parsons aas graphic design 2008

PARSONS AAS /

GRAPHIC DESIGN /

WORK 2008 /

VOLUME 2

101214

132144158174178

Note from the Chair Pamela Klein

Note from the Director Katarzyna Gruda

Student Work

Collaboration Release

Featured Faculty Claudia Brandenburg

Featured Alumna Emily Wardwell

AAS Faculty

Acknowledgments & Credits

Where are you from?

45France

Puerto Rico

22 PARSONS

United Kingdom

Ireland

Germany

Sweden

Canada

ItalyUnited States

Mexico

Brazil

Bolivia

Argentina

Alaska

Hawaii

Georgia

Turkey

Israel

Russia

Thailand Philippines

Australia

New Zealand

South Africa

Estonia

typefaces owned stat spread

13,968Total number of typefaces owned

typefaces owned stat spread

Total number of typefaces actually liked

Tuesday

Monday

Number of hours you spend in class each week

Friday

Thursday64

.25 41

Wednesday

NOTEFROM THECHAIR

TENOTE

FROM THECHAIR

This year, the Graphic Design graduating class has once again produced outstanding work. How is this consistently high level of creativity and execution possible? We have terrific teachers and we’ve worked hard to provide instruction that reflects the ongoing evolution in the industry, but these factors by themselves can’t account for the excellent work that students produce after only two or three semesters of study. The answer has to be our students, themselves.

We know that students choose the best education they can, based on the reputation of the school, the faculty, and the school’s connections to the design industry. But, perhaps the most important factor in the learning process itself is the caliber of the student in the next seat. AAS students come from everywhere —Argentina, California, Alaska, Colorado, France, Korea, Kenya, New York, Texas, and more. And in their previous lives they’ve been everything: ballet dancers, attorneys, writers, engineers, financial analysts, teachers, chefs, stockbrokers, fine artists and most any other profession you can think of. This provides a rich and unique learning environment because our students benefit from each other’s informed opinions and approaches to design problems. They help each other, compete with each other, and never stop until the solution is the best available. We challenge them; they challenge us; and they challenge themselves. From my side of the desk, it’s a thrilling, rewarding, and breathtaking process.

Pamela Trought KleinAssociate Dean of Professional Studies

of “

stu-dentwork

stu-dentwork1 7

Number of cups of coffee or tea you drink a day

stu-dentwork

1 Book Cover, The Story is True, Dimensions: 5.5 x 8.5 in; 2 Book Cover, Intuition, Dimensions: 6 x 9.5 in

Where From Korea; Previous College Centenary College; Where do you plan to live after graduating? NYC

Hansul Amy Cho, continued

3 Accordion Fold Brochure for Beckett Paper Company, Dimensions: 5 x 5 in; 4 Accordion Fold MoMA Brochure, Dimensions: 5 x 5 in; 5 Apple Calorie Widget

1–2 Posters

Where From Baltimore, Maryland; Previous College University of Maryland College Park, BS, Finance; How many hours do you spend in class each week? About 30

Yfat Eyal, continued

3 Logo/Identity; 4–6 Silk-screened Graphics, T-shirt, Hangtags, Shopping Bag

rough G

B10 B10 B10

BIO190 east seventh streetnew york, new york 10009

BIO IDENTITY

shirt, tags, bag graphics for BIO clothing

B10 B10 B10

BIO IDENTITY

B10 B10 B10

BIO IDENTITY

rough G

B10 B10 B10

BIO IDENTITY

B10 B10 B10

BIO IDENTITY

B10 B10 B10

BIO IDENTITY

rough G

B10 B10 B10

BIO IDENTITY

B10 B10 B10

BIO IDENTITY

B10 B10 B10

BIO IDENTITY

1 Poster, Lecture Series, Body as Source: Biorhythms & Algorithms;2 Cover, Cookbook, Bible O’Bacon; 3 Spread from book, Walk

Where From Denver, Colorado; Previous Work Experience Raft Guide; Ski Bum; Previous College University of Colorado

1 Cookbook, Cuisine du Maroc, Dimensions: 10 x 10 in; 2 Movie Poster, In Transit, Dimensions: 27 x 40 in.

Where From Israel; Previous Work Experience No 11 Studio; Resource Magazine; Previous College Hadassah College, AAS in Photography; How many typefaces do you own? Maybe 100

Sharon Gamss, continued

3–4 Poster, Program for Lecture Series, Dimensions: 20 x 28 in.

Sharon Gamss, continued

5–6 Poster, Program for Lecture Series, Dimensions: 20 x 28 in.

1 Poster on Global Warming; 2 Luc Besson Movie Poster Series

Where From Sweden; Previous Work Experience KraftWorks, NYC; Cadwalk Media, Stockholm; Rapp Collins, NYC; Previous College University of Lund, Sweden; How many hours do you spend out of class each week doing class work? Way too many!

Cristopher Gedda Westrell, continued

3–4 Luc Besson Movie Poster Series

Cristopher Gedda Westrell, continued

5 Book, Hollywood Remix, Dimensions: 8 x 5.5 in; 6–8 Interior Spreads

1 Book, Dylan’s Muses, Dimensions: 6 x 9 in; 2 Fashion Look Books, Dimensions: 5 x 7 in; 3 Logo/Identity, Clothing Line (Hang Tags and Labels)

Where From Mishawaka, Indiana; Previous Work Experience Segal Savad; Sotheby’s; LPL Financial Services; Previous College Ball State University, BS, Marketing major, Journalism minor; How many typefaces do you own? Over 1,500

Tim Geesman, continued

4 Logo/Identity for Restaurant (Logo, Menu, Folder, Letterhead, Notepad and Envelope); 5 Poster, Dimensions: 15 x 20 in.

Tim Geesman, continued

6 –9 Brand Book, Hempowered, Dimensions: 10 x 16 in.

