steven driscoll hixson - university of...

education

mfa The University of Michigan, Ann Arbor, mi, 2006— Charles University, Prague, Czech Republic, (Summer, 2005)— Tsinghua University, Beijing, China, (Summer, 2004)

bfa -magna cum laudeThe University of Michigan, Ann Arbor, mi, 1994

academic appointments

assistant professor University of Wisconsin, Madison, wi, January 2008–present

visiting assistant professor Purdue University, West Lafayette, in, August 2006–May 2007

design lecturer The University of Michigan, Ann Arbor, mi, September 2002–April 2003

design appointments

art director Svenix Design, December 1994–present

senior design consultant Borders Group Inc., 2008

senior designer The University of Michigan Museum of Art, April 1999–August 2006

senior designer Borders Group Inc., May 1998–July 2000

art/design instructor Ann Arbor Art Center, May 1994 –May 1998

exhibitions

Abstractions and Reflections, United States Embassy, Addis Ababa, ethiopia, 2010

Identity of Place, Overture Center, University of Wisconsin, Madison, wi, 2009

Satisfaction Town, Columbia College, Chicago, il, 2009

Create Chaos, Orlando Convention Center, Orlando, fl, 2008

National Monotype Exhibition, Attleboro Arts Museum, Attleboro, ma, 2008

Faculty Exhibition, Chazen Museum, University of Wisconsin, Madison, wi, 2008

Yunnan Stone Narratives, Office of Media Relations, University of Michigan, Ann Arbor, mi, 2007

The Print, Ann Arbor Art Center, Ann Arbor, mi, 2007

Michigan Fine Arts Competition, Birmingham/Bloomfield Art Center, Birmingham, mi, 2007

Terrain, Purdue University, West Lafayette, in, 2007

steven driscoll hixson6241 Mosse Humanities Bldg. / 455 North Park St. / Madison, wi [email protected]

exhibitions continued

Inklandia, Purdue University, West Lafayette, in, 2006

Core and Periphery, mfa Thesis exhibition, Ann Arbor, mi, 2006

Kartounka, Hradcany Galerie, Prague, The Czech Republic, 2005

Rethinking Green, UM School of Art and Design, 2005

The Print, Ann Arbor Art Center, 2005

Common Descent, UM School of Art and Design, 2005

My Disease Memory Skeleton, UM School of Art and Design, 2004

Panoptic Influence, UM School of Art and Design, 2004

Exchange, Tsingua University, Beijing, China, 2004

Passion, UM School of Art and Design, 2004 The Artfull Home, Ann Arbor Art Center, 1998

Michigan Fine Arts Competition, Birmingham Bloomfield Art Center, 1997

Delta National Print Exhibition, Arkansas State University, 1996

Michigan Artists Design for the Home, Ann Arbor Art Center, 1996

The Print, Ann Arbor Art Center, 1996

Goldsboro’s 17th Fine Arts Exhibition, Goldsboro, North Carolina, 1996

17th Michigan Artists Competition, Art Center of Battle Creek, 1995

Best of Show, The Print Exhibition, Ann Arbor Art Center, 1995

awards

Innovation Award - Store Design, Borders concept store, Retail Design Institute, 2009

Silver Design Award, Borders concept store, International Create Awards, 2008

First Prize, Catalogue Masterworks of African Art, American Association of Museums, 2004

Design Excellence Award, Gallery guide Romanovs Collect, Finch Paper Inc., 2004

Design Achievement Award, Book In Human Touch Michigan Museums Association, 2004

Best Photo Book for In Human Touch, from Independent Publishers Association, 2002

Design Achievement Award, Newsletter Insight, Michigan Museums Association, 2001

First Prize, Museum Newsletter Insight, American Association of Museums, 2001

Honorable Mention, Semester Highlights Design, AAM, 2001

Honorable Mention, Museum Newsletter Insight, AAM, 2000

steven driscoll hixson6241 Mosse Humanities Bldg. / 455 North Park St. / Madison, wi [email protected] / 734.262.0842

publishing

new american paintings 15 years, 2010Editor: Steven Zevitas, Anniversary Issue

new american paintings vol. 83, 2009Curator/Editor: Lynn Warren, Museum of Contemporary Art, Chicago

monoprint guild of new england 2008Fuli Offering Sunrise / National Monotype Exhibition

create 2008Borders concept store

museum news 2004Masterworks of African Art

print 2003In Human Touch and Insight

print 2001Semester Highlights

museum news 2001Insight

lectures / talks / critiques

Colloquium Lecture Series, University of Wisconsin, Madison, wi, 2010

Causing Effect, Guest Critic, Course AD TMP 2D, University of Michigan, Ann Arbor, mi, 2010

Graphic Content Graduate Show, Guest Critic, University of Wisconsin, Madison, wi, 2009

Design Studies 501, Cloth to Clothing, Guest Critic, University of Wisconsin, Madison, wi, 2009

Kelsey identity, Kelsey Museum of Archaeology, University of Michigan, Ann Arbor, mi, 2009

Selvedge concepts, Apparel Design 610 - Design Studies, University of Wisconsin, Madison, wi, 2009

Portfolio, Apparel Design 610 - Design Studies, University of Wisconsin, Madison, wi, 2009

New Works, AIGA Purdue Chapter, Purdue University, West Lafayette, in, 2008

Graphix Graduate Show, Guest Critic, University of Wisconsin, Madison, wi, 2008

Design & Printmaking, Course: Graduate Seminar, University of Wisconsin, Madison, wi, 2008

Graduate portfolio & tenure-track search, University of Wisconsin, Madison, wi, 2008

