stamps undergraduate viewbook 2015

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Undergraduate Viewbook

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The undergraduate viewbook for the University of Michigan Stamps School of Art & Design is designed to give prospective students an image-rich experience of the school, its open curriculum, its students, and its location within a major research university. The brochure showcases a broad range of creative work from undergraduates, featuring both traditional and new media. For more information, visit: stamps.umich.edu

TRANSCRIPT

Page 1: Stamps Undergraduate Viewbook 2015

Undergraduate Viewbook

Page 2: Stamps Undergraduate Viewbook 2015

Differently

Page 3: Stamps Undergraduate Viewbook 2015
Page 4: Stamps Undergraduate Viewbook 2015

↓Your art and design education should be about

more than building skills. It should be about

transforming the way you see your world,

your creative practice, your future.

At Stamps, you learn to be an original thinker,

a problem solver, a global citizen, a leader.

That’s what universities do. That’s what we do.

S E E what an art and design education looks

like at the University of Michigan.

Cornelia Stiles

From an “altered head” assignment in the

photography course, Making Pictures.

Page 5: Stamps Undergraduate Viewbook 2015

Your Community/pg4

Your Curriculum /pg22

Your Career/pg44

Your Future /pg52

Creative Work /pg60

How To Apply/pg126

Page 6: Stamps Undergraduate Viewbook 2015

4 / STAMPS U N D E R G R A D U AT E V I E W B O O K

Page 7: Stamps Undergraduate Viewbook 2015

Your Community

STAMPS Y O U R C O M M U N I T Y / 5

Page 8: Stamps Undergraduate Viewbook 2015

“The people who you can meet here... the ideas... there’s just so much that

you can be exposed to. And it’s really only going to add to the experience

and how you develop. I came here because I knew I wasn’t going to be

trapped in some art school bubble, with everyone around me in the

same classes, doing the same type of work.” MAX COLLINS, BFA student

6 / STAMPS U N D E R G R A D U AT E V I E W B O O K

Page 9: Stamps Undergraduate Viewbook 2015

“It was very important to me to get a solid academic education in addition

to art. A lot of the art schools I looked at wanted me to declare what my

focus would be when I entered. And I just wasn't ready to commit to one

media. The Stamps School fixed that problem for me by allowing me to

take literally every kind of class imaginable.” PARIS GLICKMAN, BFA studentHil

lary

Bu

tte

rwo

rth

Sel

f in

th

e E

yes

of

Oth

ers

char

coal

an

d g

esso

STAMPS Y O U R C O M M U N I T Y / 7

Page 10: Stamps Undergraduate Viewbook 2015

“I plan on using the school’s plentiful resources to try

different mediums and styles and hopefully mold them

into new styles of my own. Being surrounded by clever

artists and wise professors... I’ve been inspired to leave

my comfort zone.” WAKE COULTER, BFA student

Small School

A close-knit Community of 600+ students, faculty & staff

8 / STAMPS U N D E R G R A D U AT E V I E W B O O K

Page 11: Stamps Undergraduate Viewbook 2015

Big University

1,400 + student clubs and organizations

#1 public research university in the U.S.

A global network of 550,000 + alumni

Connect to the diversity and resources of a world-class university

The Big House (The largest football-only stadium in the world)

One of the Top 5 public universities in the U.S.

260 degreeprograms

Students fromevery state & 114 nations

19 schools& colleges

100+ studyabroad programs

18 residence halls where 97% of freshman live

Innovate Blue:Campus-wide innovation and

entrepreneurship initiative

83% of U-M undergradsare involved in community

service or outreach

“I came to Stamps because the resources here are vast.

I love art but I’m also really interested in Computer Science,

so I decided to pursue a dual degree in Art & Design and

Computer Science (LSA).” BEIATRIX PEDRASA, BFA student

STAMPS Y O U R C O M M U N I T Y / 9

Page 12: Stamps Undergraduate Viewbook 2015

“Since coming to Stamps, I have designed a game

for the medical school, developed sets for student

productions, ‘performed’ in a life drawing class at

the Ross Business School, shown in the Engineering

Design Expo, traveled around the country coding with

Michigan Hackers, built Javanese musical instruments,

and learned to weld, slipcast, and pour bronze. Sure,

some other art schools have loose majors, but I don't

think any other schools could have provided such

a wealth of experience.” SAM OLIVER, BFA student

10 / STAMPS U N D E R G R A D U AT E V I E W B O O K

Page 13: Stamps Undergraduate Viewbook 2015

and more… and more…

You

engineers

filmmakers

dancers

climatologists

architects

astrophysicists

playwrights

urban planners

musicians

art historians

public policy makers

journalists

microbiologists

nanotechnology researchers

anthropologists

curators

sound engineers

social workers

chemists

ecologists

neuroscientists

botanists

information architects

data analysts

cancer researchers

egyptologists

poets

forensic scientists

screenwriters

entrepreneurs

public health experts

3D modeling experts

world-class studios

2 Stamps School galleries

radiology lab

state-of-the-art digital media labs

multi-camera HD video studios

robotics institute

virtual reality cave

3D printers, routers, and scanners

physical computing studio

materials library

computer and video game archive

nanotechnology institute

industrial knitting machine

map libraries

7-axis robotic fabrication system

large format printers

electronic music studios

24-ft astro-tec dome planetarium

7 U-M museums

artificial intelligence lab

motion capture facility

MRI scanners

20+ U-M libraries

anatomy labs

professional audio recording studios

botanical gardens

entrepreneurship clinic

121 music practice rooms

dance studios

Gamelan ensemble

1.7 million plants in the Herbarium

marine hydrodynamics lab

Access to…

Collaborate with…

You'll have You'll

STAMPS Y O U R C O M M U N I T Y / 11

Page 14: Stamps Undergraduate Viewbook 2015

“The diversity of the courses and faculty here have

helped me figure out what I'm really passionate about...

As an aspiring industrial designer, I strive to solve

environmental and social issues in intuitive, accessible

ways, allowing my work to be easily incorporated

into people’s lives.” ARWIN WANG, BFA student

100% of Stamps students participate in community-based creative work

12 / STAMPS U N D E R G R A D U AT E V I E W B O O K

Page 15: Stamps Undergraduate Viewbook 2015

35% ofStamps students are dual degree

STAMPS Y O U R C O M M U N I T Y / 13

Page 16: Stamps Undergraduate Viewbook 2015

“I’m learning so much. I’m meeting kind and talented artists

and designers who have made wonderful careers. I’m

working with professors who are engaging and challenging,

and I’m collaborating with other students who are uniquely

smart and wicked talented.” WILLIE FILKOWSKI, Interarts student

Students work with 60 +

internationally recognized faculty

Closely

14 / STAMPS U N D E R G R A D U AT E V I E W B O O K

Page 17: Stamps Undergraduate Viewbook 2015

Pulitzer Prize Winner David Turnley Chosen as BestNew Filmmaker

“I initially thought I would get a very traditional art

education at Michigan, and I was planning to transfer

to a stand-alone art school. But after seeing the

investment by my professors in their work and

teaching, my view changed 180 degrees — they made

the experience really special.” ROSE JAFFE, BFA student

A Sampling of RecentFaculty Accomplishments:

David Chung’s Drawing Placed in Whitney Permanent Collection

Matt Kenyon Selected as TED Fellow

Phoebe Gloeckner’s Diary of a Teenage Girl Becomes Major Motion Picture

John Marshall’s Work Featured in Wired, FastCoand Dezeen

Heidi Kumao Wins Best Experimental Film at Female Eye Festival

Endi Poskovic Awarded U.S.Senior Fulbright Scholar Grant

Holly Hughes Wins Award for Performanceand Activism

Read more Stamps faculty news at: stamps.umich.edu/news

STAMPS Y O U R C O M M U N I T Y / 15

Page 18: Stamps Undergraduate Viewbook 2015

You'll high profile innovators from around the world

“Each week during the academic year,

students have direct access to a wide array

of creative innovators who are part of the

Stamps Distinguished Speaker Series

and the Witt Visitors Program. For all four

years, you’re part of a classroom of over 700

people where you’ll learn from the world's

most creative makers and thinkers.”

CHRISSTINA HAMILTON, Director of Visitors Programs

Meet16 / STAMPS U N D E R G R A D U AT E V I E W B O O K

Page 19: Stamps Undergraduate Viewbook 2015

Author Lemony Snicket - Daniel Handler

Nike Shoe Designer - Wilson Smith

Artist/Activist Collective - Pussy Riot

Dancer and Choreographer - Bill T. Jones

Filmmaker - Oliver Stone

Graphic Designer - Stefan Sagmeister

Performance Artist - Marina Abromovic

Architect - Bjarke Ingels

Filmmaker - Ken Burns

Cartoonist - Lynda Barry

Interaction Designer - Massimo Banzi

Fashion Designer - Zandra Rhodes

Perfumier - Sissel Tolaas

Installation Artist - Mary Sibande

Photographer - Mary Ellen Mark

Painter and Collagist - Wangechi Mutu

Creator of Fantastic Machines - Francois Delaroziere

Typographic Designers - Matthew Carter and Roger Black

Industrial Designer - Tim Brown

Outlaw Organist - Cameron Carpenter

Composer - Philip Glass

Director and Playwright - Robert Wilson

Designer - Michael Graves

Photographer - Sally Mann

Animator - PES

Cartoonist - Alison Bechdel

MOMA Senior Curator, - Paola Antonelli

Temple Grandin, Author and Designer

Ernesto Neto,Installation Artist

ANTHROPODINO

photo by JAMES EWING

Recent speakers:

STAMPS Y O U R C O M M U N I T Y / 17

Page 20: Stamps Undergraduate Viewbook 2015

“The city has the flavor of Europe, the intellectual horsepower

of an Ivy League community and an honest Midwestern

spirit that is reflected in hyperactive volunteering and a

boundless local food movement as intense as California’s.”