An idea whose time has come.

SustainableDurableNutriciousVersatileRenewableCleanNaturalLastingCheapSafeStrong

Illegal

Our audience is young and involved citizens who are tired of excuses and dogma. They think differently about the environment, and are ready to act.

We’re fighting climate change with one hand tied behind our backs.

Industrial hemp is sustainable, efficiently grown, versatile, nutritious and all-natural. It requires no pesticides or herbicides.

So why is it illegal?

Learn more at Hempowered.orgHempowered

Hempowered

1 Igor Stravinsky Poster; 2 –3 Random House Modern Classic Logo

Where From New York City; Previous Work Experience Pfizer Pharmaceuticals; MTV Networks; Spike Television; Previous College Neighborhood Playhouse School of Theater; Where do you plan to live after graduating? New York City

1 Red Dirt Beer hand rendered label design; 2 Hand assembled CD Package; 3 Album release promotional poster, Dimensions: 18 x 24 in.

Where From Stillwater, Oklahoma; Previous Work Experience Publishing Inventory Analyst; Captain, New York Army National Guard (OIF Veteran); Previous College Oklahoma State University; Had you been to NYC before entering Parsons? Yes

1 Print from etching; 2 Book Cover, White Noise

Where From Florida; Previous Work Experience Taylor, Hartman & Associates; Blue Dolphin Films; Ilex Services; Previous College University of Central Florida; How many typefaces do you own? 6

Dan Hoffman, continued

3 Logo Design; 4 Advertisement, Rock and Roll Hall of Fame Museum; 5 Advertisement, Lids Apparel

1 Movie Poster, The Diving Bell and the Butterfly; 2 Book Jacket, Women in Love; 3 Packaging Design

Where From Tbilisi, Georgia; Previous Work Experience Teen Vogue; Time Warner; Ogilvy Healthworld; Previous College University of Central Florida; How many cups of coffee do you drink in a day? 3

1 Book, Modernist Malice, Dimensions: 5.5 x 7.25 in; 2 Interior Spread

Where From New York; Previous Work Experience Kate Spade; Real Simple Magazine; Previous College University of San Francisco, BA, Marketing; Had you been to NYC before entering Parsons? Yes

(continued on page 66)

beautiful Maria-points out Lang’s main argument against modernism when she exclaims, “Between the mind that plans and the hands that build there must be a Mediator, and this must be the heart.” The film’s narrative arc follows the toppling of Fredersen’s rarefied architectural and the establishment of a workers’ paradise.

Modernism’s call-to-order may have originated from the desire to create mass-produced buildings and objects for the emancipated proletariat, but its rectilinear grid creates Caligari-reminiscent visual cages for the hapless characters who encounter it in the movies. Alfred Hitchcock, for one, consistently uses architectural styles to mirror internal states of mind and, in some instances, even employs them as instigators of conflict, confusion, and slipped identity. In an essay in Everything You Always Wanted to Know About Lacan But Were Afraid to Ask Hitchcock, Slavoj Zizek goes so far as to trace Norman Bates’ psychotic split to his inability to locate himself between the anonymous modernist box of Bates Motel and his mother’s Gothic house on the hill-a state that is echoed in the chaos of Lang’s Metropolis, which also lacks a mediation between head and heart, past and present. (Of course mediation-historical or otherwise-was never Modernism’s goal. In fact, its Bauhaus practitioners dismissed all remnants of an architectural past as bourgeois and geared up a utopian effort to “start from zero.”)

Hitchcock’s North By Northwest (1959) is another suspense film that stars modernist design in the role of chaotic catalyst, whether in the sweeping plazas and marble masses of the United Nations, Henry Dreyfuss’s luxury 20th-Century Limited train, or the foreign spy Philip Vandamm’s cantilevered glass-and-redwood house near Mount Rushmore. (So enamored of mid- century style was Hitchcock that he even cast Eve Kendall, the chilly blonde double-agent, as an industrial designer.) It is against all three modernist back-drops that North By Northwest’s lead character, the debonair but hapless Roger Thornhill, becomes literally

cover 35

“ Modernism’s call-to-order may have originated from the desire to create mass-produced buildings and objects for the emancipated proletariat, but its rectilinear grid creates Caligari-reminiscent visual cages for the hapless characters who encounter it in the movies.”

Kruti Joshi, continued

3 Book, Post No Bills, Dimensions: 8 x 10 in; 4 Magazine, Cover, Dimensions: 8 x 10 in.

In Hollywood, Even Architecture Kills

1 Book Cover, Packrat; 2 Book Cover, The Story is True

Where From Hartford, Connecticut; Previous Work Experience Time Warner; New York Parks Department; Previous College University of New Haven, BA Music; How many hours do you spend in class each week? 20 or so

Eileen Kinsella, continued

3 Movie Poster, Kill Bill; 4 Poster

1 Cookbook, Gourmet Grilling, Dimensions: 7.25 x 9.5 in; 2 Cookbook Spread;3 Poster, Dimensions: 15 x 21 in; 4 Poster, Dimensions: 15 x 20 in.

Where From Maryland; Previous Work Experience Plum Magazine; Previous College Boston University, BA Psychology, minor Biology; Where do you plan to live after graduating? NYC for a few more years

42nd Street

79th Street

14th Street

Houston Street

39th Street

86th Street

FROM HERE TO THERE

school

chores

Line weight increases with each trip along the same path.