Colloquium Lecture Series, University of Wisconsin, Madison, wi, 2008

Life after undergraduate school, Course: Professional Practice, Purdue University, West Lafayette, in, 2007

Brand Identity, AIGA Purdue Chapter, Purdue University, West Lafayette, in, 2007


lectures / talks / critiques continued

Portfolio Strategy, AIGA Purdue Chapter, Purdue University, West Lafayette, in, 2007

The Autobiographical Print, Course: The Serial Image, University of Michigan, Ann Arbor, mi, 2007

Typography and Publication Design, Course: Voice - Type in Context, University of Michigan, Ann Arbor, mi, 2007

Typographic Memoir, Course: Integrative Project, University of Michigan, Ann Arbor, mi, 2007

Museum Graphics, AIGA student chapter, University of Michigan, Ann Arbor, mi, 2006

UMMA branding, AIGA student chapter, University of Michigan, Ann Arbor, mi, 2005

Portfolio fundamentals, Course: Design III, University of Michigan, Ann Arbor, mi, 2004

committees / university service / public service

committees

Visiting Artists, University of Wisconsin, Madison, wi, 2010

TA interview panel, University of Wisconsin, Madison, wi, 2009


Art Lofts Gallery, University of Wisconsin, Madison, wi, 2009

Art 458 Review, University of Wisconsin, Madison, wi, 2009




Sophomore Review, Purdue University, West Lafayette, in, 2007

Sadler Awards, Purdue University, West Lafayette, in, 2007

Diversity Awards, Purdue University, West Lafayette, in, 2007

Integrative Project Review, University of Michigan, Ann Arbor, mi, 2006

Greening of Dana, University of Michigan, Ann Arbor, mi, 2004



university service

Advisor - Women in Red magazine, University of Wisconsin, Madison, wi, 2010

Faculty Affiliate, Design Studies, School of Human Ecology, University of Wisconsin, Madison, wi,

Graphic Designer - Kaleidoscope, Identity / Marketing / Concept developmentDepartment of Spanish and Portuguese, University of Wisconsin, Madison, wi, 2010

Design Advisor - Art Departnment newsletter, University of Wisconsin, Madison, wi, 2010

Juror, New Art Ventures Scholarship, Arts InstituteUniversity of Wisconsin, Madison, wi, 2009

Graphic Designer - Selvedge - Student Fashion Show, Design Studies, School of Human EcologyUniversity of Wisconsin, Madison, wi, 2009

Faculty Senate, University of Wisconsin, Madison, wi, 2009

Graphic Designer - Your Body is your Strad, University of Wisconsin, Madison, wi, 2009

Faculty Senate alternate, University of Wisconsin, Madison, wi, 2009

Advisor - Women in Red magazine, University of Wisconsin, Madison, wi, 2009

Design Advisor - Art Departnment newsletter, University of Wisconsin, Madison, wi, 2009

Juror / Critic, National Student Advertising Competition, Journalism and Mass CommunicationUniversity of Wisconsin, Madison, wi, 2009

Percent for Art - South Union, University of Wisconsin, Madison, wi, 2009

Runway projection / brochure design, Flux - Student Fashion Show, School of Human EcologyUniversity of Wisconsin, Madison, wi, 2009

Design Studies Juror, Flux - Student Fashion Show, University of Wisconsin, Madison, wi, 2009


Kaleidoscope, Graphic Design / Marketing / Concept developmentThe annual graduate student conference of the Department of Spanish and Portuguese, University of Wisconsin, Madison, wi, 2009


Percent for Art - South Union, University of Wisconsin, Madison, wi, 2008

Art Instructor/Volunteer, Art Makers Outreach, Ann Arbor Art Center, Ann Arbor, mi, 2007

Signage design proposal - Wayfinding schematic, Downtown Development Authority, Ann Arbor, mi, 2007

AIGA portfolio review, University of Michigan, Ann Arbor, mi, 2002


public service

2009 Congressional Art Competition, Juror representing Congresswoman Tammy Baldwin, Madison, wi, 2009

Powered Green, Marketing Initiatives, Madison, wi, 2008

Art Instructor/Volunteer, Art Makers Outreach, Ann Arbor Art Center, Ann Arbor, mi, 2007

Signage design proposal - Wayfinding schematic, Downtown Development Authority, Ann Arbor, mi, 2007

AIGA portfolio review, University of Michigan, Ann Arbor, mi, 2002

MAY 1, 2O1O

MONONA TERRACE

Two Shows: 2 PM & 7 PM

Exhibit opens one hour prior to each runway show.

Made possible by a generous gift

from KOHL’S Department Stores

With additional support from the Anonymous Fund

WWW.FASHIONSHOW.WISC.EDU

To purchase tickets and for more information visit If you can’t join us for the runway show, the juried student

exhibit will be open free of charge from 3–4:3O PM.


selvedgeuniversity of wisconsin - design studies

Promotional graphics for an exposition of undergraduate works from the University of Wisconsin Design Studies Program. Works are featured through Runway, gallery and performance 2009 / 2010, Software: Photoshop, InDesign

This exposition features undergraduate works from the University of Wisconsin Design Studies program.

Illuminating the phases of design, this show dramatizes innovative textiles and garments with the layering of interdisciplinary arts.

INNOCENCE, REBELLION, PASSION, AND IMAGINATION detail the modes of expression through runway, gallery and performance.

Made possible by a generous gift from Kohl’s Department StoresFor More Information: www.sohe.wisc.edu/centers/cre/TASAFashionShow.html

MAY 1, 2O1O

REVEALING EDGES OF EXPRESSION

UNIVERSITY OF WISCONSIN SCHOOL OF HUMAN ECOLOGY

MONONA TERRACE One John Nolen Drive, Madison, Wisconsin 537O3

Two Runway Shows 2 PM & 7 PM

Gallery will open one hour before each runway show.