MICHELLE KRELL KYDD, Alliance for the Arts in Research Universities

18 / STAMPS U N D E R G R A D U AT E V I E W B O O K

Page 21: Stamps Undergraduate Viewbook 2015

Stamps students exhibit in the heart of Ann Arbor at Work Gallery, a space dedicated to their work.

TheBest

College Town

STAMPS Y O U R C O M M U N I T Y / 19

Page 22: Stamps Undergraduate Viewbook 2015

#1“The 10 Most Intelligent

College Towns in America”Z O O M T E N S . C O M • 2 0 1 4

#2“Best Cities forYoung Adults”

K I P L I N G E R • 2 0 1 3

#4“Most Walkable Cities”

G OV E R N I N G . CO M • 2 0 1 3

#5“Happiest Cities

in America”T H E DA I LY B E A S T • 2 0 1 2

#7“Best Cities forCollege Grads”

L I VA B I L I T Y • 2 0 1 4

#4“Most Creative Cities”

T H E DA I LY B E A S T • 2 0 1 2

#1“Most Educated Cities”

F O R B E S . CO M • 2 0 1 4

#6“Best Cities for

Well-Being”U S A T O DAY A N D G A L L U P • 2 0 1 4

Ann Arborby the

Ann Arbor and BeyondAnn Arbor is consistently ranked one of America’s best

college towns, offering a rich cultural and intellectual life, and

a vibrant sense of community. Students also benefit from the

urban energy and collaborative opportunities of a creative

corridor extending from Toronto, through Detroit, to Chicago.

Numbers

20 / STAMPS U N D E R G R A D U AT E V I E W B O O K

Page 23: Stamps Undergraduate Viewbook 2015

#1“Most desirable city to live

and work for millenials” AMERICAN INSTITUTE OF ECONOMIC RESEARCH • 2015

#15“Times Higher Education

World Rankings”T I M E M AG A Z I N E • 2 0 1 4

#2“Best Cities for New

GradsK I P L I N G E R • 2 0 1 3

#2“Most E-Literate

Cities in America”T H E AT L A N T I C . CO M • 2 0 1 2

#1“Best CollegeSports Town”

F O R B E S • 2 0 1 0

#7“Best Cities in America

to Find a Job”U S N E W S • 2 0 1 2

#1“Educational Attainment

in Communities with 100,000+ Residents”

B U S I N E S S J O U R N A L S “ O N N U M B E R S ” • 2 0 1 1

#13“Best Cities for

Millennials”F O R B E S • 2 0 1 5

#13“Top 100 Best Cities

to Live”L I VA B I L I T Y. C O M • 2 0 1 4

#4“Best College Towns for

Food and Drink”T H R I L L I S T • 2 0 1 5

STAMPS Y O U R C O M M U N I T Y / 21

Page 24: Stamps Undergraduate Viewbook 2015

22 / STAMPS U N D E R G R A D U AT E V I E W B O O K

Page 25: Stamps Undergraduate Viewbook 2015

Your Curriculum

Wearable by BFA students Audrey Smith

and Kalli Kouf, based on a drawing made by

Witt visiting artist Pierre Gour.

STAMPS Y O U R C U R R I C U L U M / 23

Page 26: Stamps Undergraduate Viewbook 2015

→ allows you to personalize your education

→ encourages social responsibility and global citizenship

→ gives you experience in cross-disciplinary collaboration

→ emphasizes critical thinking and creative problem-solving

Our OpenArt & Design Curriculum...

“The program was perfect for me. I loved not

just focusing on making alone but including

conceptual thinking as an important part of the

curriculum.” ELIZABETH REDMOND, BFA student

24 / STAMPS U N D E R G R A D U AT E V I E W B O O K

Page 27: Stamps Undergraduate Viewbook 2015

4 Programs to from

Dual DegreesWITH

BFA in ART & DESIGNFor students interested in an intensive studio-focused program.

BA inART & DESIGNFor students interested in a broader exploration of academic resources.

StampsStudios

33%Academic

67%

StampsStudios

56%

Academic

44%

→ College of Engineering

→ School of Music, Theatre & Dance

→ School of Kinesiology

→ College of Literature,Science & the Arts

→ School of Nursing

→ School of Education

→ Taubman College of Architectureand Urban Planning

→ Ross School of Business

BFA inINTERARTSPERFORMANCE*For students with interests in both performance and art and design.

StampsStudios

25% Academic

50%Music, Theatre & Dance Studios

25%

*A joint program with the School of Music, Theatre, and Dance.

BFA, BA, Dual Degree,or Interarts Performance

Choose

STAMPS Y O U R C U R R I C U L U M / 25

Page 28: Stamps Undergraduate Viewbook 2015

How to get in: 50%: Your portfolio50% : Academic work

“I looked at other art schools, but they often

seemed narrow. There’s not much else you can

take besides art classes. I liked being at U-M and

being able to pursue my interests in literature and

the sciences as well.” BEN SCHNEIDER, BFA student

Kyle Oberleiter

Shell

wood, audio

26 / STAMPS U N D E R G R A D U AT E V I E W B O O K

Page 29: Stamps Undergraduate Viewbook 2015

Average class size at Stamps: 15

“I can’t think of another school that asks you to come up

with your own responses to a problem, and then learn how

to defend it in front of a group. It’s not about a right answer—

there is no right answer. It’s a whole process of learning

how to embrace problems, think for yourself, justify your

thinking and verbally explain why you did what you did.”

MIKE WANG, Dual Degree - Engineering and Art & Design

STAMPS Y O U R C U R R I C U L U M / 27

Page 30: Stamps Undergraduate Viewbook 2015

BFAThe

Begin study in critical thinking &creative inquiry

Exploremedia

2D, 3D, 4D

Foundation Study

YEAR 1

Take Stamps courses in art and design, history and contemporary practice

You’llnever have to declare a

major

Sophomore Studio & Review

Explore Electives

YEAR 2

Choose coursesthroughout the university

Begin exploring your unique areas of interest

InternationalExperience

Focus Your Interests

YEAR 3

Apply for summer internships

Build yourresearch skills

Continue to tailor your courses to meet your goals

MidyearSeniorReview

End of year Senior Thesis

Exhibition

Senior Integrative Project

YEAR 4

Independent research for Integrative Project

Take more advanced studios

Explore a minor

“Instead of being prepped to fit into a specific career path,

going to Stamps gave me the tools to figure out what I really

wanted to do, and the ambition to figure out how to get there.”

HEATHER ANNE LEAVITT, BFA student

28 / STAMPS U N D E R G R A D U AT E V I E W B O O K

Page 31: Stamps Undergraduate Viewbook 2015

Design yourown program

“The best thing about being a student at Stamps is the fact that

we don't have to declare a specific major. I had the opportunity

to explore all forms of art that interested me. I didn't have to

restrict my curiosity to fulfill required classes. Since I had the

chance to explore, I was able to figure out — at my own pace —

the direction I wanted to take my art.” GRACE LUDMER, BFA student

Wearab

le by A

ud

rey Sm

ith an

d K

alli Ko

uf, B

FA stu

de

nts

STAMPS Y O U R C U R R I C U L U M / 29

Page 32: Stamps Undergraduate Viewbook 2015

Travel the

“Travelling is this magical thing where you

learn more about yourself and others in a

matter of weeks than you could in a lifetime

staying at home.” ADRIANA ZARDUS, BFA student

Students in China at the Great Wall.

World

30 / STAMPS U N D E R G R A D U AT E V I E W B O O K

Page 33: Stamps Undergraduate Viewbook 2015

“Stamps is one of the only schools I know of where

International Experience is required. Becoming an artist/

designer is about altering your perspective. It's also

about understanding the context of your creative work in

relation to the world around you. There's no better way to

learn this than immersing yourself in another culture.”

SANDRA WILEY, International Engagement Coordinator

100%of Stamps students

have an internationalexperience

Stamps students,

faculty and community

members in Tanzania.