Jennifer Lankford, continued

5 Book, Teabag Typography, Dimensions: 6 x 6 in; 6–8 Interior Spreads

Jennifer Lankford, continued

9–12 Interior Spreads, Teabag Typography

1 Movie poster, Heavy Load, IFC documentary film, Dimensions: 26 x 40 in; 2 Poster, We Collect, exhibit of Vintage Vinyl at Seattle’s Experience Music Project, Dimensions: 15 x 22 in.

Where From Seattle, Washington; Previous Work Experience Universal Music Distribution Group; Eeboo!; CZ Design; Previous College BFA, Cornish College of the Arts; How many typefaces that you own do you actually like? 15

Ariel Lapidus, continued

3 Logo, Greennote Jazz Festival; 4 Apple Widget, Moontime

When was the �rst day of your last period?

Cycle Length

Mobile # for SMS

May 25 08

206 555 1557 Save

moontimewidget.com

4/28 6/21 >>

5 Silk screen Poster, Octopus; 6 Logo, Three Peas Kitchens

K I T C H E N S

7 Poster; 8 Program; 9 Event Ticket, Incorporations: The Body as Source Lecture Series

1 Photography Book, Richard Avedon, Dimensions: 5 x 7 in, with faux crocodile skin keepsake box; 2–4 Interior Spreads

Where From Vancouver, Canada; Previous Work Experience Martha Stewart Living; Ogilvy; Previous College University of British Columbia, BA, Psychology; How many times a week do you take the stairs (instead of the elevator)? Depends on my mood

Diana Lim, continued

5 Logo/Identity, Ceres Restaurant; 6 Letterhead & Envelope; 7 Business Card; 8 Packaging, Cookies; 9 Packaging, Salad Dressing

10 Logo, Wattbusters Company; 11 Branding System; 12 Keychains

13 Silk-screened Poster for a Cherry Blossom festival in Yokohama, Japan, Dimensions: 18 x 24 in; 14 Silk-screened Poster for Knoll Office Chairs Exhibit, Dimensions: 15 x 21 in.

1 Poster for an annual comedy show at the Upright Citizens Brigade in Manhattan, Dimensions: 13 x 19 in; silkscreen, letterpress with wood type; 2 Poster, quote by Paula Scher from her book Make It Bigger, Dimensions: 20 x 30 in.

Where From Boston, Massachusetts; Previous Work Experience Madavor Media; Bridger Conway; Previous College Boston University, BS, Communications; How many cups of coffee do you drink in a day? 2

Jon Lopkin, continued

3–5 Noguchi Museum T-shirt & Cubed Packaging

Jon Lopkin, continued

6 Brandbook of Brady Campaign to Prevent Gun Violence; 7 Hoodies; 8 Subway Signage; 9 Boston Symphony Poster, Vladimir Feltsman, Piano and Conductor

1–3 Menu, Logo/Identity for Restaurant

Where From New York City; Previous Work Experience Overspray Magazine; Anderson Ranch Art Center; Private Yoga teacher; Previous College Parsons School of Design, BFA; How many times a week do you take the stairs (instead of the elevator)? All the time, afraid of the elevators at Parsons!

Caroline Maher, continued

4 Poster, Program for Lecture Series; 5–7 Cookbook Cover and Interior Spreads

1–2 Poster, Incorporations: The Body as Source Lecture Series, Dimensions: 20 x 28 in.

Where From Puerto Rico; Previous Work Experience Taught at Fieldston School in NY; Previous College Sarah Lawrence College; Where do you plan to live after graduating? Same apartment I have now.

Lecture SeriesOctober 12–14, 2007The Cooper Union for the Advancement of Science and Art

Language, Sensuality, and PowerOctober 12, 8:00 pm

Claude Fouchy-Billancourt

Biorhythms and AlgorithmsOctober 13, 2007, 8:00 pm

Manoela dePasão

Corporeal Architecture: Living SpacesOctober 14, 2007, 3:00 pm

Heinrich Utenrraden

Three-lecture fee: $120 Individual lectures: $50Cooper Union faculty and students attend free, but must register in advance. Please provide your Union faculty or student ID number to waive the registration fee.The lectures are open to the public. Advance reservations are required. Please call The Cooper Union Office of Public Programs at 212.436.0187 or go online to www.cooper.edu/body to register.

“?%&,˜˚{[>*@\”

The Great Hall1 Cooper Sq, NYC

The Cooper Union for the Advancement of Science and Art

A discussion the physics of speech and cognition as related to the development of sexual power

Mr. Fouchy-Billancourt is a professor of linguistic anthropologyat the University de la Sorbonne in Paris, France. He is arecognized authority on linguistic ideology.

Thursday October 12, 8:00 pmClaude Fouchy-Billancourt

Three-lecture fee: $120 Individual lectures: $50Cooper Union faculty and students attend free, but

must register in advance. Please provide your Unionfaculty or student ID number to waive the registration fee.The lectures are open to the public. Advance reservations

are required. Please call The Cooper Union Office ofPublic Programs at 212.436.0187 or go online to

www.cooper.edu/body to register.

Language, Sensuality, and Power

Monica Miranda, continued

3–4 Poster, Incorporations: The Body as Source Lecture Series, Dimensions: 20 x 28 in.

Three-lecture fee: $120 Individual lectures: $50Cooper Union faculty and students attend free, but must register in advance. Please provide your Union faculty or student ID number to waive the registration fee.The lectures are open to the public. Advance reservations are required. Please call The Cooper Union Office of Public Programs at 212.436.0187 or go online to www.cooper.edu/body to register.