GALLERY & RUNWAY SHOWDESIGN STUDIES

poster_selvedge5.indd 1 11/18/09 1:00 PM

REVEALING EDGES

OF EXPRESSION

2 PM SATURDAY, MAY 1, 2O1O

$1O

MONONA TERRACE

Community and Convention Center

One John Nolen Drive

Madison, Wisconsin 537O3

2PM2_selvedge_ticket.indd 1

11/13/09 1:36 PM

2 PM SATURDAY, MAY 1, 2O1O


UNIVERSITY OF WISCONSIN SCHOOL OF HUMAN ECOLOGY DESIGN STUDIES GALLERY & RUNWAY SHOW

Made possible by a generous gift from Kohl’s Department Storeswww.sohe.wisc.edu/centers/cre/TASAFashionShow.html

MONONA TERRACE Gallery Hours 1–2 PM and 3–4 PM Runway show begins at 2 PM Reception following runway show

2PM2_selvedge_ticket.indd 2 11/13/09 1:36 PM


UNIVERSITY OF WISCONSIN SCHOOL OF HUMAN ECOLOGYDESIGN STUDIES

STUDENT EXHIBIT & RUNWAY FASHION SHOW

ANNUAL JURIED

university service


University of Wisconsin / Madison Department

6241 george mosse humanities bldg. / 455 north park street / madison, wisconsin 53706-1483 / tel. 608.262.1660

www.art.wisc.edu

University of Wisconsin / Madison Department

6241 george mosse humanities bldg. / 455 north park street / madison, wi 53706-1483

stationeryuniversity of wisconsin - art department

Stationery design for the UW - Art department 2010, Software: Illustrator

university service

Body Strad

YOUR

IS YOUR

NATIONAL SUMMER CELLO INSTITUTE june 5 - 19, 2010

WWW.MUSIC.ORG/FELDENKRAIS.HTML

FACULTY

Timothy Eddy, Julliard School Uri Vardi, University of Wisconsin-Madison Steven Doane, Eastman School Susan Moses, Indiana University Sting Academy Hagit Vardi, Feldenkrais Russell Rolen, DMA Northwestern University Jane Peck, Baroque Dance

In conjunction with

FELDENKRAIS FOR MUSICIANS june 5 - 10, 2010

NON. PROFIT ORG.US. POSTAGE

PAIDMISSOULA, MT

59801PERMIT NO. 569

The Dancer, Ruth Bloch

Body StradYOUR IS YOUR

Artistic Director,

Uri Vardi

NATIONAL SUMMER CELLO INSTITUTE

Intended for 20 Professional & Graduate Cellists

june 5 - 19, 2010

Two intensive weeks of experiential exploration

to help you reach your next level of artistic freedom

and redefine your approach to teaching

FELDENKRAIS FOR MUSICIANS

Intended for Instrumentalists & Singers

june 5 - 10, 2010

Explore the intimate rela

tionship between body

awareness and music making, while learning how

to prevent playing-related injuries.

Sponsored by: The College Music Society

Hosted by: University of Wisconsin – Madison School of M

usic

THE 2O1O NATIONAL

SUMMER CELLO INSTITUTE

In conjunction with

FELDENKRAIS FOR MUSICIANS

WWW.MUSIC.ORG/FELDENKRAIS.HTML


your body is your straduniversity of wisconsin - school of music

Promotional graphics for Your Body is Your Strad Summer sessions sponsored by The College Music Society 2009 / 2010, Software: Photoshop, InDesign

Body Strad

YOUR

IS YOURTWO INTENSIVE WEEKS

OF EXPERIENTIAL EXPLORATION

JUNE 2O1O

JUNE 5–1O FELDENKRAIS FOR MUSICIANS

Injury Prevention & Musical Expansion Integrating body and mind in movement for healthy, artistic music-making

Intended for instrumentalists and singers With: Uri Vardi & Hagit Vardi

JUNE 5–19 NATIONAL SUMMER CELLO INSTITUTE

Exploring the kinesthetic channels to expand Creativity in Cello Playing & Teaching Intended for performers/pedagogues With: Timothy Eddy, Steven Doane, Uri Vardi, Susan Moses, Russell Rolen, Jane Peck (Baroque Dancer), Hagit Vardi (Feldenkrais Practitioner)

Details at WWW.MUSIC.ORG/FELDENKRAIS.HTML

The Dancer, Ruth Bloch

UNIVERSITY OF WISCONSIN-MADISON

Artistic Director, Uri Vardi

THE COLLEGE MUSIC SOCIETY

Sponsored by

university service

kaleidoscopedistortion and illusion

march 5 & 6, 2010

university of wisconsin - madison

6th Annual Graduate Student Conference of the Department of Spanish & Portuguese

ivan soll - keynote speaker Professor, Philosophy Department, UW-Madison

friday, march 51–6 pm, 206 Ingraham Hall Reception to follow

saturday, march 69 am–6 pm, Conference continues


kaleidoscope

university of wisconsin department of spanish and portuguese

Promotional graphics and logo design for the Department of Spanish and Portuguese Studies graduate student organization Kaleidoscope