STAMPS Y O U R C U R R I C U L U M / 31

Page 34: Stamps Undergraduate Viewbook 2015

Travel with Stamps programs or with other U-M programs such as:

Literature, Science & Arts

Business

Engineering

Law

Kinesiology

Nursing

Music

Theatre & Dance

Medicine

Public Health

Social Work

The International Institute

Rackham School of Graduate Studies

Ford School of Public Policy

Become partof a global

STAMPS STUDENTS

OTHER U-M STUDENTS

Map

con

cept an

d d

esign

by H

ye In

Jun

g

Fro

m h

er bo

ok A

&D

/Ab

road

Community

32 / STAMPS U N D E R G R A D U AT E V I E W B O O K

Page 35: Stamps Undergraduate Viewbook 2015

Students to:

ArgentinaAustraliaBoliviaBrazilCanadaChileChinaCosta RicaCuba

Czech RepublicDenmarkDominican RepublicEcuadorEgyptFinlandFranceGermany

GhanaGreeceHong KongIndiaIndonesiaIrelandIsraelItalyJamaica

JapanKenyaLiberiaMalaysiaMexicoNetherlandsNew ZealandPeruPoland

RussiaSenegalSingaporeSlovakiaSouth AfricaSouth KoreaSpainSwitzerlandTaiwan

TanzaniaThailandTurkeyUgandaUnited KingdomVietnamZambiaand more....

Travel

STAMPS Y O U R C U R R I C U L U M / 33

Page 36: Stamps Undergraduate Viewbook 2015

Make a difference

“Part of the curriculum here at Stamps is engaging with

communities, whether it be high school students in Detroit,

Alzheimer's patients, or a village in Tanzania. Students

go into these classes thinking they’re going to make a

difference and they do. But another profound change

is what happens inside, when their worlds expand.”

CHARLIE MICHAELS, Coordinator, Detroit Connections

Real Creating a mural

in the Brightmoor

neighborhood of Detroit

— part of an ongoing

Stamps revitalization

effort collaborating

with Brightmoor

schools and community

organizations began more

than five years ago.

34 / STAMPS U N D E R G R A D U AT E V I E W B O O K

Page 37: Stamps Undergraduate Viewbook 2015

The Embrace is a large fabric panel that allows a hug between an

infected and non-infected person. The panel is made of dual layers

of protective material with four offset sleeves and a viewing window.

One team addressed the issues

of improved personal protective

equipment, designing a suit with

panels that stretch to accommodate

different sized wearers, and breathe

for more comfort in the heat.

Students in Tanzania work with community members to

build more efficient, environmentally friendly cookstoves —

reducing pollution and enhancing the lives of residents.

Tackling Ebola in a three-daymulti-disciplinary design workshop

Designing cook stoves in Tanzania

STAMPS Y O U R C U R R I C U L U M / 35

Page 38: Stamps Undergraduate Viewbook 2015

Students in the Stamps course Experimental Architecture designed and built a

low-cost, 90-square-foot structure that addresses the challenges faced by a local homeless

community: space constraints, access to electricity, and lack of shelter and heat.

Finding solutions for the homeless

“This wasn't simply a design class, it was a design and

build class. The students really got the concept of design

and reality of building it. We provided the purpose, but

they provided the possibility.” TATE WILLIAMS, co-founder of

the homeless community Camp Take Notice

36 / STAMPS U N D E R G R A D U AT E V I E W B O O K

Page 39: Stamps Undergraduate Viewbook 2015

Led by socially-engagedand committed faculty,Stamps students...

Conduct ceramic workshops with visually-impaired kids

Provide art workshops for Michigan prisoners

Visit Michigan farms to learn how to design sustainable food solutions

Work with students in Flint on short videos

Travel to Madagascar to design and build water pumps

Create sustainable design solutions for an off-the-grid artist house in Detroit

Build a screenprinting business with Detroit high school students

Collaborate with elders with dementia in U-M hospitals

Work on public sculptures for the Michigan metropark system

Collaborate with the Maasai in Tanzania on environmentally-friendly cookstoves

Design a 90-square-foot house for a homeless community in Ann Arbor

Work with Iraq veterans to tell stories through video

Travel to Ghana to teach locals how to make charcoal from industrial waste

Transform an abandonded building into a community billboard

And more…

STAMPS Y O U R C U R R I C U L U M / 37

Page 40: Stamps Undergraduate Viewbook 2015

Bring togetheryour experiences During senior year everyBFA student is given

1 individual studio

2 faculty members dedicated tohelping you realize your goals

1 year to complete a self-directedthesis project

= I.P. (Integrative Project)

“Toward the end of my junior year, I started

working on my Integrative Project (I.P.) . I

was given the opportunity to make whatever

I wanted. I just put all of my effort into it.

Now I realize what it takes to make the work

you want. Until my senior year I felt like

an art student. Now, as a senior in I.P., I feel

like an artist.” ADAM MORATH, BFA student

all

38 / STAMPS U N D E R G R A D U AT E V I E W B O O K

Page 41: Stamps Undergraduate Viewbook 2015

“During my senior year,

I experienced a whole new level of

confidence about myself and my

work. I’ve switched from asking for

permission to saying, ‘this is really

what I want to do,’ and understanding

that it will ultimately be my choice.”

EMILY COLEMAN, BFA student

STAMPS Y O U R C U R R I C U L U M / 39

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40 / STAMPS U N D E R G R A D U AT E V I E W B O O K

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Senior Studios

STAMPS Y O U R C U R R I C U L U M / 41

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42 / STAMPS U N D E R G R A D U AT E V I E W B O O K

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STAMPS Y O U R C U R R I C U L U M / 43

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Page 47: Stamps Undergraduate Viewbook 2015

Your Career

Stamps School alumna Candy Chang reimagines public spaces

to help us make sense of our lives. After losing someone she

loved, she created the Before I Die public art project inviting

people to share their personal aspirations in public space.

Since then, over 1000 Before I Die walls have been created by

people in over 70 countries. Chang has also completed public

projects in New Orleans, Hong Kong, Las Vegas, and New

York City. Her work has been exhibited in the Venice Biennale,

and the Smithsonian Cooper-Hewitt National Design Museum

and she is a TED Senior Fellow, a Tulane Urban Innovation

Fellow, and a World Economic Forum Young Global Leader.

STAMPS Y O U R C A R E E R / 45

Page 48: Stamps Undergraduate Viewbook 2015

How prepare

“Networking and internships are going to be a

vital part of preparing for graduation. Career

counseling starts in your first year. It’s my job to

set you up and help you find your way.”

JOHN LUTHER, Career Development Coordinator

“My senior year I served as photo editor

for the student run magazine, Shei.

I worked as a designer for all three

U-M student newspapers. I’ve also had

internships with two firms as a designer

and a photographer. I wouldn't have

had these opportunities at a smaller

university.” ADAM MORATH, BFA student

to

46 / STAMPS U N D E R G R A D U AT E V I E W B O O K

Page 49: Stamps Undergraduate Viewbook 2015

American Greetings

Ann Arbor Film Festival

Anna Sui Corp.

Anthropologie

Apple

Arnold Worldwide

ArtsAlliance

Band of Angels

Betsey Johnson

Biolumina

Campbell-Ewald

Coach

Conde Nast

Cranbrook Art Museum

Domestic Violence Project, Inc.

“Internships were critical.

My two design internships

provided me with the

experience of collaboratively

working on real projects for

real clients. I got insights

into how the industry

actually functions.”

ALYSSA ACKERMAN, BFA student

DETNY (shoe design)

Doner Advertising

Donghia Furniture & Textile

Duncan Fuller Interiors

Elle Magazine

Endgame Entertainment

Food Network Magazine

Foreign Policy Magazine

GE Medical Systems

General Motors Design Center

Giorgio Armani

Glacier National Park

Glamour Magazine

Graphis

Hearst Design Group

iDL Merchandising Solutions

Inner Concept Media Studio

Interlochen Arts Camp

J Walter Thompson

Liz Claiborne Inc.

Mad Magazine

Mars Advertising

Massachusetts Audubon Society

Moosejaw Mountaineering

MTS Seating

MTV Networks

MOCAD

NBC News

New Line Cinema

The New Museum

Pixel/Starcom MediaVest

Proteus Design

Publicis Hong Kong

Saatchi and Saatchi (Taiwan)

San Diego Union Tribune

Superfly Presents

Surface Magazine

Roger Brown Study Center

The Rockport Company

Toledo Museum of Art

U-M Matthaei Botanical Gardens

Vogue

Warner Music Group

Whitney Museum of American Art

And more...

Our students have interned with...

STAMPS Y O U R C A R E E R / 47

Page 50: Stamps Undergraduate Viewbook 2015

80% = Stamps students whose first jobs were related to art & design.

Hania Bigo

Apollo

Illustration

A series of interpretive illustrations

on the Overview Effect as

experienced by the astronauts

of the Apollo Space Missions.

48 / STAMPS U N D E R G R A D U AT E V I E W B O O K

Page 51: Stamps Undergraduate Viewbook 2015

100% = CEOs* who cite creativity as a top hiring priority.

* a recent poll of Fortune 500 CEOs

“Studying at Stamps shaped

what I wanted to do and how I

wanted to do it. I learned that

ultimately, you are responsible

for your own ideas. And

whatever your constraints,

you learn to make something

happen. I know I can solve a

problem, match a vision, and

have creative confidence.”

TORI TERZAKIS, BFA 2006

Floral Designer

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Graduation... I’m now an account manager at Google

I’m a Senior Designer for Global Brand Design at Nike

I’m Global Director of Design at Team Detroit

I started my own business in color correction for feature films

I spent a year in the Peace Corps doing graphic design in Zambia

I’m Director of Marketing & Operations at CCS Architecture

I’m at National Geographic as an art director

I recently became VP of Operations at LUNAR

I’m now the founder & chief designer of Plae, a company that designs customizable children’s shoes.

