Professional Documents
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PARSONS
GRAPHIC
DESIGN
PARSONS AAS /
WORK
GRAPHIC DESIGN /
WORK 2008 /
VOLUME 2
2008
AAS
typefaces owned
stat spread
13,968
Total number of typefaces owned
233
Total number of typefaces actually liked
34.5
41.75
Wednesday
64.25
Friday
49
69.5
Tuesday
Thursday
Monday
8 9
13 Ireland
2
8 5
United Kingdom
Alaska
Canada
Sweden
2 1
Russia
27 1
Estonia
2
Germany
5
6
France
6 7
Georgia
2 3
1
Spain Korea
PARSONS
4
United States Turkey
Italy China
Japan
3 4
3
Israel
2
India
4
Hawaii Mexico
1
1 2
Thailand Philippines
Puerto Rico
Sudan
3
2
Brazil
Kenya
31
Bolivia
2
Australia
Argentina
2 South Africa
New Zealand
4 5
FROM THE
stu-
DIRECTOR dent
AAS students learn early on that research and resourcefulness are the
best-kept secrets of any great designer. Truly understanding a project
is essential for innovation, whereas ignorance inevitably produces
the expected. Our students look at any situation openly, then dig ever
deeper within the substance of the problem, leaving behind the slow
Natalie Waterbury
Jennifer Lankford
Hansul Amy Cho
Masakazu Okura
Monica Miranda
provide instruction that reflects the ongoing evolution in the industry,
Adam Headrick
Caloline Maher
Eileen Kinsella
Sharon Gamss
Tim Geesman
Aaron Gwirtz
Dan Hoffman
Shelly Suzuki
but these factors by themselves can’t account for the excellent work that
Ariel Lapidus
FROM THE
Farrah Fine
Kruti Joshi
Jon Lopkin
Ela Jacoby
students produce after only two or three semesters of study. The answer
Diana Lim
Aditi Rao
Yfat Eyal
has to be our students, themselves.
work
We know that students choose the best education they can, based on the
CHAIR
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.
1 7
2 3 4 5 6
26 27 28 29 30 31
1 5
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
1 Book, Dylan’s Muses, Dimensions: 6 x 9 in; 2 Fashion Look Books, Dimensions: 3 4 Logo/Identity for Restaurant (Logo, Menu, Folder, Letterhead, Notepad and Envelope);
5 x 7 in; 3 Logo/Identity, Clothing Line (Hang Tags and Labels) 5 Poster, Dimensions: 15 x 20 in.
38 39 40 41
1 2
58 59
MAY
Cycle Length
28 days
Mobile # for SMS
3 206 555 1557 Save
moontimewidget.com
1 2
68 69 70 71
K S
ITC
6
HEN
5 7
9
5 Silk screen Poster, Octopus; 6 Logo, Three Peas Kitchens 7 Poster; 8 Program; 9 Event Ticket, Incorporations: The Body as Source Lecture Series
72 73 74 75
5
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
4 Diana Lim, continued
1 Photography Book, Richard Avedon, Dimensions: 5 x 7 in, with faux crocodile skin 5 Logo /Identity, Ceres Restaurant; 6 Letterhead & Envelope;
keepsake box; 2–4 Interior Spreads 7 Business Card; 8 Packaging, Cookies; 9 Packaging, Salad Dressing
76 77 78 79
10
11 12
13 14
Diana Lim, continued 13 Silk-screened Poster for a Cherry Blossom festival in Yokohama, Japan,
Dimensions: 18 x 24 in; 14 Silk-screened Poster for Knoll Office Chairs Exhibit,
10 Logo, Wattbusters Company; 11 Branding System; 12 Keychains Dimensions: 15 x 21 in.
80 81 82 83
3
4
84 85 86 87
Language, Corporeal
Biorhythms
The Body as a Source
Lecture Series
Incorporations:
Incorporations:
Incorporations:
Science and Art Friday October 13, 8:00 pm
Incorporations:
[
The Cooper Union for
Three-lecture fee: $120 Individual lectures: $50
the Advancement of Science and Art the Advancement of
#@!(,
Cooper Union faculty and students attend free, but
must register in advance. Please provide your Union Science and Art The Great Hall Science and Art
faculty or student ID number to waive the registration fee.