2010, Software: Illustrator, InDesign

kaleidoscopeGraduate Student Conference

university of wisconsin – madisonDepartment of Spanish & Portuguese

1018 Van Hise Hall / 1220 Linden Drive, Madison, WI 53706-1557 / 608–262–2093 / http://spanport.lss.wisc.edu/kaleidoscope

kaleidoscopeGraduate Student Conference

university of wisconsin – madisonDepartment of Spanish & Portuguese / 1018 Van Hise Hall / 1220 Linden Drive, Madison, WI 53706-1557

university service


For more information visit

Sponsored by Department of Spanish and Portuguese, Global Studies, The Anonymous Fund, LACIS

Associate Professor at UW Dept. of Anthropology

Talks are free and open to the public

1:00 pm: Inn Wisconsin Room of the Memorial Union

9:00 am: Science Hall Room 180

5th Annual Graduate Student Conference of the Department of Spanish & Portuguese

kaleidoscope

university of wisconsin department of spanish and portuguese

Promotional graphics for the Department of Spanish and Portuguese Studies graduate student organization Kaleidoscope

2009, Software: Illustrator, InDesign

university service


fluxuniversity of wisconsin - design studies

Promotional graphics and Runway projection for the Design Studies Textile and Apparel Design Student Association Fashion Show. 2009, Software: Photoshop, InDesign

university service

teaching philosophy

As an educator, I believe that my mission is to not only foster visual designers, but to also provide a platform for discussion where students articulate their process, materials, and methodologies. My approach in the studio or classroom is about connecting students to their ideas. I encourage students to think beyond early sketches and computer printouts to achieve more advanced solutions. The fundamentals of drawing, pattern, color, composition, craft and technique are integrated into the design experience while also allowing for expressive possibilities of the medium. I want students to experience the traditions of design while also engaging in the technical advances that enable success within the marketplace.

I seek to stimulate the excitement of design by demonstrating that the role of a designer is to facilitate communication through critical analysis and demonstration of craft. I bring into the classroom my experience as a graphic designer, and combine it with my passion for printmaking. This range of creative activity helps to shape a teaching philosophy that explores formal relationships with conceptual development. Printmaking embraces the layering and sequential order of thought process. The product is more than a conclusive element, but rather a historical link to the materials, and the marks that register. Through required sketching in the classroom, I am able to assist and see concept development rather than receive a final object without explanation.

My teaching practice combines individual critiques, classroom discussions, and smaller group presentations. This format allows for a broader range of interactivity from group dynamics to one on one conversation. Through classroom exercises, students learn to communicate with and work with others. I believe in my role as a motivator to facilitate an ongoing dynamic environment where students are continually engaged with design. I extend the classroom excitement into field trips to design offices, printers, museums, etc. These experiences facilitate the learning process by expanding network opportunities and by building relationships with community partners.

I communicate clear objectives and high expectation for all students. Assignments must be completed within deadlines. Projects must be executed with a high level of craft. Students must be prepared to articulate their projects. Work outside of class is essential for a project to be fully explored.

My experience has made me a resourceful and enthusiastic individual with professional abilities that span the fields of graphic design, printmaking, marketing, exhibit design, and museum practices. My students take with them the ability to navigate through tradition and original concepts to create expressive design solutions.



teaching courses

Art 546: Advanced Graphic Design (1 section) Spring 2010 University of Wisconsin

Art 656: Professional Practice and Design Portfolio (1 section) Spring 2010 University of Wisconsin

Independent Study sections, Fall 2010 University of Wisconsin

Art 546: Advanced Graphic Design (1 section) Fall 2009 University of Wisconsin


Art 556: Advanced Graphic Design Technology (1 section) Fall 2009 University of Wisconsin

Art 546: Advanced Graphic Design (1 section) Spring 2009 University of Wisconsin

Independent Study sections, Spring 2009 University of Wisconsin

Art 656: Professional Practice and Design Portfolio (1 section) Spring 2009 University of Wisconsin

Art 346: Introduction to Typography (3 sections) Fall 2008 University of Wisconsin


Art 346: Introduction to Typography (2 sections) Spring 2007 University of Wisconsin

Art 432: Package Design (2 sections) Winter 2007 Purdue University


teaching courses continued

Art 366: Visual Communications Design II (2 sections) Winter 2007 Purdue University

Independent Study sections, Winter 2007 Purdue University

Art 205: Design III (3 sections) Fall 2006 Purdue University

Art 105: Design I (1 section) Fall 2006 Purdue University

Independent Study sections, Fall 2006 Purdue University

Art 421: Integrative Project II (1 section) Spring 2006 University of Michigan

Art 420: Integrative Project I (1 section) Fall 2005 University of Michigan

Art 350: Graphic Design III (1 section) Winter 2003 University of Michigan

Independent Study sections- Winter 2003 University of Michigan

Art 350: Graphic Design III (1 section) Fall 2002 University of Michigan

Independent Study sections- Fall 2002 University of Michigan

project. recycle poster campaign

You are asked to develop a recycling initiaves campaign for the city of Madison/ and or for the UW student body. Within a series of three posters you will provide the foundation to generate support upon this issue. You are responsible for writing copy, generating imagery and designing three persuasive posters. The images must be chosen to provide visual rec-ognition of the recycling efforts: images may be: inspired by found materials, abstractions of various recyclable containers, pictograms/icons, etc. Possible tactics for designing with persuasiveness may include: appealing to the audience with a compelling logical argu-ment, attracting attention with an engaging story, providing shocking statistics, or informing the public on simple steps to increase recycling efforts. Please consider that some of the most powerful marketing vehicles contain minimal copy—often represented in the form of tag lines or slogans. General contact information or appropriate text to guide individuals to Recycling Services/Stations/Locations/websites will be required in addition to the copy which you develop. Your theme must be consistently presented from piece to piece through vision and voice while simultaneously educating the audience/participant.