I am currently a fashion photographer in New York, NY. My photos have been in Elle, Cosmo, Seventeen, Surface and Glitterati magazines.

I created my own “art cake” business in Ann Arbor

I opened a painting studio in Detroit and sell my work at national galleries

I am the arts coordinator at an afterschool youth program

My first job was with Dish Network, and recently I became a Project Manager at IPC Systems in New York

I’m now a lead designer at Synata in San Francisco

In school I was interested in environmental conservation and design. That led me to a position as Annual Giving Programs Manager for the Matthei Botanical Gardens

I now have a job as Product Designer for Mobile Ad Experiences at Twitter, San Francisco

I have a position as an Interaction Designer at Huge, which means I have a great job… and I get to live in San Francisco.

I’m now an Account Director at WIRED Media Network

Full Stack Engineer at Disqus, a web discussion system

I fell in love with motorcycles, so now I’m the lead creative for Electric Moto Industries

I’m in my final year of an MFA program at University of Iowa

I’m interested in photography, film and graphic design, and I’m now an art consultant with the Carrie Fell Gallery in Vail, Colorado where I also get to ski and snowboard.

After

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Your FutureAlumni stories

Cynthia Pachikara and Judy Bozone

Vertical Horizont(tal) variation 2

light, sound and shadow Installation

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I WAS INTERESTED IN ENVIRONMENTAL ISSUES so I started at U-M in the PitE (Program in the Environment), but I realized I needed a formal art education to achieve my career goals.

AFTER MY FRESHMAN YEAR, I interned with the Student Conservation Association. This began a continuing series of grand western adventures, including summers at North Cascades National Park and cross-country road trips.

SOPHOMORE YEAR I ADDED Art and Design classes and became a dual degree student with Stamps and PitE.

RIGHT AFTER GRADUATION I took a job at North Cascades National Park, combining my position as an interpretive park guide with visual media.

THAT LED TO A JOB in a national park regional office in Philadelphia, providing 80 national parks with technical and creative support on publications, website, social media, and museum exhibits. SINCE LAST YEAR, I’ve worked at Santa Monica Mountains National Recreation Area in Los Angeles, making the transition from sole designer to manager of other creative people.

“Combining the creative process with formal critiques was a huge part of my training at Stamps.I see myself as sort of an ambassador, bringing

that art school culture to my position with

the national parks. What I learned in school

about taking initiative and learning from

peers and professors definitely prepared me

for a leadership role that collaborates with

different groups of people, like law enforcement,

scientists, and communication specialists.”

Designer and illustrator working with the National Park Service.Michael Liang BFA ‘08

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“I really ended up finding the perfect job for me. It wasn’t a clear path, like when you go to medical

school and there’s a certain logic to your trajectory.

I had to trust that it was out there. I had to make it

myself and pave the road, but eventually I found it.

It’s all about talking to people, networking and

having a passion for what you do. When I found out

about this field, I sought out people whose work I

loved to ask them: how can I do this? More often

than not, this led to an actual job.”

Graphic Designer for Film and TelevisionMegan Greydanus BFA ‘07

MY DREAM was always to be a creative director at an advertising agency. I didn't even know there was such a thing as “graphic designer for film and tv.”

AFTER GRADUATION I worked for advertising firms, but advertising wasn’t what I had expected. Eventually I became a freelancer so I could choose my own projects.

THEN A FRIEND SUGGESTED I could work as a graphic designer for films. I got connected with the Production Designer on the movie, Flipped, in Ann Arbor. He hired me, and I loved my first experience working in film.

THAT LED TO MORE WORK for art directors and production designers, producing graphics and brands and logos for films being shot in Michigan. I MET A LOT OF PEOPLE FROM L.A. And, as my connections grew and filming in Michigan slowed down I realized I needed to make the move to L.A. It was a great decision.

IN 2011 I WAS NOMINATED for an award from the Directors Guild for my production design work on the film, Drive.

LOOKING BACK, I learned how to think conceptually at Stamps and to look at the big picture. I’ve built up a lot of trust around my work because art directors see that I’m thoughtful about my choices.

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I CAME TO U-M BECAUSE I wanted a big college experience: a beautiful campus, football games, a sorority. Growing up in Los Angeles, I also wanted to experience all four seasons.

I USED U-M’S RESOURCES to expand my worldview. I took classes in quantum physics, alternate realities—subjects I knew would open my eyes and expand my understanding. While art was always my priority, I took the opportunity to learn from all of U-M’s faculty.

ONE OF THE PIVOTAL EXPERIENCES OF MY SENIOR YEAR

was creating my thesis show with friends, including Erica Fink, Evan McLaughlin, and Kelsey Shultis (who is now a featured artist of Tappan Collective.) Everyone in the group was willing to get dirty, from throwing walls up in the space to making food. That collaborative spirit was something I valued and wanted to have as part of my professional life.

RETURNING TO LA AFTER GRADUATION, I got a job with an interior designer. This allowed me to paint on the side, and I began selling my work to clients all over the world. I became a project manager for the firm, negotiating contracts with international architects and contractors. I went on buying trips to Paris, London, and Russia. I was learning a lot and was still able to create, but I needed art to be more of a professional focus.

I MISSED THE COLLABORATION I HAD AT STAMPS. I missed the critiques, the whole environment of input and interest, and I missed working with the like-minded creatives I had built relationships with.

I STARTED THINKING ABOUT ANOTHER CAREER PATH, something that could really change the way people approach and collect art. At U-M I studied art history with fellow Angeleno, Jordan Klein. Jordan and I began hatching ideas. We figured art was the last thing to go online, part of that untouched market in e-commerce. SO WE FORMED THE TAPPAN COLLECTIVE, an online platform that connects emerging artists to aspiring art collectors. The name came from the long hours Jordan and I spent studying in U-M’s art history library, Tappan Hall. Tappan Collective services artists and collectors in a different way than the art scenes in major cities. Particularly for younger artists, exhibition opportunities are limited. We envisioned a new exhibition space, a community for bringing together emerging artists and their collectors.

WE LAUNCHED IN JUNE 2012 WITH A HUGE PARTY, followed by a series of pop-up events. Now we’re more focused on our online presence and business outreach. We want to keep both art direction and internal operations aligned with our mission: promoting young, emerging artists and providing them a place to connect with their collectors.

WE’VE BEEN FEATURED IN GLAMOUR, VOGUE, and the Huffington Post, which is great. We feel like we’re filling a real need for both artists and collectors. And I’ve been able to create that exciting, collaborative working community that I loved at Stamps.

“We really hit the ground in the beginning, networking and attending art fairs and conventions everywhere.

Now we’re more focused on our online

presence and business outreach,

collaborating with companies like

MasterCard, Intermix and Sweetgreen.

As the company enters its adolescence,

we want to be sure that we keep aligned

with our mission: promoting young,

emerging artists and providing them a

place to connect with their collectors.”

Co-founder Tappan CollectiveChelsea Neman BFA ‘10

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WHILE I WAS ALWAYS INTERESTED in fashion design, I knew I didn’t want to be a product designer. I was much more interested in the historical, social and conceptual questions around why people wear what they wear, and how their environment and aspirations shape these decisions.

WHEN I WAS A JUNIOR, I spent a semester in Rome. It was such an incredible place; one where Italy’s rich art and architectural history came together with current street wear and public life. I loved the people watching, the architecture and the food!

WHEN I CAME BACK TO THE THE U.S. , I interned for Polo Ralph Lauren in the trim production department. The team coordinated the production of zippers, belts, buckles and buttons in collaboration with the apparel design team and the factories overseas.

BUT I ALSO GOT TO SIT IN ON DESIGN MEETINGS

held in one of the company’s concept rooms. This space was essentially the concept designer’s sanctuary. Through visual research and shopping she would select mood images from magazines as well as vintage clothing samples. Then she would hang them on a wall and through meeting with the designers, she would help them tell stories behind their products. It was like a three-dimensional mood board!

WHEN THE JOB POSTING for a position at Converse came up, I was on a paid internship at Coach in NYC where I was interning in the handbag design department.

THE INTERVIEWERS AT CONVERSE were impressed with my well-crafted resume. I knew that doing a project was part of the application process so I came to the first interview with one already finished. This included a trend board and seasonal color palette.

NOW I’M WORKING AS A TREND ANALYST at The Doneger Group, where I focus on menswear trend research. As a fashion trend analyst, I research and predict how the industry is changing by collecting observations and interpreting fashion trends. I analyze high fashion, retail, ecommerce, magazine editorials, blogs, interior design and art to predict what colors and products will be key for coming seasons. I also pay attention to socio-cultural trends and how they relate to product design. I create trend reports and publications that are utilized by our clients as a way to help them strategize their product design business as well as stay current in the market. Often, I work with them one-on-one to cater this comprehensive information to their specific brand/consumer and give them forward-thinking insight. This aspect of my job is called concept design.

“As a student, I was always fascinated by visual culture and art history.

I loved analyzing art and photography

to interpret how they related to history

socio-culturally. The BA program was

a perfect fit for my range of interests.