The Cooper Union for the Advancement of Science and Art

Friday October 13, 8:00 pmManoela dePasão

Biorhythms and Algorithms

[1342 76895The presentation will focus on numeric sequencing systems developed from biofeedback for application in medical and robotic manufacturing computation

Ms. dePasão is a Fellow of the Instituto Mechanicode São Paolo, Brazil, and a visiting chaired lecturer atHarvard College’s School of Applied Mathematics

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=The Cooper Union for the Advancement of Science and Art

Saturday October 14, 3:00 pmHeinrich Utenrraden

Corporeal Architecture: Living Spaces

Three-lecture fee: $120 Individual lectures: $50Cooper Union faculty and students attend free, but

must register in advance. Please provide your Unionfaculty or student ID number to waive the registration fee.The lectures are open to the public. Advance reservations

are required. Please call The Cooper Union Office ofPublic Programs at 212.436.0187 or go online to

www.cooper.edu/body to register.

A moderated panel of noted architectswill discuss their explorations of user-centered

building in the context of a presentation on stylisticand functional trends of the past century

Mr. Utenrraden is a Professor Laureate of theBern Architectural Academy in Switzerland.

5 Logo, Milagros Café Mexicano; 6–9 Logo /Identity for Clothing Company(Shopping Bag, Hang Tags and Labels)

10 Logo/Identity System; 11 Business Card (Front & Back); 12 Letterhead & Envelope

DETITECNY

You blinked.It’s over.I cracked the case.

film noir music718.344.1212www.mfd.com

MYFUNDETITECNY

You blinked.It’s over.I cracked the case.

PO Box 123 Brooklyn 11205 718.344.1212 www.mfd.com

MYFUNDETITECNY

PO Box 123Brooklyn NY 11205

1 Poster; 2–3 Book Jackets (Front & Back)

Where From Japan; Previous Work Experience FutureBrand NY; How many typefaces do you own? About 100

Masakazu Okura, continued

4–6 Movie Poster Series, Dimensions: 20 x 30 in.

1 Book, Versus, Dimensions: 5.5 x 8 in; 2–3 Interior Spreads

Where From Thailand; Previous Work Experience JWT Bangalore; Lowe Bangkok; Hill & Knowlton NY; Previous College Mount Carmel College, Bangalore, BA, Economics, Psychology, English Literature; How many typefaces do you own? 955

NEW DELHI —By the year 2050, China will no longer be the most populous country in the world. India will see its population grow by 700 million people by 2050, the U.S. Census bureau estimates. That distinction will pass to India, where more than 1.8 billion people could be competing for their country’s resources, according to the U.S. Census Bureau’s International Data Base. The 2007 population estimates from the U.S. Census Bureau and the United Nations Population Division set China’s current population at around 1.3 billion people, and India’s at around 1.1 billion. If population continues to grow at the estimated rate, such rapid growth in India between now and mid-century could lead to overpopulation and an uncertain future for the environment and the people living there. While organizations like the Population Institute and the United Nations Population Fund are working to promote the human rights and environmental consequences of overpopulation, not everyone views the newest population estimates with pessimism.“Nothing ever continues at its present rate, neither the stock market nor population growth,” said Doug Allen, the dean of the school of Architecture at the Georgia Institute of Technology.

“Nothing ever continuesat its present rate,neither the stock marketnor population growth.”

Overpopulation could be people,planet problem

Don’t wear black shoes with light colored clothing unless the sandals are extremely dainty. –The Lifestyle Channel

Global Warming:A natural cycle or human result?

Aditi Rao, continued

4–5 Museum Brochure (Front & Back), Dimensions: 28.5 x 8.5 in.

Jackson Pollock. One: Number 31, 1950. 1950.

Oil and enamel on unprimed canvas.

Sidney and Harriet Janis Collection Fund (by exchange).

8'10" x 17'5 5/8" 9'2 3/4" x 7'11" x 42' 8 3/4"

7'11 3/8" x 17'9 1/4" Barnett Newman. Vir Heroicus Sublimis. 1950-51.

Oil on canvas. Gift of Mr. and Mrs. Ben Heller.

BIG Size does matter.

Claes Oldenburg.

Giant Soft Fan. 1966-67.

Vinyl filled with foam

rubber, wood, metal,

plastic tubing, fan.

The Sidney and Harriet

Janis Collection.

10'5 1/8" x 17'4 7/8"

Gary Simmons.Boom.

1996/2003. White pigmented

pastel on blackboard-paint

primed panel. Gift of the Friends of

Comtemporary Drawing and of the

Friends of Education of the Museum

of Modern Art,1999.

Henri Rousseau.The Dream.

1910. Oil on canvas.

Gift of Nelson A. Rockefeller

6'8 1/2" x 9'9 1/2"

Pipilotti Rist.Ever Is Over All.

1997. Video installation, two

overlapping projections

(color, sound with Anders

Guggisberg).

Fractional and promised gift of

Donald L. Bryant, Jr.

10'2" x 28'3"

Pablo Picasso.

Les Demoiselles d’Avignon.

Acquired through the

Lillie P. Bliss Bequest.

8' x 7'8"

Jeff Wall. Restoration. 1993.

Silver dye bleach transparency

(lifochrome), aluminum light

46'7/8" x 16'7/8"

Arthur Young. Bell-47D1 Helicopter.

1945. Aluminum, steel, acrylic, plastic.

Manufactured by Bell Helicopter Inc.,

Buffalo, NY.