Will you launch a campaign targeted towards one material -for instance -a focus on plastic/ a concentration on paper/ a center on glass, etc? How can these materials be introduced within the final design schemes? Will you create pictographs to represent the objects to be recycled? Will you create imagery (collages or fragments) exclusively from materials found in the trash? Will you integrate photography? What are the best images to showcase your area of concentration?

The formal decisions you make—the development of a grid, your choice of typeface(s), your determination of hierarchy, the layout of each poster, etc.—should support your mission of conveying the information. This is a campaign and therefore consistency will be required to establish a connection from poster to poster.

objectives— Explore a wide range of possible solutions through concept sketches— Conduct on-going research that enables you to understand all the facets of the problem.— Develop a grid system that supports the information and unifies the compositional elements into a unified, logical and visually aesthetic whole from poster to poster.— Create an appropriate and consistent hierarchical structure.— Develop a better understanding of the principles of legibility and readability.— Clarify the principles of design and heighten your visual acuity.— Accomplish the mission of educating the public.

constraints— You are restricted to the following sizes -select one: 15” x 15”, 10” x 18” (vertical or horizontal).— 4 color, CMYK, or any selection of colors.— You may use any typestyle you deem appropriate. — You may combine two typefaces. You may not distort your type.— You are responsible for generating your own imagery.— You are responsible for producing your own copy.


project. recycle poster campaign

Students: Ben Wagner, Elizabeth Barth, Rachel Netols

recyclemadison.com

recycling is computer paper. junk mail. plastic creamer bottle. paper towel rolls. plastic bottle neck. sexy.

recyclemadison.com

recycling is printer paper. aluminum foil. coffee sleeve. detergent bottle. brown paper bag glamorous.

recyclemadison.com

recycling is toilet paper rolls. aluminum cans. newspaper. milk jug. jar tops. box board/ yogurt cup. compuer paper. macho.

recyclemadison.com


project. a meditation on packaging You are asked to develop 4 packages surrounding the varied themes of meditation. Direct your energy to products that heighten contemplation - the topics may be considerably diverse -cooking, athletics, bath products, tea, etc. For example bath products-bubble bath, lotion, moisturizer, and cream... or swimming -goggles, swim cap, flippers, kick board… or cooking –spices, ingredients, recipes, utensils, etc. You will select one topic and design 4 separate packages to showcase products relative to this area. The goal is to not only engage the viewer with compelling design, but to bring about consistency within all 4 containers. You are challenged to mark each product with an original logo/logotype -the name may be original or from an existing company. This assignment will examine the relationship of text, imagery, and brand recognition expressed upon different materials and containers. Each surface has a new challenge -allowing for a variety of solutions.

You will center your designs utilizing the following 4 areas -each design focusing upon a dif-ferent characteristic

1. transparency will allow for the product to be revealed. You may determine the scope of visibility. Will you include additional materials to increase mood, impact, color, or perspec-tive?

2. the box -although traditional in its form, will challenge you to explore the totality of each surface -determining the position of text, the importance of information, and the play of imagery.

3. the cylinder with its harmonious form generates a continuous surface.

4. experimental -a package that contains less than 6 surfaces or a nontraditional material. This container may explore the role of enclosure through a variety of forms -bags, pockets, label, envelope, or open-ended creations.

The images chosen should provide clear articulation of the essential mood/character/expe-rience. Imagery should be original. I strongly encourage you to explore the use of digital cameras, illustration, painting, or other areas of interest for image execution. General infor-mation such as ingredients, directions, nutritional value, product distribution, etc. must be included.

constraints— 4 color, CMYK, or any selection of colors.— You may use any typestyle you deem appropriate. — You may combine two typefaces. You may not distort your type.— You are responsible for generating your own imagery.— You are responsible for identifying appropriate copy.— One package showcasing transparency (plastics, glass, vellum) -may use existing bottles, containers, forms— One package utilizing a 6-surface design (box)— One package utilizing a cylinder design (materials open -aluminum, cardboard, etc)


project. a meditation on packaging Students: Sarah Ripp (above), Casey Bass (below)


project. brand development - art venues

Within this identity project, each student is assigned a venue. In some cases the name of the actual venue has been altered to: accomodate a platform for art distribution, remove extraneous words, or to create a more dynamic presence. You will produce a logo / logo-type / or mark for your assigned venue. Consider the characters of the venue, the physical dimensions of the space, the architectural details, the synergy of art plus the “other” prod-ucts/services (coffee / tea / vegetation / performance / education / etc.) when exploring concepts and generating ideas. Researching typefaces might be the point of entry into the project. What characteristics of a particular typeface connects with the architecture? What letter ignites a connection to the function? Even though art distribution surrounds each of the venues, what elements will make for a memorable logo? What elements will ensure a long lifespan? How do you break from trends to produce a logo / logotype that symbolizes the essence of the venue?

The identity project will foster the discussion of collateral materials relative to an exhibition with each student receiving a body of work from a local artist. With each student partnered with an artist, the development of a comprehensive exhibition proposal will emerge. The projects will range from: exhibition type treatment, gallery guide, text panels, object labels, invite, to promotional materials. This “imagined exhibition” will connect with / and broaden the development of the gallery/studio brand through advanced marketing strategies.