Along with Stamps studio courses

in photography and book-making, or

photography and collage, I took history

of art courses, and LS&A courses such

as the History of American Magazines.

Then I rounded it all out with lots of

theater production classes, art direction

for film, and costume design.”

Associate Trend AnalystSara Radin BFA ‘11

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WHEN I CAME TO SCHOOL I appreciated

being able to take the studios I wanted and not

being fenced in by a major. I was encouraged to

pursue my interests, no matter what they were.

MY SENIOR THESIS PROJECT fused writing,

painting and music.

AFTER GRADUATION, I found a job in New York

City as an artist’s assistant, but it wasn't for me.

I MOVED TO LA, and became an Art Director,

writing commercials and radio spots. I was still

messing around with music, but nothing serious.

THEN I WENT BACK to Michigan for a vacation

and ended up recording an album there.

SHORTLY AFTER the album was finished, it

started to get noticed. At some point, I realized

I had to go for it.

I DECIDED TO QUIT MY JOB and I began to

develop the music and the band.

NOW, AS THE LEAD of Lord Huron, it really

is a multidiscipinary project—the paintings, the

graphics, the sounds all work in tandem and I

work on them concurrently. For me, it’s not just

music and it’s not just visuals. It’s both of them

being created and influencing each other.

“I think you need to really stick with what you’re interested in.

Chances are what you’re interested in is

going to lead you somewhere, even if you

can’t always see where in the moment.

Then, learn how to promote yourself.

You’re your own brand.”

Lead Singer, graphic designerand writer forthe music project,Lord Huron Ben Schneider BFA ‘05

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I CAME TO STAMPS because It was very important to me to get a solid academic education in addition to art. Also, a lot of the art schools I looked at wanted me to declare my focus when I entered. And I wasn't ready to commit to just one media.

AS A FRESHMAN I took pottery, paper sculpture, small metal sculpture, wood sculpture, metal welding, found object sculpture and more. I decided to start focusing in on animation because of a final project in a digital class freshman year. I had literally no idea what I was doing technically, but I just went with it and ended up loving creating all of those moving images.

I ENROLLED IN AN AFTER EFFECTS CLASS for sophomore year and I found I was really good at it. I understood timing— what made something funny or boring or too fast. Animation also combines so many different media. It was a place where I could bring a lot of different elements together.

I H A D T WO S U M M E R I N T E R N S H I P S before I graduated. The first was working as a computer helper for a comic and animation artist. The second was working for a New York animation studio. I learned so much about After Effects and I got a feel for what it would be like to become a professional animator.

AFTER I F INISHED MY SENIOR THESIS PROJECT I started applying for animation jobs and internships all over the country. I got mostly no responses back or the occasional no thanks. When I graduated, I returned to New York. I went on a lot of interviews at a lot of studios. Finally, I made the decision to take an unpaid internship.

THE FIRST INTERNSHIP was with a large, prestigious studio where I worked for about two weeks, doing not very much. The second internship was for Trollback, the company I still work for almost two years later. Trollback is a very small studio where, even as an unpaid intern, I was being given actual jobs. I definitely learned more technical skills working as an unpaid intern for two months and as a freelancer for another two months than I did during college.

WHEN I WAS FIRST LOOKING FOR WORK in New York, I realized what I did get from Stamps, that other schools put less emphasis on, was a very solid understanding of creative thinking and creative problem solving. So while I may not have been as technically savvy as some of the peers I was competing with for jobs, I had a different set of skills that are more difficult to learn on the job.

AFTER THOSE FOUR MONTHS working both as an intern and a freelancer, Trollback offered me a full time position as a junior animator/designer. I have since been promoted to animator/designer. I do mostly motion graphics, creating commercials and title sequences. It is very challenging, but I definitely enjoy and am proud of the work that I do.

“During junior yearI worked as a intern for Nathan Love, a very cool and fun Manhattan animation studio.In those two months I saw what my

life would be like if I chose to go into

the industry. I learned that it is male

dominated, and the hours can be long

and unpredictable. But it’s a fast paced,

fun environment where everyone

cares very much about the work they

are doing and producing something

that they are ultimately proud of.”

Animator/Designer, Trollback & AssociatesParis London Glickman BFA ‘13

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Creative Work

Hania Bigo

Apollo

illustration

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Man Kuan Lei

Tanzania - Market

digital photography

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Students in Osman Khan’s

Contemporary Sculpture class spent

over one hundred hours exploring

scale and building techniques,

creating a giant troll that was

installed in the Nichols Arboretum.

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Page 67: Stamps Undergraduate Viewbook 2015

Alana Hoey

How We Sit

plywood, paracord

“How We Sit is an experiment to find out

how unconventional materials transform our

experience with everyday furniture. Sitting in

silence, strangers and close friends alike feel

even the smallest shifts in weight, balance,

and curiosity from one section to another.”

Emily Thomas

veg out

ink, digital, and

plantable seed paper

“A collection of

illustrated recipe

postcards which aim

to de-stigmatize

vegan and gluten-free

dietary lifestyles.”

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Jaclyn Caris

Let’s Cross Over

“A book and an app that

was inspired by my study

abroad in Florence, Italy. The

book is a travel guide and

journal meant for other study

abroad students to use while

traveling in Florence. The app

is for travellers anywhere in

the world and allows users to

document all their trips through

journal entries and pictures.”

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Page 69: Stamps Undergraduate Viewbook 2015

Caili Dalian

What do you Clutch

fabric / clutch purses

“I have created a series of clutch

purses inspired by conversations

with women of different ages.

Each pattern and form is inspired

by their responses to the question,

‘At this age, what do you clutch?’ ”

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Allison Carron

Impact

“An exploration of the body, focused on themes

of sin, guilt, punishment, and atonement. For this

performance I was blindfolded, wearing all white

in an all white space. I offered a bag of black chalk

to members of the audience who threw the bag

at me leaving black residue on my clothes, the

floor, and the wall, mimicking bruises. After the

bag hit and fell I would then search for it (still

blindfolded). Once the bag was found I would

return it to an audience member and the exchange

would be repeated over and over again.”

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Page 71: Stamps Undergraduate Viewbook 2015

Danielle Battaglia

Quintessence: Visualizing a Torodial Universe

“An attempt to discover the great order of all

things. Studying the theories of Plato, Stephen

Hawking, Einstein and others on subjects such

as black holes, white holes, wormholes, sacred

geometry, Klein surfaces, physics, higher dimensions

and space-time, I have come up with a form that

could be the basic design of our universe: a torus.

To visualize this concept I installed this 3D model

in the MIDEN, a 3D virtual space where one can

experience the model on a new level, by moving

through the space in three dimensions.”

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Ariana Wescott

Dear Diary, I love you.

“The prompt for this assignment was time-based. Five days a week,

for 13 weeks, we spent five to ten minutes daily doing something

of our choice. I chose to keep a visual diary of single panel comics

to explore both personal journaling and self-portraiture.”

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Ian McGreevy

Ghostly Host

Margot Robert

Tier Tower

Video Games

In this Stamps course

students design, build and

publish their first video

game for iOS, creatively

interpreting the theme of a

labyrinth. Each student has

two weeks to design, build,

test and publish to the Apple

app store, and each student

was individually responsible

for the art, code and

soundtrack of his/her game.

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Alison Blomstrom

Studio photography assignment exploring projection.

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Stephanie Casing

Finding beauty in an ugly situation:

A series of works assuaging my

fear of illness in loved ones

paper and photography

“Brain scans and transmission electron micrograph images lend

themselves to beautiful possibilities. These works are my attempt to

come to terms with the possibility of illness in my family and friends.”

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Kevin Dunnell

CAD skills were used to design and cut

parts for this laminated plywood table.

Tarah Douglas

Jahyne

screenprint on fabric

Large-scale prints inspired by a character created

during my time studying abroad in India.

Ellen Rutt

A Wicked Problem

“A collection of digital collages that illustrate the

complexity of sustainability and over-consumption.”

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Carisa Bledsoe - Can I Get In Your Head?

Part of a site-specific mini series looking at

intersections of identities and perspectives.

Anastasia Skekloff

Created in a Stamps foundation

course. The assignment: to make

a lamp out of plastic sheets.

Joshua Kochis - Tree Story

wood, plaster, steel, acrylic and oil paint on canvas

Hannah Hillier - Everything Will Be Okay

“When my father died two years ago, many people didn't seem to know

what to say to me. I had the urge to show them what I wanted to hear.”

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Cornelia Stiles

Nature By Numbers

“The Fibonacci sequence is a series of

numbers found in nature. Each drawing

uses the sequence to celebrate the

beauty of these natural patterns.”

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Page 79: Stamps Undergraduate Viewbook 2015

Claire Jones

The Wake/Please Don't Feed the Animals

“I was eight years old when I hopped out

of a car in Northern Michigan and met the

glazed, empty eyes of a deer bound to a

truck. This is an abstract interpretation of

the grotesque style of taxidermy, exploring

animals as natural or as objects.”

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Hye In Jung - A&D/Abroad

A redesigned identity and visual communication system for the Stamps

international program including printed booklets and student travelers’ kit.

Anica Presley - Impetus

digital and photolithographic prints

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Samantha Levy - Biophilia

“A series of screenprinted

zines and prints to gratify

human beings’ fascination

with the strange, humorous,

unbelievable, or grotesque.