Marshall Cogan Purchase Fund

Are you looking for that larger-than-life experience? We’re here to provide you with one, literally. Since modern artists often created larger pieces, MoMA was forced to expand to accomodate such art, because let's face it— bigger is better.

With Big MoMA, you will be guided through the museum to view some piec-es that are just really, really big. We guarantee this tour will leave you overwhelmed and amazed, and possibly feeling really, really small.

Jackson Pollock. One: Number 31, 1950. 1950.

Oil and enamel on unprimed canvas.

Sidney and Harriet Janis Collection Fund (by exchange).

8'10" x 17'5 5/8" 9'2 3/4" x 7'11" x 42' 8 3/4"

7'11 3/8" x 17'9 1/4" Barnett Newman. Vir Heroicus Sublimis. 1950-51.

Oil on canvas. Gift of Mr. and Mrs. Ben Heller.

BIG Size does matter.

Claes Oldenburg.

Giant Soft Fan. 1966-67.

Vinyl filled with foam

rubber, wood, metal,

plastic tubing, fan.

The Sidney and Harriet

Janis Collection.

10'5 1/8" x 17'4 7/8"

Gary Simmons.Boom.

1996/2003. White pigmented

pastel on blackboard-paint

primed panel. Gift of the Friends of

Comtemporary Drawing and of the

Friends of Education of the Museum

of Modern Art,1999.

Henri Rousseau.The Dream.

Gift of Nelson A. Rockefeller

6'8 1/2" x 9'9 1/2"

Pipilotti Rist.Ever Is Over All.

1997. Video installation, two

overlapping projections

(color, sound with Anders

Guggisberg).

Fractional and promised gift of

Donald L. Bryant, Jr.

10'2" x 28'3"

Pablo Picasso.

Les Demoiselles d’Avignon.

Acquired through the

Lillie P. Bliss Bequest.

8' x 7'8"

Jeff Wall. Restoration. 1993.

Silver dye bleach transparency

(lifochrome), aluminum light

46'7/8" x 16'7/8"

Arthur Young. Bell-47D1 Helicopter.

1945. Aluminum, steel, acrylic, plastic.

Manufactured by Bell Helicopter Inc.,

Buffalo, NY.

Marshall Cogan Purchase Fund

Are you looking for that larger-than-life experience? We’re here to provide you with one, literally. Since modern artists often created larger pieces, MoMA was forced to expand to accomodate such art, because let's face it— bigger is better.

With Big MoMA, you will be guided through the museum to view some piec-es that are just really, really big. We guarantee this tour will leave you overwhelmed and amazed, and possibly feeling really, really small.

1 Book Design, Pollution3: Air, land and water pollution in New York City;2–4 Interior Spreads

Where From Kailua, Hawaii; Previous Work Experience Advertising Account Service at Laird Christianson Advertising, John Duarte Design Group and Team Vision in Honolulu, Hawaii. Design Internships at Y Interact, Windup Design (New York, NY) and Red Rover Creative; Design Job at Basik Group (New York, NY); Previous College Claremont Mckenna College, BA, Economics & Psychology; How many typefaces do you own? 659

Shelly Suzuki, continued

5–6 Package Design, Petit Chocolat, Dimensions: 4 x 4 x 2 in; 7 Advertisement, Petit Chocolat, 2 Page Spread

8–9 Cookbook Design (Front & Back Cover), Deconstructing the Hawaiian Plate Lunch, Dimensions: 10 x 10 in; 10–12 Interior Spreads

13 Magazine Design, Cover Magazine, Dimensions: 10 x 10 in; 14 –16 Interior Spreads

17–18 Package Design, Light Bulb Basic 60; Dimensions: 2.25 x 5 in. folded, 9 x 5 in. flat;19 Website Design, Gray’s Papaya Homepage; Dimensions: 980 x 570 pixels

1 Poster, Bangaluru 2007 Digital Film Festival; 2 Poster, A Retrospective

Where From San Francisco, California; Previous Work Experience Nylon Magazine; HDR Architects, Inc; Previous College Northwestern University, BS, Radio/TV/Film; How many typefaces do you own? 5,000

Natalie Waterbury, continued

3–4 Logo/Identity System, Good Soles Shoes

5–7 Logo, Website and Collateral, Politicalsieve.org

8 Magazine, Cover; 9–11 Interior Spreads

12 Logo/ Identity System, Manhattan Vintage Car Show; 13 Package Design, Mustard

11Average number of blocks walked to get to school

collaboration

1 Release 2008 Cover

RELEASE MAGAZINE

The Eugene Lang College literary magazine Release is the product of a three-year collaboration between students and faculty from Lang and Parsons School of Design. This innovative partnership, in which writing students at Lang edited the magazine and students from the Parsons AAS program designed and produced it, has represented the best of the cross-disciplinary possibilities offered at The New School. By combining the creative literary talent of Lang’s writing students with the Parsons’ students’ innovative design vision and expertise, Release has become a first-rate, professional publication. Producing it has enriched students in both schools, offering them real-world publishing experience while also yielding extraordinary educational benefits—honing skills as writers, editors and designers, and, as important, fostering a creative community engaged in productive dialogue around a meaningful project.