1. Design an orignal logo / logotype in black and white2. Apply color to the logo / logotype (present specifics relative to Pantone Matching System)3. Develop a tagline or slogan for the venue 4. Apply the logo / logotype to any 2 collaterial materials that showcase brand development (stationery / general advertisement / t-shirt / banner / etc.)

venues Tandem Press / 201 South Dickinson Street. Madison, WI 53703

Samba Galeria / 240 W Gilmore Street, Madison, WI 53703

Higher Fire Clay Studio / 2132 Regent St Madison, WI 53726

Winnebago Studios / 2046 Winnebago Street, Madison, WI 53704

Macha Teahouse & Gallery /1934 Monroe Street Madison, WI 53711

Chazen Museum of Art / 800 University Ave Madison, WI 5370

Arboretum Arcade (UW Arboretum Visitor Center) / 1207 Seminole Hwy Madison, WI 53711

Olbrich Botanical Gardens and Gallery / 3330 Atwood Avenue, Madison, WI 53704

Java Joint and Art Gallery (Escape) / 916 Williamson St Madison, WI 53703

Art Lofts Gallery / 111 N. Frances Street, Madison, WI 53703

Overture Center for the Arts (Overture Galleries) / 201 State Street, Madison WI 53703

Froth House Gallery / 11 N Allen St. Madison, WI 53726


project. brand development - art venues

Student: Lexi Wach


STUDIO ART EXPOSED

111 N FRANCES STREET | MADISON, WI 53703 | WWW.ART.WISC.EDU

STUDIO ART EXPOSED



STUDIO ART EXPOSED

DESIGN: ALEXANDRA WACHS

PATRICIA LAPOINTECOMING TO LIGHT

I enjoy being able to capture for others myview of the world as it exists around me

EXHIBITION MARCH 13- MAY 13 2010OPENING MARCH 19, 2010 6 TO 9P

111 N FRANCES STREET | MADISON, WI 53703

PATRICIA LAPOINTECOMING TO LIGHT

project. apparel design clients

collaborationEach graphic design student is partnered with an apparel design student to work upon a comprehensive project surrounding a collection of garments. The project will begin with a branding component. Each client has determined the name of the brand -in most cases the name surrounds the client’s first and last name. You will research typefaces reflecting the energy/characteristics of the fashion collections. Allow the provided adjectives in addition to the introductory images to guide you to appropriate typeface/s. You will propose 4 concepts during your initial meeting -A) type only B) type only C) type only with a slight alteration to 1 or 2 characters for unique flair D) type + symbol/mark... Every graphic design student will have a project tailored to fit the needs of their individual client. The project will extend into the listing of desired collateral materials... items might include: stationery system, business cards, garment tags, bags, process booklet (from sketch phase to final garment), mini portfolio, etc. As collaborators you will share critical information in order to achieve the promotion of the apparel collections. You might encourage/suggest scenarios or environments to enhance the documents (photographs) of the garments... while also providing technical support such as scanning or by providing resolution specifics in order to produce the highest quality print pieces.

The submission of materials will be timed to align with finished garments. The initial submission of content includes text (artist statement and short bio) in addition to sample imagery. Please note the intial images are for source material (inspiration to guide you to possible branding directions). Higher resolution images such as sketches, fabric swatches, and finished garments will be supplied based upon noted deadlines. You are responsible for collecting the content directly based upon mutually agreed timelines (these deadlines will be announced for you to follow up through correspondences).


project. apparel design clients

Students: Katie McCormack (top), Ben Wagner (bottom)


777 University Avenue Apt. 1138 Madison WI [email protected] 608.512.3912

Ariel Gold was born in Chicago, Illinois where, when she was younger, her mother used to take her to all of the boutiques to look at the clothing. She used to think it was always so boring and begged to be taken to the toy shop instead. As time went on, however, she began to see the beauty in garments and how clothes could be used to express herself. From there, her mother taught her how to sew and she began to make her own clothing from store bought patterns. When it came time to choose a college, she sought a design

discovered the apparel design program at UW Madison and felt that this program would best help her . Now, nearing

she feels that Madison has truly helped her in becoming the designer she is today.

Ariel Gold’s work incorporates a variety of layers and volume to express a certainessence that is both fun and whimsical.

Ariel Gold has only been designing clothes for a few years, but her passion for design has been with her since she was little. With these

UW Madison, she has really discovered herself as a designer. She works with colors on opposite ends of the spectrum to create collections that allow these hues to meet in the middle. Her current collection, Alice in Wonderland, contains three stages:

fun and the third is more dark and mysterious while the second works to merge these two. The overall

beautiful and rewarding.

Apparel Design.

777 University Ave. Apt. 1138Madison, Wisconsin 53715608.512.3912 [email protected]

Apparel Design.

777 University Ave. Apt. 1138Madison, Wisconsin 53715608.512.3912 [email protected]

In association with Selvedge.

Monona Terrace One John Nolen Drive Madison, WI 53703

May 1, 2010 Doors open at 7pm. Tickets are $25.

Made possible through a generous gift from Kohl’s Department Stores.

In association with Selvedge.

May 1, 2010 Doors open at 7pm. Tickets are $25.

Monona Terrace One John Nolen Drive Madison, WI 53703

Made possible through a generous gift from Kohl’s Department Stores.

Katie McCormack.

December 1, 2009 Dear Mr. Wagner, Sam ut as que voluptae. Ut et re, omnimoluptur sit plam reiusdae nobit rehent lat. Sequis con et volorrum fuga. Itatis aut aut in cum eost, teni ommolor estiur aliandaere verumet esti denisse quodit aut vernatque nem aborat.

Bitatiumque ommostor sum re pro eseque prerepelique vellibus repero que laborero et illabo. At illaborrum ea aut quiandusam volupti aecerum, qui rero tem re, totatempedis sapid molorerisi simet ea ipsam, tesequatas nos esciis sum dolor molentium id explab inulles tioreicae. Qui quas ex eum volum et la comnis aliqui dolupti untisim volupisquam volupta sequam, nimaiore, cum ex eribear uptatem remque poriore pelloribus iunt ommoditata di adio. Ut ex eles culparum res velitium?