The Great Hall 1 Cooper Sq, NYC The Great Hall
!
The lectures are open to the public. Advance reservations
234567
are required. Please call The Cooper Union Office of
Public Programs at 212.436.0187 or go online to 1 Cooper Sq, NYC
98
[>
www.cooper.edu/body to register.
(
1
The presentation will focus
[{
Language, Sensuality, and Power
on numeric sequencing systems
=
October 12, 8:00 pm
Claude Fouchy-Billancourt developed from biofeedback for
application in medical and robotic
[/
Biorhythms and Algorithms manufacturing computation
October 13, 2007, 8:00 pm
Manoela dePasão
Corporeal Architecture: Living Spaces
October 14, 2007, 3:00 pm
Heinrich Utenrraden
A discussion the physics of speech and cognition as related to the development of sexual power
Three-lecture fee: $120 Individual lectures: $50
Cooper Union faculty and students attend free, but A moderated panel of noted architects
must register in advance. Please provide your Union
faculty or student ID number to waive the registration fee.
Three-lecture fee: $120 Individual lectures: $50
Cooper Union faculty and students attend free, but
will discuss their explorations of user-centered
The lectures are open to the public. Advance reservations
. must register in advance. Please provide your Union
faculty or student ID number to waive the registration fee.
building in the context of a presentation on stylistic Mr. Utenrraden is a Professor Laureate of the
and functional trends of the past century
)
are required. Please call The Cooper Union Office of Bern Architectural Academy in Switzerland.
Public Programs at 212.436.0187 or go online to The lectures are open to the public. Advance reservations
are required. Please call The Cooper Union Office of Three-lecture fee: $120 Individual lectures: $50
www.cooper.edu/body to register. Public Programs at 212.436.0187 or go online to Cooper Union faculty and students attend free, but
www.cooper.edu/body to register. must register in advance. Please provide your Union
˚
Mr. Fouchy-Billancourt is a professor of linguistic anthropology faculty or student ID number to waive the registration fee.
at the University de la Sorbonne in Paris, France. He is a Ms. dePasão is a Fellow of the Instituto Mechanico The lectures are open to the public. Advance reservations
)
recognized authority on linguistic ideology. de São Paolo, Brazil, and a visiting chaired lecturer at are required. Please call The Cooper Union Office of
Harvard College’s School of Applied Mathematics Public Programs at 212.436.0187 or go online to
www.cooper.edu/body to register.
1 2 3 4
“?%&,˜˚{[>*@\”
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.
Monica Miranda, continued
1–2 Poster, Incorporations: The Body as Source Lecture Series, Dimensions: 20 x 28 in. 3–4 Poster, Incorporations: The Body as Source Lecture Series, Dimensions: 20 x 28 in.
94 95 96 97
2
3
Where From Japan; Previous Work Experience FutureBrand NY; How many
typefaces do you own? About 100
102 103
10
2
11
3
1
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); 12
Previous College Claremont Mckenna College, BA, Economics & Psychology;
Shelly Suzuki, continued
How many typefaces do you own? 659 4
1 Book Design, Pollution3: Air, land and water pollution in New York City; 8–9 Cookbook Design (Front & Back Cover), Deconstructing the Hawaiian Plate Lunch,
2–4 Interior Spreads Dimensions: 10 x 10 in; 10–12 Interior Spreads
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
120 121
12 13
3 4
3–4 Logo/Identity System, Good Soles Shoes 12 Logo/ Identity System, Manhattan Vintage Car Show; 13 Package Design, Mustard
5 6 7 8
9 10 11
Average number of blocks
walked to get to school
130 131
collaboration
RELEASE MAGAZINE 2 4 6 8
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 Gordon
Professor, Literary Studies
Dean of Eugene Lang College The New School for Liberal Arts 1
3 5 7 9
1 Release 2008 Cover 2 Release 2008 Front & Back Cover; 3 –5 Release 2008 Interior Spreads 6–9 Release 2008 Interior Spreads
collaboration
11 13 16
10 15
12 14 17
10 Release 2007 Cover; 11–12 Release 2007 Interior Spreads 13–14 Release 2007 Interior Spreads; 15 Release 2006 Cover 16–17 Release 2006 Interior Spreads
1 Claudia Brandenburg
FACULTY
Begin with a clever concept. Finish with flawless typography. In between
consider your client, your audience, and your printing budget. Or, in school,
consider your teacher, your class, and your ink jet.