Neil GordonProfessor, Literary StudiesDean of Eugene Lang College The New School for Liberal Arts

collaboration

2 Release 2008 Front & Back Cover; 3 –5 Release 2008 Interior Spreads

6–9 Release 2008 Interior Spreads

10 Release 2007 Cover; 11–12 Release 2007 Interior Spreads

13–14 Release 2007 Interior Spreads; 15 Release 2006 Cover

collaboration

16–17 Release 2006 Interior Spreads

collaboration

1 Claudia Brandenburg

I firs

rs I’

s on–

ual fl

t’s a

2 Sleeve Box; 3 Cover; 4–6 Interior SpreadsThe Andy Warhol Foundation for the Visual Arts 20-Year Report, 1987–2007,The Andy Warhol Foundation for the Visual Arts3 Publications & Sleeve Box, 10 x 10 in, 96 Pages EachAll artworks © The Andy Warhol Foundation for the Visual Arts

7 Cover; 8–10 Interior SpreadsLong Island City: Connecting the Arts. The Design Trust for Public Space, Case Study Publication, 7.5 x 11 in, 88 Pages

11 Cover; 12–14 Interior SpreadsMake It Now: New Sculpture in New York. SculptureCenter Exhibition Publication, 6.5 x 9.25 in, 96 Pages

15 Fold-out Spread; 16–19 Covers,The Center of It All, Abrons Arts Center Seasonal Event Program & Calendar, 9.5 x 13 in, 8 Pages

17 18 1916

20–22 Posters, Considered Space Benefit Art Auction (2002, 2003, 2005), The Design Trust for Public Space Posters, 43 x 64 in. each

23–26 Mailers, SculptureCenter Exhibition Announcements, 9.5 x 13 in. each

1 Emily Wardwell

FEATUREDALUMNA

My undergraduate degree in liberal arts was from Indiana University. After three and a half years working first on the account management and then production side in various big-name advertising agencies, I changed my focus to the creative side of the industry.

Parsons’ Associate Degree Program was the perfect catalyst for such a change. After an intense year and a half of “design boot camp” at Parsons, I felt very prepared to reenter the professional world. The mentors I found in the AAS faculty raised my expectations of the type of people I chose to work with right out of school, and that I continue to choose to this day—people such as Lina Kutsovskaya and Charles Churchward, with whom I was lucky enough to work with while he was still directing Vogue magazine on the book Vogue Living: Houses, Gardens, People.

Redesigns seem to greet me wherever I go. With Lina, I was a part of the redesign of Teen Vogue. From there I moved to the beauty industry where I helped drive the redesign of the Almay brand. Most recently, I have redesigned the beauty section for Glamour magazine, which debuted in its September 2008 issue. There is a ton of process involved in redesigning a brand and /or magazine and I feel very lucky to have had the strong foundation and understanding of design process, color theory, typography and use of photography that I received at Parsons.

FEATUREDALUMNA

2 Teen Vogue Magazine Opening Spread

3 Teen Vogue Magazine Spread

4 Cover Design, Open Magazine; 5–6 Open Magazine Interior Spreads

7 Vouge Living: Houses, Gardens, People (Front & Back Cover); 8–10 Interior Spreads

11–12 Glamour Magazine Pages

314 glamour.com septemb er 2008

24bestbeautybuysof2008 A record 106,627 of you voted in this year’s Glammy awards, and these are your winners— the makeup, hair and skin-care products Glamour readers just can’t live without. Find your new favorites here!

THE WINNING LIP GLOSSESfrom drugstores: maybelline New York shiny-licious lip gloss ($6) three-time winner! Why it’s still a champ: It looks “rich,” voters say, but it’s never gloppy.from department/specialty stores: Victoria’s secret beauty rush lip gloss ($7, victoriassecret.com) new winner! Comes in 30 “delicious” flavors and has a “sexy sheen.”

photographs by James woJcik

w in every single one! enter at glamour.com.

13 Glamour Magazine Opener Spread; 14 Follow-up Spread; 15–18 Glamour Magazine Pages

19–22 Glamour Magazine Pages

44 WAYS TO LOOK AMAZING NOW

SWeep A LIGhTer ShAde on top for contrast.

TOO MuchfOr YOu?

Try doing just your lids.

A chIc TOuch: Gold shimmer on the inner corners.

eArThY ShAdeS: fLATTerING ON everYONe. NP Set Show loose dust duo in egypt ($20, target.com).

oc Tob er 2008 Glamour.com 00

LAYer A feW bLueS. Sue devitt mic-roquatic mineral eye Palette in blue Waters ($38, barneys.com).

ShIMMerY ShAdeS WOrK fOr WOrK. dior 5-colour eye-shadow in Irides-cent leather ($54, sephora .com).

WITh ShAdOW ThIS bOLd, SKIp LINer. Jk Jemma kidd Hi-design eye colour in urban ($18, target.com). uSe A SOfT-

pOINT LINer. Sue devitt eye Intensifier Pencil in Victoria Falls ($22, barneys.com).

The NeW OpAQue GLOSSeS: cOLOr and ShINe. Shu uemura Vinyl unlimited in or 556 ($20, shuuemura-usa .com).

This season there’s no one gotta-do trend—anything goes! That’s the kind of makeup we adore. Here, runway pros make it easy. By Baze Mpinja

Beauty • the beauty 150

TrY MATTe ON LIdS, MeTALLIcS ON brOW bONeS. chanel limited edition Quadra eye Shadow in beiges de chanel ($56, chanel.com).

00 Glamour.com oc Tob er 2008

win it!We’re giving

away 10 on glamour

away 12 on glamour

away 10 on glamour

fLAKe-prOOf ShAdOW by prepping with concealer.

brIGhTS 10 Great Takes

Nude colors are nice and all, but nothing’s wrong with makeup that

looks like makeup, especially at night. Try one bright, try two! “It’s no longer tacky to have bright lips and eyes; it’s chic,” says makeup

pro James Kaliardos, who did the Ruffian runway. Blur lipstick or

shadow edges with a finger—hard lines make color look stamped on.