At quiant rem hari offic tecus expliam iment. To conet, odis reium rendunto velitioria corerest repe cum iunt faccum nis sita qui volore odiaecta net mint, conecep rehentum ut quia sequam vel inveribusam rem es disqui ab inient aborestioris aut ento te et eosam fuga. Cum essum qui reprat aut voluptae ea anda sunt offici sa dolor adi tem quo ese lanimusam, sinvelliquam rem. Et vol-lenet vendit quibearibus assed quia sedi verum lique di tem quis arumqui vera-tem esequibus.

Borrovitem quibea sunt faccusae por si acero oditas accum ipiti repreium aut atur recullabores volorpos sinciisque soluptas ut qui debis sumque natur, ip-sanitas exped excepta estectotam atur rest, unt eatem fugit, optur, sint, sunt omnim hitis adia dolupta volor sum fuga. Piet labo. Ut ut iderunt accullant unt ape vellaborum et venimet vollati atissitiatet eatibus enditem poreptum volupta tempor renihil ipis doluptas eaturiatem fuga. At etur abo. Accumquo ium que venet rerios aut exerspe rrumquis quia volo blab ilit ma voluptatibus senecae etus, omnim ne nis as quae quosseq uatiost. Sincerely, Mandy Larson

p: 303.819.5732e: [email protected]

mandy larson designer p: 303.819.5732e: [email protected]



designed by mandy larson p: 303.819.8732e: [email protected]

available at: nor·folks·nyc 139 norfolk street new york, ny 10002 open 2 – 10 p.m. norfolksnyc.com

project. wayfinding signage

"Environmental Graphic Design embraces many design disciplines includinggraphic, architectural, interior, landscape, and industrial design, allconcerned with the visual aspects of wayfinding, communicating identityand information, and shaping the idea of place.” Society of Environmental Graphic Design

You will create a signage system/strategy based on the Art department areas in the Humanities Building. The project will inform the viewer by providing information such as location, direction, and area distinction. This wayfinding project will harmonize the art department through the development of a comprehensive signage system.

process / questionsWe will begin the project by analyzing the environment...What content should be on the signs? Develop a sketch of the floor plans for both the 6th and 7th floor. Label the rooms accordingly. How can you simplify the architectural structure of the building to produce an easily recognizable map–a plan that facilitates navigation? How do you distinguish areas determined for specific disciplines? Will color determine area distinction? Where should signs be placed? How does the system extend onto actual doors/entries? What dimensions will work given the physical constraints of the building? The sizes must fit into calculated wall spaces. You will plot the signs accordingly.

broadsideA final broadside will summarize the wayfinding signage projectFloor 6 directory / Floor 7 directory / Multi-level directoryRoom signs/ Bathroom signs / Art Office / Gallery


project. wayfinding signage

Student: Jamie Boehmer (top), Alex Laedtke (bottom)


nikki boehmer

71016441

6241 7241

6601 6201

71016441

6241 7241

6601 620171016441

6241 7241

6601 6201

66100

6200 6300

6500

6400

6600

office

6101 6111 61316221623162616271631163216365

color labart educationart educationlife drawingdrawingseminar roomphotographyvideoclass seminardrawing

3D design3D imaging animationgraphic designgraphic designletterpressprint labreliefserigraphyetchinglithography

university of wisconsin

art department

6411642164316441645165216561662166416651

77100

7200 7300

7500

7400

7600

gallery

7101

7121

7131

7241

7251

7431

7451

7511

7551

7561

7621

7641

painting

painting

painting studios

woods

woods

sculpture

sculpture

metals

metals

metals

2D design

graduate studios


art department

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7th floor gallery2D Designgraduate studiosmetals

paintingpainting studiossculpturewoods

3D design3D imagingart educationart officeclass seminarcolor labdrawingetchinggraphic design

letterpresslithographyphotographyprint labreliefseminar roomsserigraphyvideo


art departmentart office6241

woods7251

gallery 77241

graphic design6431

alex laedtkewomen men


logotype

university of michigan kelsey museum of archaeology

The logotype for the University of Michigan Kelsey Museum of Archaeology is founded on Greek inscriptions, Roman inscriptions, and hieroglyphs 2009, Software: IllustratorTypeface: Optima

design works


facade graphics proposal


Graphics proposal for the facade of the Kelsey Museum of Archaeology. The signature images is a translation of a Roman floor mosaic fragment that dates to the 1st–4th century ad. 2009, Software: IllustratorTypeface: Optima

design works


exhibition design


Text panels and wall graphics2009, Software: Illustrator

design works


NEWSFALL 2009

UNIVERSITY OF MICHIGAN

KELSEY MUSEUM OF

ARCHAEOLOGY

NEWSFALL 2009


KELSEY MUSEUM OF

ARCHAEOLOGY

NEWSFALL 2009


KELSEY MUSEUM OF

ARCHAEOLOGY

brand development


Newsletter proposals2009 / 2010 , Software: Illustrator

design works


KELSEYMUSEUM OF

ARCHAEOLOGY


brand development


Entrance mural 10' h x 26'' w2009 / 2010 , Software: Illustrator

The primary graphic is inspired by a fragment of a Roman floor mosaic with a pattern of overlapping circles that dates to the 1st–4th century ad. This object in the collection of the Kelsey Museum of Archaeology (KM 92) was acquired in Carthage, Tunisia, by Professor Francis W. Kelsey in 1893.

design works


THE COFFIN OF DJEHUTYMOSE

The mummiform coffin on display here dates to the Saite Period (685-525 bce), an era of great artistic revival in ancient Egypt. Texts on the coffin identify its owner as a man named Djheutymose, a priest of the falcon god Horus and the “golden Goddess” Hathor, and give the names of his parents, Nespakhered (also a priest) and Taro (“Lady of the House”).

