full brows define an otherwise naked face. don’t overpluck!
Beauty • the beauty 150
sari
gu
ero
nru
e d
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ail
ferr
agam
o
pree
n
pree
n
try a stroke just in your lid crease. giorgio armani python palette ($100, giorgioarmani beauty.com).
stil
ls: w
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erv
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va
len
tin
o, r
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du
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il: m
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all
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ers:
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mix Grays with pastels, too. givenchy prisme again! in pre-cious shimmer ($50, sephora .com).
Brown and Gray: a cool comBo. guerlain ombre Éclat 4 shades eyeshad-ow in Jeu de nuit ($57, saks.com).
a Gunmetal shade douBles as liner. Yves saint lau-rent palette Col-lection for the eyes ($60, ysl beautyus.com).
your new favorite date look: gray eyes, berry lips.
vale
nti
no
pree
n
00 glamour.Com oC tob er 2008
pree
n
win it!We’re giving
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keep icy Grays sheer. opaque seems too powdery.
Grays 11 Fresh looks
Gray on eyes? If you’ve never tried it, you’ll be pleasantly sur-
prised. “It’s super wearable and sophisticated,” says Kaliardos.
A sheer wash over your eyes is trendy but daytime-OK.
“I like grays with mascara and no eyeliner. It looks softer,”
Kaliardos says. In the evening, amp it up with deeper
shades and false lashes.
ferr
agam
o
the new Black liner:
gray!
2120
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173
oc tob er 2008 glamour.com 00photogr aph by jesse frohman
ma
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p: j
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: die
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The best tips for getting gorgeous this fall (and winter and spring and...)
glamour
150
➻
BEAUTY Tricks, TrENDs & frEEBiEsSpecial section! a whole lot of pages that’ll get you a whole lot prettier.
22
174 FACULTY
PAMELA KLEIN, Chair /Associate ProfessorDegree(s) MFA, BFA, Pratt InstituteCourse(s) Color Theory
KATARZYNA GRUDA, Director/Associate ProfessorDegree(s) MFA, Yale University School of Art; BS, Architecture, City College of New YorkCourse(s) Process & Skills, Graphic Design, Silkscreen & Letterpress; Silkscreen Printing
THOMAS BOSKET, Coordinator/Associate ProfessorDegree(s) MFA, Yale University School of Art; BFA, Parsons School of DesignCourse(s) Color Theory, Drawing
ROLF ANDERSENDegree(s) MPS, New York University; Tisch School of the Arts; BFA, Teknolo-gisk Institut, Copenhagen, DenmarkWebsite www.rolf-design.comWork Digital Artist, 2D & 3D, Graphic /Web Designer and EducatorCourse(s) Digital Layout 1
JASON BOOHERDegree(s) BA, Princeton University; AAS, Parsons School of Design, Graphic DesignWork Designer, Alfred A. KnopfCourse(s) History of Graphic Design
CLAUDIA BRANDENBURGDegree(s) BFA, Rhode Island School of DesignWebsite www.languagearts-ny.com Work Principal, Language ArtsCourse(s) Typography 1, Publication Design
SARAH GEPHARTDegree(s) MFA, Yale University School of Art; BA, Oberlin CollegeWebsite www.mgmtdesign.com Work Partner, MGMT Design Course(s) Typography 1 & 2
JONATHAN J. GOUTHIERDegree(s) BFA, Hartford Art School, University of HartfordWebsite www.gouthier.comWork Principal / Creative Director, Gouthier DesignCourse(s) Graphic Design 1 & 2
ANDREW GRABERDegree(s) BS, SUNY, BinghamtonWork Graphic Designer, PhotoeditorCourse(s) Digital Layout, Advanced Digital Layout
BRETT GROVESDegree(s) BFA, Pratt InstituteWork Master Printer, Axelle Fine Art Prints, Freelance BookbinderCourse(s) Silkscreen Printing
JULIA GORTONDegree(s) BA, Parsons School of DesignWork Children’s Book Illustrator & DesignerCourse(s) Graphic Design 1
DMITRY KRASNYDegree(s) MFA, Yale University School of Art; BFA, The Cooper Union School of ArtWebsite www.dekadesign.comWork Principal, Deka Design Course(s) Typography 2
MARA KURTZ Degree(s) MA, The New School, Media Studies; BA, New York University; AAS, Parsons School of DesignWebsite www.marakurtzstudio.comWork Graphic Designer, Photographer, Photo/IllustratorCourse(s) Graphic Design 1, History of Graphic Design (online)
175FACULTY