I love printing. I’ve saved stacks of press sheets. I sniff the ink in new books. I
wanted to be a graphic designer when I first worked a printing press. During
my work-study summer job at RISD’s Type Shop I learned about type and
printing while sorting and supervising. Not only could I recognize a 9-point
letterform backwards in lead, but I became obsessed with creating many
instead of just one. From then on, a single mock-up was not enough. My
school projects were about quantity, series and multiples.
For the past three Spring semesters I’ve taken my Publication Design class on–
press for the printing of Release. After critiquing washed-out ink jet pages for
15 weeks, the actual florescent and metallic inks are mesmerizing. Watching
the sheet forms roll off the press is dizzying. Seeing the student’s attention
and awe, I recognize the beginning of a long and healthy obsession.
145
4 8
5 9
12
13
11
15
14
11 Cover; 12–14 Interior Spreads 15 Fold-out Spread; 16–19 Covers,
Make It Now: New Sculpture in New York. SculptureCenter Exhibition The Center of It All, Abrons Arts Center Seasonal Event Program &
Publication, 6.5 x 9.25 in, 96 Pages Calendar, 9.5 x 13 in, 8 Pages 16 17 18 19
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.
1 Emily Wardwell
158 159
5
2 4
2 Teen Vogue Magazine Opening Spread 4 Cover Design, Open Magazine; 5–6 Open Magazine Interior Spreads
8
best
beauty
buys
of
2008
24
A record 106,627
of you voted in
this year’s Glammy
awards, and these
are your winners—
photographs by James woJcik
Why it’s
still a champ: It looks “rich,” voters
say, but it’s never gloppy.
Comes in 30“delicious”
flavors and has a “sexy sheen.”
314
13 15 16
14 17 18
10
7 Vouge Living: Houses, Gardens, People (Front & Back Cover); 8–10 Interior Spreads 13 Glamour Magazine Opener Spread; 14 Follow-up Spread; 15–18 Glamour Magazine Pages
FACULTY
FACULTY
Work Designer, Alfred A. Knopf Course(s) Typography 2 Course(s) Digital Layout 1 Portfolio & Process
Course(s) History of Graphic Design
MARA KURTZ
CLAUDIA BRANDENBURG Degree(s) MA, The New School, Media
Degree(s) BFA, Rhode Island School of Studies; BA, New York University;
Design AAS, Parsons School of Design
Website www.languagearts-ny.com Website www.marakurtzstudio.com
Work Principal, Language Arts Work Graphic Designer, Photographer,
Course(s) Typography 1, Publication Photo/Illustrator
Design Course(s) Graphic Design 1, History of
Graphic Design (online)
174 175 176
PRODUCTION
Alix Sorrell
DIRECTOR / EDITOR /
PHOTOGRAPHER
Katarzyna Gruda
SPECIAL THANKS
Thomas Bosket
Jim O’Connor
Larry Jackson
Denise Wallner
ART DIRECTOR Annemieke Beemster Leverentz
Claudia Brandenburg
TYPEFACES
Akzidenz Grotesk (Designed by
Günter Gerhard Lange),
Archer (Designed by Heofler & Frere-Jones
Type Foundry)
DESIGNER / DESIGNER
PRODUCTION DIRECTOR
Shelly Suzuki
Brian McDermott
PRINTER
Fernando Luciano,
Credits and Acknowledgments Project 44, Long Island City, NY
178 179
46%
29%
13% Typography
Digital Layout
Publication Design
8%
Process & Skills
Digital Imaging
180
4% The most crucial skill obtained while
studying at Parsons
181
WORK
80
70
60
2008
50
40
30
20
VOLUME
10
Number of hours
spent on this book Director Art Director Designers Administration Production Printing Delivery
182 183