The coffin is carved to represent the mummy of Djheutymose, and is covered with magical spells from the “Book of the Dead” and images of protective gods and goddesses. In this way the identification of Djheutymose with Osiris is reinforced, and he is provided with multiple levels of protection against the perils of the Afterlife and appropriate spells for the successful continuation of life in the world of the dead. The coffin represents a microcosm of the Afterworld and the eternity which Djheutymose expects to enjoy.

Djehutymose’s face is green in imitation of the god of the dead, Osiris; the color symbolizes regeneration and rebirth. His false beard is characteristic of Osiris; his collar with falcon-headed terminals is another symbol of rebirth.

The sky goddess Nut spreads her wings protectively over Djehutymose’s chest. Nut’s crown is a sun disk containing her name, and she holds powerful ankh (“life”) symbols in her outstretched hands. The two eyes of Horus (wedjat) symbolizing protection and rejuvenation are confronted on either side of her head.

Djehutymose lies on a funerary bed where he is being embalmed by the jackal-headed god Anubis. His soul (ba), in the form of a human headed bird, hovers overhead. Beneath the bed are four canopic jars containing Djehutymose’s internal organs, removed during the mummification process.

Protective texts from the Book of the Dead.Processions of gods and goddesses line the sides of the coffin.

The goddess Isis, wife of Osiris, spreads her wings protectively over Djehutymose’s feet. A snake encircles the entire coffin lid, its tail and head meeting above Djehutymose’s feet. This circled snake symbolizes protection and eternity.

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Over time, the Djed pillar became a symbol of Osiris and was thought to be a representation of the god’s backbone. Chapter 155 of the Book of the Dead makes explicit the significance: “Raise yourself up, Osiris! You have your backbone once more, O Weary-hearted One; you have your vertebrae!”

The crown surmounting the Djed pillar is the atef, embellished with ostrich feathers and typically worn by Osiris, often in combination with the White Crown of southern Egypt.

It is apparent from the coffin’s condition that matters did not go entirely according to plan at Djheutymose’s funeral: his embalmed and wrapped body turned out to be a little too large to fit into the coffin. This unfortunate situation was remedied by carving out space at the shoulders and feet of the coffin interior - note where portions of the interior decoration have accordingly been shaved away.

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THE OSIRIS DJEHUTYMOSE

On the outside of the bottom half of the coffin, a Djed pillar is shown, ornamented with streamers and an elaborate crown. The djed pillar is actually a hieroglyphic sign meaning “enduring, stable,” and originally represented a stylized tree trunk with the branches cut off.

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In the interior top of the coffin, the sky-goddess Nut is represented standing on a symbol of eternity, her hair streaming upward, and her dress ornamented with stars. More spells from the Book of the Dead fill the rest of the top half.

Inside the bottom half of the coffin, Imentet, goddess of the West, is shown in a beaded dress, wearing streamers. The Horus falcon is perched on her head.

On the bottom of the feet, a sacred bull with a sun disk on its head is shown before a table of offerings at the entrance to a tomb. The falcon hovering overhead symbolizes both the god Horus, son of Osiris, and Djehutymose’s soul.

exhibition graphics


Text panel designs2009 / 2010 , Software: Illustrator, InDesign

design works

borders concept storeborders group inc.

The store environment of Borders offers organic niches allowing for relaxed navigation and prolonged enjoyment of products. The perimeter walls showcase lyrical presentations of quotes from literature and entertainment. The warm, rich chocolates activated by red extend from perimeter wall graphics to the wood finishes of bookcases, benches, and tables. Light fixtures featuring abstract works and typographic wayfinding punctuate the Wellness center –delineating the core of the store with a verdant, inspirational canopy. 2008, Software: IllustratorTypefaces: Futura, Caslon


design works


The light fixtures within the Wellness center feature original graphics -inclusive of monoprints, type treatments, illustrations and icons. 2008, Software: IllustratorTypefaces: Futura, Caslon


design works



Graphics for the cylinder light fixtures featuring the Travel section 2008, Software: IllustratorTypefaces: Futura, Caslon

design works



Graphics for the cylinder light fixtures featuring the Cooking section 2008, Software: IllustratorTypefaces: Futura, Caslon

design works


monoprints

Growing up surrounded by textiles, I learned the principles of design by escaping into and under my mother’s sewing shop — the kitchen table.

I took shelter underneath the jungle of prints and weaves. This early foundation of line, pattern, and figure/ground relationships merges with my recollections of travel through coastal terrain. Traces of my past are interwoven from this tabletop of textile memories to the verdant countryside of my childhood home. The forestry of tall stripes harmonizes with my investigation of intricate topographies. Land, architecture, and narratives intersect through the structuring of fragmented letterforms, colors, and textures. The painterly process of monoprinting enables my re-creation of these journeys by connecting multiple environments into a universal form.


temple seriesmonoprints from

15" w x 22" h 2009


yangshoumonoprints from

15" w x 22" h 2009


parallel flora seriesmonoprints from

15" w x 22" h 2009


kunming elevationmonoprints from

15" w x 22" h 2009


serpentine pathsmonoprints from

15" w x 22" h 2009


temple guardiansmonoprints from

15" w x 22" h 2010


dragon hillmonoprints from

15" w x 22" h 2010


banyan driftsmonoprints from

15" w x 22" h 2010

steven driscoll hixson - university of...

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