The project emulates feelings

surrounding the Age of

Exploration—everyone

rushing to expose the next

great species, to reveal

something to the public

that they had never seen.”

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Making It Move

Using electronic sensors, electrical actuators, and

computers/microcontrollers, students in this course create

works that combine traditional and electronic media to

create kinetic sculptures, lightworks, functioning electrical

prototypes, and interactive environments.

Rachael Cross

ArtBot

From the course Making It Move, a motion and light-

activated robot that creates charcoal drawings.

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Stephanie O'Neil - Discover the Epigenome: An Illustrative Display of Molecular Epigenetics

3D printed sculptures, plastic, scientific illustration

A visualization of the tissue environment altering due to the growth of cancer cells.

Holly Prouty - Tink

A series of playful objects that are designed to be integrated into the

living space as functional sculptures that encourage users to “tinker.”

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Penn Greene

Negotiating Balance

“The design and construction of a small,

versatile kayak intended for a user

wanting to travel as light as possible for

long periods of time. It is a negotiation

of two highly dynamic elements – the

human body and moving water.”

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Page 85: Stamps Undergraduate Viewbook 2015

Paul DiStefano

Whirling Dynamics

“The goal of these works is to show a

different rhythm in each piece, while

being aware of the harmony that the

drawings create as a series. When

people view my drawings I want them

to see how rhythm can be created in

the world other than through a song.”

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Sam Oliver

Quantified Self Portrait

software, hardware, ink, water

Exploring the relationship between our identity and the data we produce,

the work juxtaposes a slowly degrading bust of the artist’s likeness,

sculpted from ink, with a growing collection of his printed internet history.

Each time the artist makes a search, clicks a link, or loads a page, the bust

is sprayed with water, melting it further. The printer, fed by the resulting

pool of ink, prints the search results.

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Page 87: Stamps Undergraduate Viewbook 2015

Mary Sterling Rountree

False Facades and Adulteress

sterling silver, fine silver, enamel

Hanna Sakakibara

Trust Me

stainless steel, carbon steel, wood

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Emerson Schreiner

Just Before

oil on canvas

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Page 89: Stamps Undergraduate Viewbook 2015

Ian Matchett

From the Continuity of Revolution I.P. Project

oil on canvas

“My project focuses on continuity and connection

between revolutionary movements by looking at

how organizers and radicals of the past relate to

those of the present. When the past is forgotten,

or remembered only as a distorted caricature, our

ability to unify and act in the present is crippled.”

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Grace Ludmer

The Girls I Draw

mixed media

Nicholas Tilma

Light Objects

steel tubing, concrete, light bulbs, wire

A series of light objects inspired by urban landscapes.

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Page 91: Stamps Undergraduate Viewbook 2015

Kit Parks

Direct Connection

multimedia installation

A series of photography, video, sculpture,

and performative works by one

suburbanite in an attempt to establish

a connection with the natural world.

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Carlo Lorenzetti - Chair

From the course Furniture Making.

Diane Thach

Dress

paper receipts, shoe laces, ribbon

An assignment for the course A Stitch

in Time. “I was working at a cafe where

we were required to print out receipts

for the customers, who then threw them

away. I hated how wasteful that was and

decided to use them to make a dress,

turning the waste into something both

useful/functional, and beautiful.”

Alice Bouvier McCarthy - The Definitive Guide to Typotopia

“This book serves as a travelogue to the fictional country of

Typotopia, an island populated entirely by letters but with

some of the societal quirks and blemishes of the real world.”

Anastassia Fulmer - An Exodus of Sorts

woodblock print

“Exploring the theme of water, the fish also

appear to be birds flying through clouds.”

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Sydney Markus

From a Stamps foundation course. The assignment:

to camouflage a cube. The project was preceded by a

color study project where students learned to mix color,

identify hues, tints, and shades, and match color—

skills that helped them to create the camouflage.

Ian Klipa - Project Ultima (community fabrication)

workshop / video / 3D work

An extracurricular welding workshop in Detroit,

inspired by my experiences with the “making”

culture of Zanzibar, led to my I.P. project.

Sonia Tagari

Part of a Stamps foundation course. The assignment:

create a map of a place, idea or set of information.

Jean Lin - From a Stamps Drawing 1 course. The assignment: to design a game

based on Pexeso, a Czech matching game. All games had the same grid.

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Alicia Kolvacheck

Anatomy

wood

“Anatomy is a puzzle and learning tool for

all ages. For children, it offers the chance to

develop hands-on understanding of how our

bodies work. For adults, it makes a fun gift.”

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Page 95: Stamps Undergraduate Viewbook 2015

Levester Williams

Space of Whiteness

porcelain, Arduino, wire, and wood

“An installation deconstructing the notion

of a post-racial and equal American society

through the exploration of whiteness in

its physical and psychological forms.”

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Cole Montgomery

laser cut poster

Assignment: To consider the use of

words in public spaces and their power

to inform, motivate and persuade.

94 / STAMPS S T U D E N T W O R K

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Hannah Dow

Temp Tools

“A set of biodegradable camping

tools that can be fitted onto

sticks found in the woods. They

are made using an all-natural

composite material and regional

flower seeds, encouraging an

active re-contribution to nature.”

stamps.umich.edu STAMPS / 95

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StampsGalleries

96 / STAMPS S T U D E N T W O R K

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Sarah RenkenA Story for a Strangerbook of illustrated stories and quotes

Joshua Kochis

Treestory

installation

stamps.umich.edu STAMPS / 97

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Grace Ludmer

The Girls I Draw

mixed media

98 / STAMPS S T U D E N T W O R K

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Margaret Hitch

prints, comics, paintings, doodles

stamps.umich.edu STAMPS / 99

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Margaret Hitch

poster design

TEDx U of M 2014

Posters to promote the

2014 TEDx U of M conference.

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Sophia Greenbaum

Spilt Milk!

“Package and product design for

a milk container with reusable

udder cup. These environmentally-

friendly products incorporate both

wit and humor to promote the

brand, Spilt Milk. The udder-shaped

cup is 3D printed in ABS plastic.

Mootrition Facts and creative

copy are included on the back

of the organic milk package.”

stamps.umich.edu STAMPS / 101

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Melania Plasko

Infinity Cloak

From the I.P. Project: Embody

“A series of five fantastical sculptural garments that

utilize technology such as LED lights, phosphorescent

wire, and Arduino micro-controllers to extend both

the functionality and appearance of clothing. I have

also created a narration (including short stories,

poems, and collaged images) that further develops

each individual garment’s character, personality, time

period, and scene. In these photographs, I am the

clothing designer, the photographer and the model.”

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Richard Liverance

The Hatbox

3D animation

“From storyboarding to finished animation, my

goal was to learn every part of the 3D animation

pipeline and simultaneously tell a story that is

entertaining and visually exciting.”

104 / STAMPS S T U D E N T W O R K

Page 107: Stamps Undergraduate Viewbook 2015

Zoe Allen-Wickler, Ashley Marie Allis,

J'Vion Armstrong, Ashley Boudrie,

Stephanie Boxold, Anna Jonetta Brown,

Jaclyn Caris, Emily Cedar, Annie Cheng,

John Foley, Paris London Glickman,

Molly Lester, Rich Liverance,

Lonny Marino, Olivia Meadows,

Thabiso O Mhlaba, Maggie Miller,

Kaisa Ryding and Sarah Schwendeman.

Teleporter Travel Tale

3D animation

Animation stills from a 2-semester

collaboration with the staff of the U-M

3D lab that took students through the

3D animation production pipeline to produce

the animated short, Teleporter Travel Tale.

stamps.umich.edu STAMPS / 105

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Erin Murray

Face Necklace

ceramic and silver

Erin Murray

Baby Teapot

porcelain

106 / STAMPS S T U D E N T W O R K

Page 109: Stamps Undergraduate Viewbook 2015

Zack Moscot

5G Individualized Eyewear

“The project uses handcrafted and digital fabrication techniques

to generate ergonomically designed frames using consumers’

individual facial and head measurements. With a balance of hand and

digital craft, 5G Individualized Eyewear uses Individual Parametric

Measurements (IPM) to create frames designed to fit each person.”

Samantha Machover - Apes

acrylic, brayer, on paper

A series of acrylic paintings illustrating the primates at Virunga National Park in Congo.

stamps.umich.edu STAMPS / 107

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Justin Hein

Self Portrait

pen and ink on paper

108 / STAMPS S T U D E N T W O R K

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Shaili Das

Cement cast components combine

with wood to create gardens.

stamps.umich.edu STAMPS / 109

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FIGURE 3 TRANSITIONALIn typographical terms, the word "transitional" refers to the transition from Garalde to Didone typefaces, and thus these faces incorporate characteristics of each. Transitionals appeared in the 18th

high contrast between thick and thin strokes, and generous counters. Serifs are generally sharp and bracketed, and the serifs of lowercase ascenders are slightly oblique. The cross bar on the lowercase “e” is horizontal. FIGURE 3 was designed using Baskerville and Bell Bold.