MARK MULLINDegree(s) AAS, Parsons School of DesignWork Manager of Creative Services and Graphic Designer, Cleary Gottlieb Steen & Hamilton LLPCourse(s) Process & Skills
SUSAN MOLNARDegree(s) BFA, Tufts University; Diploma, School of the Musuem of Fine ArtsWork Principal, SuMo Design NYCCourse(s) Digital Layout 1
JOHN MALCOLMSONDegree(s) MFA (honors), Rhode Island School of Design; BFA, University of Canterbury, New ZealandWebsite www.teamproam.comWork Partner, Team Pro-AmCourse(s) Graphic Design 3
TAMARA MALETICDegree(s) MFA, Yale University School of Art; Post-baccalaureate Certificate, The Art Institute of Chicago; BA, Université des Sciences Humaines, Strasbourg, FranceWebsite www.linkedbyair.netWork Partner, Linked by AirCourse(s) Typography 1
WILLIAM MORRISEYDegree(s) BFA, Rhode Island School of Design; BA, University of ColoradoWebsite www.wmwmwm.comWork Principal, wmwmwmCourse(s) Graphic Design, Silkscreen & Letterpress
RENDA MORTONDegree(s) BFA, Minneapolis College of Art and DesignWebsite www.rumors-online.comWork Partner, Rumors StudiosCourse(s) Interactive Web Design
ALExA NOSALDegree(s) BFA, Montclair University; BA Montclair UniversityWork Creative Director, Leap Course(s) Typography 1, Designing Symbols, Graphic Design, Silkscreen & Letterpress
TED MAUSETHDegree(s) MFA, Tyler School of Art, Temple University; BA, Michigan State UniversityWork Principal, Mauseth Design Course(s) Graphic Design 3
MARTIN MAZORRADegree(s) MFA, American University, Washington DC; BFA, West Virginia UniversityWebsite www.cannonballpress.com; www.martinmazorra.com Work Director, Cannonball PressCourse(s) Photo Lithography & Graphic Design, Silkscreen & Letterpress
CHRISTINE MOOGDegree(s) MFA, Yale University School of Art; MA, University of Toronto; BA, Sarah Lawrence College; AAS, Parsons School of Design;Work Creative Director, Little Spoons Inc.Course(s) Portfolio & Process, History of Graphic Design
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TIMOTHY SAMARADegree(s) BA, University of the Arts, PhiladelphiaWork Principal, Stim Visual CommunicationCourse(s) Graphic Design 3
DIEGO VAINESMANDegree(s) BFA, Parsons School of DesignDiploma, Art Institute of BostonWebsite www.40N47Design.com Work Principal, 40N47 Design Course(s) Graphic Design 2
WILLIAM VAN RODENDegree(s) BA, Graphic Design, Rhode Island School of DesignWork AVP Art Director of Books and Special Projects, Martha Stewart Living OmnimediaCourse(s) Typography 2, Portfolio & Process
JEFF RAMSEYDegree(s) MFA, The Werkplaats Typografie, Netherlands; BFA, The Savannah College of Art and DesignWebsite www.jefframsey.net Work Advertising Manager/ Designer, The Museum of Modern Art (MoMA)Course(s) Portfolio & Process
PAUL ROERAADEDegree(s) MA, Grafiska Institutet; Royal Instititute of Techonology, Sweden; AAS, Parsons School of Design; Website www.windup-design.com Work Principal, Windup Design Course(s) Interactive Web Design 1 & 2
ALEx W. WHITEDegree(s) MFA, Syracuse University; BFA, Graphic Design, Kent State University Work Design Consultant and Authorof Graphic Design BooksCourse(s) Graphic Design 1 & 2, Portfolio & Process
MUSHON ZER-AVIVDegree(s) MPS, New York University,; Tisch School of the Arts; BDS, Bezalel Academy of Art and Design, JerusalemWebsite www.shual.com Work Co-founder, Shual Design Studio Course(s) Interactive Web Design 1 & 2
ANDY PRESSMANDegree(s) BFA, Cooper Union School of ArtWebsite www.andypressman.comWork Partner, Rumors StudiosCourse(s) Graphic Design 2, Process & Skills
FACULTY
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Credits and Acknowledgments
DIRECTOR / EDITOR /
PHOTOGRAPHERKatarzyna Gruda
ART DIRECTOR Claudia Brandenburg
DESIGNER /PRODUCTION DIRECTOR
Brian McDermott
DESIGNERShelly Suzuki
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SPECIAL THANKS Thomas BosketJim O’ConnorLarry Jackson
Denise WallnerAnnemieke Beemster Leverentz
TYPEFACES Akzidenz Grotesk (Designed by
Günter Gerhard Lange),Archer (Designed by Heofler & Frere-Jones
Type Foundry)
PRINTER Fernando Luciano,
Project 44, Long Island City, NY
PRODUCTIONAlix Sorrell
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46%
29%
13%
8%
4%
181
Typography
Digital Layout
Publication Design
Process & Skills
Digital Imaging
The most crucial skill obtained while studying at Parsons
182
WORK2008VOLUME 210
Director Art Director Designers
20304050607080
Number of hoursspent on this book
183
WORK2008VOLUME 2Administration Production Printing Delivery