SMOKY eYeS 9 Sexy Updates

If you’ve never been sure you could pull off the smoky thing

without looking like a linebacker, here’s hope: Fall’s neutral

metallics do it a lot more naturally and nonsmearingly. The basic

technique: Put a medium-colored shadow on lids, a lighter shade

above and a darker one on lash lines. As MAC senior artist

Chantel Miller says, “This is easy.”

Watch a video on

how to create a sexy eye at

glamour.com/magazine.

ell’a

00 glamour.com oc tob er 2008

fair girls: embrace peach! mac emanuel ungaro lipstick in Pure rose ($14, mac cosmetics.com).

gold flecks are glam on dark skin. estée lauder lipstick in creme cara-mel ($22, estee lauder.com).

cream shadow looks very natural. laura mercier eye basics in buff ($24, laura mercier.com).

dry lips: not so seXy. moistur-iZe! l’oréal Paris bare naturale gentle lip con-ditioner in soft Petal ($10, at drugstores).

lilac’s also fall-friendly. chantecaille shadow and rose Palette ($79, bergdorf goodman.com).

feel free to blot. it’s just as sexy as shiny.

away 50 on glamour

away 25 on glamour

pink blush doubles as eyeshadow.

soft pinks 14 easy ideas

For those I’m-feeling-girly days, try one of the new roses for lips and

cheeks. (The color looks really fresh in cold-weather months—it’s

not like it has some exclusivity deal with spring.) “Anyone can

wear pink, and it’s great with smoky eyes because it won’t com-

pete,” says Miller. If your skin is dark, avoid baby pink—it’ll wash

you out; do medium hues instead.

full brows define an otherwise naked face. don’t overpluck!

try a stroke just in your lid crease. giorgio armani python palette ($100, giorgioarmani beauty.com).

mix Grays with pastels, too. givenchy prisme again! in pre-cious shimmer ($50, sephora .com).

Brown and Gray: a cool comBo. guerlain ombre Éclat 4 shades eyeshad-ow in Jeu de nuit ($57, saks.com).

a Gunmetal shade douBles as liner. Yves saint lau-rent palette Col-lection for the eyes ($60, ysl beautyus.com).

your new favorite date look: gray eyes, berry lips.

00 glamour.Com oC tob er 2008

away 25 on glamour

keep icy Grays sheer. opaque seems too powdery.

Grays 11 Fresh looks

Gray on eyes? If you’ve never tried it, you’ll be pleasantly sur-

prised. “It’s super wearable and sophisticated,” says Kaliardos.

A sheer wash over your eyes is trendy but daytime-OK.

“I like grays with mascara and no eyeliner. It looks softer,”

Kaliardos says. In the evening, amp it up with deeper

shades and false lashes.

the new Black liner:

oc tob er 2008 glamour.com 00photogr aph by jesse frohman

The best tips for getting gorgeous this fall (and winter and spring and...)

glamour

BEAUTY Tricks, TrENDs & frEEBiEsSpecial section! a whole lot of pages that’ll get you a whole lot prettier.

174 FACULTY

PAMELA KLEIN, Chair /Associate ProfessorDegree(s) MFA, BFA, Pratt InstituteCourse(s) Color Theory

KATARZYNA GRUDA, Director/Associate ProfessorDegree(s) MFA, Yale University School of Art; BS, Architecture, City College of New YorkCourse(s) Process & Skills, Graphic Design, Silkscreen & Letterpress; Silkscreen Printing

THOMAS BOSKET, Coordinator/Associate ProfessorDegree(s) MFA, Yale University School of Art; BFA, Parsons School of DesignCourse(s) Color Theory, Drawing

ROLF ANDERSENDegree(s) MPS, New York University; Tisch School of the Arts; BFA, Teknolo-gisk Institut, Copenhagen, DenmarkWebsite www.rolf-design.comWork Digital Artist, 2D & 3D, Graphic /Web Designer and EducatorCourse(s) Digital Layout 1

JASON BOOHERDegree(s) BA, Princeton University; AAS, Parsons School of Design, Graphic DesignWork Designer, Alfred A. KnopfCourse(s) History of Graphic Design

CLAUDIA BRANDENBURGDegree(s) BFA, Rhode Island School of DesignWebsite www.languagearts-ny.com Work Principal, Language ArtsCourse(s) Typography 1, Publication Design

SARAH GEPHARTDegree(s) MFA, Yale University School of Art; BA, Oberlin CollegeWebsite www.mgmtdesign.com Work Partner, MGMT Design Course(s) Typography 1 & 2

JONATHAN J. GOUTHIERDegree(s) BFA, Hartford Art School, University of HartfordWebsite www.gouthier.comWork Principal / Creative Director, Gouthier DesignCourse(s) Graphic Design 1 & 2

ANDREW GRABERDegree(s) BS, SUNY, BinghamtonWork Graphic Designer, PhotoeditorCourse(s) Digital Layout, Advanced Digital Layout

BRETT GROVESDegree(s) BFA, Pratt InstituteWork Master Printer, Axelle Fine Art Prints, Freelance BookbinderCourse(s) Silkscreen Printing

JULIA GORTONDegree(s) BA, Parsons School of DesignWork Children’s Book Illustrator & DesignerCourse(s) Graphic Design 1

DMITRY KRASNYDegree(s) MFA, Yale University School of Art; BFA, The Cooper Union School of ArtWebsite www.dekadesign.comWork Principal, Deka Design Course(s) Typography 2