FIGURE 4DIDONEFormally known as Modern, Didone typefaces emerged during late 18th and early 19th centuries. Such typefaces

abrupt contrast between thick and thin strokes. Ascenders and foot serifs on

Letters are set in narrow width. FIGURE 4 was designed using Didot, Modern, and Bodoni.

FIGURE 5 SCRIPTScript typefaces imitate cursive writing

-sual scripts. FIGURE 5 was designed using Snell Roundhand.

FIGURE 6SLAB SERIFAlso known as Egyptian, Slab-Serifs became popular in the 19th century when many pre-existing fonts were redone with wider serifs for display and advertising purposes. These typefaces evolved from Didone, but are often bolder, having large, square, bracket-less serifs. FIGURE 6 was designed using Rockwell.

FIGURE 3 TRANSITIONALIn typographical terms, the word "transitional" refers to the transition from Garalde to Didone typefaces, and thus these faces incorporate characteristics of each. Transitionals appeared in the 18th

high contrast between thick and thin strokes, and generous counters. Serifs are generally sharp and bracketed, and the serifs of lowercase ascenders are slightly oblique. The cross bar on the lowercase “e” is horizontal. FIGURE 3 was designed using Baskerville and Bell Bold.

FIGURE 4DIDONEFormally known as Modern, Didone typefaces emerged during late 18th and early 19th centuries. Such typefaces

abrupt contrast between thick and thin strokes. Ascenders and foot serifs on

Letters are set in narrow width. FIGURE 4 was designed using Didot, Modern, and Bodoni.

FIGURE 5 SCRIPTScript typefaces imitate cursive writing

-sual scripts. FIGURE 5 was designed using Snell Roundhand.

FIGURE 6SLAB SERIFAlso known as Egyptian, Slab-Serifs became popular in the 19th century when many pre-existing fonts were redone with wider serifs for display and advertising purposes. These typefaces evolved from Didone, but are often bolder, having large, square, bracket-less serifs. FIGURE 6 was designed using Rockwell.

Sexual Dimorphism

17

Female and male sexual dimorphismsin chicken and deer

Typefaces that are heavy and bold, with jagged or hard edges are often understood as masculine. Delicate, whimsical and curly typefaces are often considered feminine. Male typefaces are rooted and implacable, while female typefaces are charm-ing and elegant. While wildly bright and adorned male animals more readily attract a particular group of females, certain typefaces attract certain types of people, based on cultural associations with the type’s form.

Sexual Dimorphism

17

Female and male sexual dimorphismsin chicken and deer

Typefaces that are heavy and bold, with jagged or hard edges are often understood as masculine. Delicate, whimsical and curly typefaces are often considered feminine. Male typefaces are rooted and implacable, while female typefaces are charm-ing and elegant. While wildly bright and adorned male animals more readily attract a particular group of females, certain typefaces attract certain types of people, based on cultural associations with the type’s form.

FIGURE 3 TRANSITIONALIn typographical terms, the word "transitional" refers to the transition from Garalde to Didone typefaces, and thus these faces incorporate characteristics of each. Transitionals appeared in the 18th

high contrast between thick and thin strokes, and generous counters. Serifs are generally sharp and bracketed, and the serifs of lowercase ascenders are slightly oblique. The cross bar on the lowercase “e” is horizontal. FIGURE 3 was designed using Baskerville and Bell Bold.

FIGURE 4DIDONEFormally known as Modern, Didone typefaces emerged during late 18th and early 19th centuries. Such typefaces

abrupt contrast between thick and thin strokes. Ascenders and foot serifs on

Letters are set in narrow width. FIGURE 4 was designed using Didot, Modern, and Bodoni.

FIGURE 5 SCRIPTScript typefaces imitate cursive writing

-sual scripts. FIGURE 5 was designed using Snell Roundhand.

FIGURE 6SLAB SERIFAlso known as Egyptian, Slab-Serifs became popular in the 19th century when many pre-existing fonts were redone with wider serifs for display and advertising purposes. These typefaces evolved from Didone, but are often bolder, having large, square, bracket-less serifs. FIGURE 6 was designed using Rockwell.

FIGURE 3 TRANSITIONALIn typographical terms, the word "transitional" refers to the transition from Garalde to Didone typefaces, and thus these faces incorporate characteristics of each. Transitionals appeared in the 18th

high contrast between thick and thin strokes, and generous counters. Serifs are generally sharp and bracketed, and the serifs of lowercase ascenders are slightly oblique. The cross bar on the lowercase “e” is horizontal. FIGURE 3 was designed using Baskerville and Bell Bold.

FIGURE 4DIDONEFormally known as Modern, Didone typefaces emerged during late 18th and early 19th centuries. Such typefaces

abrupt contrast between thick and thin strokes. Ascenders and foot serifs on

Letters are set in narrow width. FIGURE 4 was designed using Didot, Modern, and Bodoni.

FIGURE 5 SCRIPTScript typefaces imitate cursive writing

-sual scripts. FIGURE 5 was designed using Snell Roundhand.

FIGURE 6SLAB SERIFAlso known as Egyptian, Slab-Serifs became popular in the 19th century when many pre-existing fonts were redone with wider serifs for display and advertising purposes. These typefaces evolved from Didone, but are often bolder, having large, square, bracket-less serifs. FIGURE 6 was designed using Rockwell.

Erica Neumann

Evolutionary Type

“A history of typography through the

lens of biological evolution presented

in a 10"x15" handmade book illustrated

with typographic imagery.”

110 / STAMPS S T U D E N T W O R K

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Sexual Dimorphism

17

Female and male sexual dimorphismsin chicken and deer

Typefaces that are heavy and bold, with jagged or hard edges are often understood as masculine. Delicate, whimsical and curly typefaces are often considered feminine. Male typefaces are rooted and implacable, while female typefaces are charm-ing and elegant. While wildly bright and adorned male animals more readily attract a particular group of females, certain typefaces attract certain types of people, based on cultural associations with the type’s form.

Daryl Alexsy

Domestic Tourist

“The first project I created

after moving back from

Berlin, this series was

intended to reacquaint

me with Detroit and

to show the rest of the

world its beauty. But the

images revealed more

about my true feelings

of being home again.”

stamps.umich.edu STAMPS / 111

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Shadowland

Students in a Stamps foundation course

design a shadow theater in the video studio

that uses three stages with interactive

lens-based materials, color and form.

112 / STAMPS S T U D E N T W O R K

Page 115: Stamps Undergraduate Viewbook 2015

A performance in the Duderstadt Center

which has professional audio and video

studios, a virtual reality den, motion capture

facilities, 3D modeling and more.

Colin Fulton

video studio performance

stamps.umich.edu STAMPS / 113

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Collin Fulton

video studio performance

Dressing Up and Down

Each student in this course received

a Snuggie. The assignment: to draw/

come up with 10 ideas for how to alter

the Snuggie into a wearable sculpture.

114 / STAMPS S T U D E N T W O R K

Page 117: Stamps Undergraduate Viewbook 2015

Angel Shen

Katie King Ji Yoon Lee

Bianca Ng

Letter Forming – from a Stamps foundation course.

The assignment: to recreate a specific letter ten

different ways using found materials and objects.

stamps.umich.edu STAMPS / 115

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Ronan Lynam

Duck & Friends

digital prints

“A series of personified animal portraits

satirizing our narcissistic fascination

with human portraiture.”

116 / STAMPS S T U D E N T W O R K

Page 119: Stamps Undergraduate Viewbook 2015

Zoe Widmer

Blurred Lines

A project exploring how

society views gender, the

importance of the visual to

gender identity, and how

gender affects how we

treat one another.

stamps.umich.edu STAMPS / 117

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Nichole Homfeld

digital media

The assignment: make an expressive or metaphorical portrait of

someone you know, using collage, without showing the person’s face.

Woodblock type in the Letterpress Studio

118 / STAMPS S T U D E N T W O R K

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Alexander Schlosser

From the course Electronic Books.

Students produce a complete “multitouch”

(interactive) book, consider possible

futures of the book (printed and

digital) and the impact of technology

on artists/authors and readers.

stamps.umich.edu STAMPS / 119

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Gabrielle FitzGerald

Talisman Project

From a Stamps foundation course. The

assignment: each student is asked to create

a wearable talisman for a classmate.

Beiatrix Pedrasa

Talisman Project

120 / STAMPS S T U D E N T W O R K

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Emma Berger

Drop the Needle

intaglio, woodblock, ink & watercolor

“These etchings expand on the existing culture of screen-printed

gig posters. The prints are signed by the bands and auctioned off to

support Brandi Carlile’s Looking Out Foundation and Charity: Water.”

stamps.umich.edu STAMPS / 121

Page 124: Stamps Undergraduate Viewbook 2015

Christopher Boomer

Adrift

film

“My project deals with my thoughts and perceptions

surrounding the notion of isolation among individuals — how

little we truly know about so many of the characters that we

encounter, however intimately or briefly, in our everyday lives.”

122 / STAMPS S T U D E N T W O R K

Page 125: Stamps Undergraduate Viewbook 2015

Corinn Lewis

Camp Take Notice

visual identity system

“Camp Take Notice (CTN) is a democratically

self-governing community of homeless people

in Ann Arbor, MI. It was important to me to

create a visual language that Camp Take

Notice could use to tell its story. I was inspired

by Ghanaian Adinkra symbols and Hobo

symbols from the early 1900s.”

stamps.umich.edu STAMPS / 123

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STAMPS SchoolUndergraduate Program Details

Elective Studio CoursesDuring your second year, you'll begin taking the Elective Studio courses that allow them to explore and develop specific areas of interest.