MARA KURTZ Degree(s) MA, The New School, Media Studies; BA, New York University; AAS, Parsons School of DesignWebsite www.marakurtzstudio.comWork Graphic Designer, Photographer, Photo/IllustratorCourse(s) Graphic Design 1, History of Graphic Design (online)

175FACULTY

MARK MULLINDegree(s) AAS, Parsons School of DesignWork Manager of Creative Services and Graphic Designer, Cleary Gottlieb Steen & Hamilton LLPCourse(s) Process & Skills

SUSAN MOLNARDegree(s) BFA, Tufts University; Diploma, School of the Musuem of Fine ArtsWork Principal, SuMo Design NYCCourse(s) Digital Layout 1

JOHN MALCOLMSONDegree(s) MFA (honors), Rhode Island School of Design; BFA, University of Canterbury, New ZealandWebsite www.teamproam.comWork Partner, Team Pro-AmCourse(s) Graphic Design 3

TAMARA MALETICDegree(s) MFA, Yale University School of Art; Post-baccalaureate Certificate, The Art Institute of Chicago; BA, Université des Sciences Humaines, Strasbourg, FranceWebsite www.linkedbyair.netWork Partner, Linked by AirCourse(s) Typography 1

WILLIAM MORRISEYDegree(s) BFA, Rhode Island School of Design; BA, University of ColoradoWebsite www.wmwmwm.comWork Principal, wmwmwmCourse(s) Graphic Design, Silkscreen & Letterpress

RENDA MORTONDegree(s) BFA, Minneapolis College of Art and DesignWebsite www.rumors-online.comWork Partner, Rumors StudiosCourse(s) Interactive Web Design

ALExA NOSALDegree(s) BFA, Montclair University; BA Montclair UniversityWork Creative Director, Leap Course(s) Typography 1, Designing Symbols, Graphic Design, Silkscreen & Letterpress

TED MAUSETHDegree(s) MFA, Tyler School of Art, Temple University; BA, Michigan State UniversityWork Principal, Mauseth Design Course(s) Graphic Design 3

MARTIN MAZORRADegree(s) MFA, American University, Washington DC; BFA, West Virginia UniversityWebsite www.cannonballpress.com; www.martinmazorra.com Work Director, Cannonball PressCourse(s) Photo Lithography & Graphic Design, Silkscreen & Letterpress

CHRISTINE MOOGDegree(s) MFA, Yale University School of Art; MA, University of Toronto; BA, Sarah Lawrence College; AAS, Parsons School of Design;Work Creative Director, Little Spoons Inc.Course(s) Portfolio & Process, History of Graphic Design

176FACULTY

TIMOTHY SAMARADegree(s) BA, University of the Arts, PhiladelphiaWork Principal, Stim Visual CommunicationCourse(s) Graphic Design 3

DIEGO VAINESMANDegree(s) BFA, Parsons School of DesignDiploma, Art Institute of BostonWebsite www.40N47Design.com Work Principal, 40N47 Design Course(s) Graphic Design 2

WILLIAM VAN RODENDegree(s) BA, Graphic Design, Rhode Island School of DesignWork AVP Art Director of Books and Special Projects, Martha Stewart Living OmnimediaCourse(s) Typography 2, Portfolio & Process

JEFF RAMSEYDegree(s) MFA, The Werkplaats Typografie, Netherlands; BFA, The Savannah College of Art and DesignWebsite www.jefframsey.net Work Advertising Manager/ Designer, The Museum of Modern Art (MoMA)Course(s) Portfolio & Process

PAUL ROERAADEDegree(s) MA, Grafiska Institutet; Royal Instititute of Techonology, Sweden; AAS, Parsons School of Design; Website www.windup-design.com Work Principal, Windup Design Course(s) Interactive Web Design 1 & 2

ALEx W. WHITEDegree(s) MFA, Syracuse University; BFA, Graphic Design, Kent State University Work Design Consultant and Authorof Graphic Design BooksCourse(s) Graphic Design 1 & 2, Portfolio & Process

MUSHON ZER-AVIVDegree(s) MPS, New York University,; Tisch School of the Arts; BDS, Bezalel Academy of Art and Design, JerusalemWebsite www.shual.com Work Co-founder, Shual Design Studio Course(s) Interactive Web Design 1 & 2

ANDY PRESSMANDegree(s) BFA, Cooper Union School of ArtWebsite www.andypressman.comWork Partner, Rumors StudiosCourse(s) Graphic Design 2, Process & Skills

FACULTY

Credits and Acknowledgments

DIRECTOR / EDITOR /

PHOTOGRAPHERKatarzyna Gruda

ART DIRECTOR Claudia Brandenburg

DESIGNER /PRODUCTION DIRECTOR

Brian McDermott

DESIGNERShelly Suzuki

SPECIAL THANKS Thomas BosketJim O’ConnorLarry Jackson

Denise WallnerAnnemieke Beemster Leverentz

TYPEFACES Akzidenz Grotesk (Designed by

Günter Gerhard Lange),Archer (Designed by Heofler & Frere-Jones

Type Foundry)

PRINTER Fernando Luciano,

Project 44, Long Island City, NY

PRODUCTIONAlix Sorrell

Typography

Digital Layout

Publication Design

Process & Skills

Digital Imaging

The most crucial skill obtained while studying at Parsons

WORK2008VOLUME 210

Director Art Director Designers

20304050607080

Number of hoursspent on this book

WORK2008VOLUME 2Administration Production Printing Delivery

parsons aas graphic design 2008

design problems

design industry

excellent work

inspirational work

outstanding work

graduating class

learning process

social problems

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