BFA students take 14 elective studios courses (42 credits). BA students take 8 elective studio courses (24 credits). All students are required to take an Engagement Studio, in which they interact with a community outside U-M.

Stamps Academic CoursesStamps requirements are designed to engage students in both the history of art and design and the current practice of emergingartists and designers.

Students must take five required Stamps Academic courses(16 - 18 credits).

• 3 courses focused on non-studioapproaches to art and design

• 2 art or design history/theory/ criticism courses of your choice

University Academic CoursesStudents in the Stamps School participate in the rich intellectual and academic life of a top-tier university. The Stamps School requires liberal arts coursework, but also allows for elective choices.

BFA students are required to complete a total of 30 - 32academic credits.BA students are required to complete a total of 60 - 62academic credits.

Requirements:• First Year Writing• Upper Level Writing• Social Science• Natural Science• Analytical Reasoning• Environmental Studies• Race and Ethnicity• Academic Electives

Penny Stamps Speaker SeriesThe Penny Stamps Speaker Series brings respected emerging and established creative innovators to the School to conduct a public lecture and engage with students. Students must enroll in the 1-credit/semester Speaker Series and attend the weekly lecture each semester through all four years of the program.

Integrative ProjectIn the 12-credit Integrative Project, over the course of the final year BFA seniors use the techniques, concepts and skills they’ve learned to plan, conceptualize, and build a single project of their choosing. With the help of faculty advisors, they manage their own creative process and schedules, and work in their own dedicated studio spaces. Each project culminates in a final presentation that engages the public through exhibition, publication or performance, and is supported and documented through a written thesis, website, and digital portfolio.

International ExperienceThe international experience prepares Stamps graduates to enter the globalized economy; makes them more competitive for graduate study, fellowship opportunities, and employment; and helps them to become informed global citizens.

MinorsThe flexibility of the Stamps curriculum allows students to pursue any minor offered at U-M. Most minors require the completion of15 - 18 credits (5 - 6 courses).

The First YearAs a freshman, all of your courses (except one) are required foundation courses,both studio and academic.

Drawing IIDrawing I

Studio: 4DStudio: 2D

Methods of InquiryStudio: 3D

Art & Design HistoryArt & Design in Context

IntersectionsUniversity Academic Elective

Penny Stamps Speaker SeriesPenny Stamps Speaker Series

FALL WINTER

126 / STAMPS A P P LY N O W ! G O TO: stamps.umich.edu/apply

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STAMPS SchoolUndergraduate Admission Information

The Stamps School of Art & Design offers four undergraduate programs:

• BFA in Art & Design• BA in Art & Design• Dual Degree programs with eight

other U-M schools and colleges• Interarts Performance BFA

For questions, call theStamps School at 734 764 0397 or [email protected]

How to Apply1) Submit a completed Common Application:• Common Application• U-M Member Questions• Counselor Recommendation• Academic Teacher

Recommendation• Art Teacher Recommendation• Common Application Essay• $75 application fee

(or fee waiver request)• Common Application Art Portfolio:

Upload a portfolio of your work using the Stamps School of Art & Design SlideRoom link provided in the Common Application under “Portfolio.” Applicants should upload a total of 12 - 15 items.

2) Request an official copy of your transcript from your high school.

3) Send test scores directly to the University of Michigan-Ann Arbor:• ACT (U-M code is 2062) and/or

SAT (U-M code is 1839)• MELAB, IELTS or TOEFL (U-M

code is 1839) test scores are required of all speakers of English as a second language.

For detailed application information — including additional requirements for Interarts Performance, Dual Degree, Transfer and International applicants — go to:stamps.umich.edu/apply

Submitting Your PortfolioApplicants register and submit their portfolio on the SlideRoom website as part of the Common Application Art Portfolio.

Your portfolio must include 12 - 15 pieces of creative work in a variety of media to indicate your range of experiences. Every portfolio must include a minimum of 3 drawings or paintings from direct observation. Each piece in a portfolio should be there for a reason — for example, to show a particular skill, or to highlight creativity or concept. Use the SlideRoom description fields to help us understand your work.

After starting the Common Application and choosing the University of Michigan as your college, submit your portfoliousing the following steps:

1) Stamps applicants must answer “Yes” to the question below:Do you intend to submit a portfolio so that your special talent in one or more of the arts will be considered as part of the admission process to the University of Michigan?This will turn on a section called “Portfolio” at the bottom of theleft sidebar.

2) In the Portfolio Instructions section, click the “University of Michigan Portfolio Site” link to open the Stamps School’s SlideRoom portal.

3) After the Stamps School’s SlideRoom portal opens, you'll be prompted to login to an existing SlideRoom account or create a new account.

4) After logging into the Stamps School’s SlideRoom portal, you'll see a list of the School’s programs. Undergraduate applicants should choose the program labeled U-M Stamps School of Art & DesignBFA/BA Portfolio and click “begin.”

5) Answer questions and add your creative content to complete your portfolio.

6) SlideRoom checks to see if your Common Application has been submitted. Once you have submitted your Common Application, you can proceed with submitting your portfolio in SlideRoom.

SlideRoom charges applicants a $10 transaction fee to submit a portfolio. Students who receive a fee waiver for their Common Application will also receive a fee waiver for their SlideRoom submission.

A P P LY N O W ! STAMPS / 127G O TO: stamps.umich.edu/apply

Page 130: Stamps Undergraduate Viewbook 2015

Tumblr umstampsschool.tumblr.com

Instagraminstagram.com/umstamps

And stay connected with faculty, students, and alumni.

Follow @umstampson Social Media ↓

Facebookfacebook.com/umartanddesign

Twittertwitter.com/UM_Stamps

↘ umstampsschool.tumblr.com

“Women of Color Portraits,” a stunning series by senior Meghal Janardan, is hanging in the west hall of our building!

This is “Angela,” from the Women of Color Portraits by Meghal Janardan @meghaljanardan. Read the stories of these women as they navigate the complex yet rarely addressed narrative of being a minority on a seemingly liberal campus. –ani

Fresh figure collages made by senior Anica Presley (anicajp)!

She wheat pasted her life size photomontages straight onto the gallery wall!

We are so impressed with the creative work that explored all media, including installations, film screenings, performances, and more!

Kit Trowbridge’s oil painting took inspiration from her dreams, architecture and favorite films.

Grace Ludmer’s senior thesis project was featured on Amy Poehler’s Smart Girls blog!

Stamps senior Grace Ludmer is making 500 hand-drawn stickers as part of her senior thesis titled The Girls I Draw. From ladies with strawberries for nipples, to intricate collage work, Grace never fails to make these women beautiful inside and out.

Page 131: Stamps Undergraduate Viewbook 2015

If there were an option to start over

from scratch, this is the program that would be

built. The Stamps School of Art & Design and

the University of Michigan have created an

opportunity to lead the academic conversation

in art and design in this country.

A re-accreditation review of the Stamps School by the National Association of Schools of Art and Design (NASAD), elicited this response from the review team.

University of Michigan RegentsMark J. Bernstein, Ann Arbor

Julia Donovan Darlow, Ann Arbor

Laurence B. Deitch, Bloomfield Hills

Shauna Ryder Diggs, Grosse Pointe

Denise Ilitch, Bingham Farms

Andrea Fischer Newman, Ann Arbor

Andrew C. Richner, Grosse Pointe Park

Katherine E. White, Ann Arbor

Mark S. Schlissel, ex officio

Nondiscrimination Policy StatementThe University of Michigan, as an equal opportunity/

affirmative action employer, complies with all

applicable federal and state laws regarding

nondiscrimination and affirmative action. The

University of Michigan is committed to a policy

of equal opportunity for all persons and does not

discriminate on the basis of race, color, national

origin, age, marital status, sex, sexual orientation,

gender identity, gender expression, disability,

religion, height, weight, or veteran status in employment,

educational programs and activities, and admissions.

Inquiries or complaints may be addressed to the Senior

Director for Institutional Equity, and Title IX/Section

504/ADA Coordinator, Office

of Institutional Equity, 2072

Administrative Services Building,

Ann Arbor, Michigan 48109-1432,

734-763-0235, TTY 734-647-1388.

For other University of Michigan

information call 734-764-1817.

Apply Now!stamps.umich.edu/apply

CO N TAC T U S :

Penny W. Stamps School of Art & Design • 2000 Bonisteel Blvd, Ann Arbor, MI 48109-2069

734 764 0397 • [email protected] • stamps.umich.edu

Photography

James Rotz

Carl Greene

Nicholas Williams

Editor

Kate West

Art Direction

Kate West

Carl Greene

Katherine Weider-Roos

Design

Carl Greene

Andrew Cohen

Katherine Weider-Roos

John Baird

Stamps Design Team

Marissa McClain

Colin Fulton

→ Learn more: stamps.umich.edu

Page 132: Stamps Undergraduate Viewbook 2015

Differently

→ Learn more: stamps.umich.edu