Year: 2014

Beyond Printmaking 4

I have work in a show in the lovely city of Lubbock! More details to come… Beyond Printmaking 4 Juror: Kevin Haas January 17 – February 22, 2015 Landmark Gallery Texas Tech University School of Art 18th Street And Flint Avenue, Lubbock, Texas 79409

Research Statement

I push every facet of my practice towards helping myself and  others to become self-actualized and cogent cultural producers. I create, design, and teach in order to make the world a better place. My focus is the cultivation of emotional and intellectual metacognition. If I and my viewers learn more about how we process the world around us, we are far better equipped to live overall. This philosophy has imbued my every effort: my teaching, research, art-making, and design. Beginnings After I earned my BFA in Printmaking from James Madison University, I went on to Cranbrook Academy of Art where I studied 2D Design under P. Scott and Laurie Haycock Makela. They taught me to use my overriding obsession as a lens to look at the world, which utterly reworked my creative process. After years of trying to get my diaristic studies to catch take off, I developed a whole new body of work wherein I combined my activist urges with a love of typography and package design. This evolved into the Monstress Productions line …

Design Philosophy

To design is to care, to educate, and to facilitate. I design to make myself a better person within a better world. I design to be of service to all around me as the design process teaches me circumspection and empathy every new day. The design process has given me a means of developing my ethos to an actual working system: I face every part of my life using it to guide me. If I frame the issue at hand as an issue I could

Artist’s Statement & Portfolio

I create work that bridges the haptic and the virtual in order to change the world, one person at a time. In order to clarify this statement, I’d like to give you some context: I became a printmaker in college and it electrified me with the inks, the substrates, and the collaboration with the materials. Then there was the phenomenon of print as a social force: the legitimacy of the printed word and the power of the poster. I dove into all the processes I could, experimented with voice and began to find my way. The work I produced was diaristic and figurative but I could feel a centrifugal pull outwards, beyond my own needs. I pursued an MFA in Printmaking, only to find the department at my school in painful flux: the department head chose to shed a lot of equipment in order to make room for a proposed radio station and additional computers. It was a hard lesson: we as printmakers are the keepers of seemingly outdated technologies and sometimes struggle to prove …

Monstress Productions

Monstress Productions the name under which I create my conceptual art and design work. Established in 1996 as a zine label, it has grown to encompass several pursuits: printmaking, interaction design, and education among them. I create work that bridges the haptic and the virtual in order to change the world, one person at a time. I do this with my series of conceptual paper/interaction products, which I have been making for about 15 years now. These pieces have slowly grown to encompass interactivity in the form of websites and phone apps as I have sought to combine all of my skills. I work to connect traditional fine art printmaking with newer technologies, always drawing a correlation between the physical and the conceptual. In order to make this work, I studied propaganda, advertising methods, packaging traditions, and western product design. It seemed logical to learn the most pervasive means of spreading ideas in our culture in order to disperse a few of my own. I moved on to Utopian theories, confidence games, placebo studies, and good old …

City Tech:
Info Design F14

I taught Information Design for the WWW this semester. I designed the class so students got to go through two design cycles: the first was an accelerated one as the students worked in groups so we could go through the motions in a low-risk way. Students moved on to their own ideas, going through every phase, developing artifacts such as personas, sitemaps, wireframes, interviews, all while developing a look and feel. I had the students also work on how they would present their ideas at the end of the semester. Amazingly, some students went so far as to develop Kickstarter-esque videos. I tried to help the students get used to the idea that they could come up with, develop, and promote an idea of their own. They delivered. Syllabus

Parsons:
Web 1 Fall 14

This fall, I taught Interactive / Web Design 1 at Parsons. I reworked my approach so we could really concentrate on the thinking behind developing a cohesive website strategy. The students each developed a project to help others, then we walked through the stages of interaction design with an emphasis on research and strategic thinking. Students were expected to produce a card sort, rough sketches, sitemaps, wireframes, and sketches for a responsive website (only 2 break points). We went over additional artifacts such as style sheets and some introduction to code. I have found that having student concentrate on altruistic projects actually helps them produce better design. They are ofter too early in their career to have the confidence and circumspection to make projects about themselves, including portfolios. Syllabus Overall, I was blown away by the level of compassion and thoughtfulness my students were able to summon in 15 weeks.

City Tech:
Type & Media Fall 14

Type & Media is a class I helped rewrite with Profs Maria Giuliani and Genevieve Hitchings. We took the old classes Typography 1 and Publication Media and massaged them into a lovely mélange of type, tech, and hand skills. I contributed my thinking on carving and drawing type for the beginning along with the use of zines (or chapbooks) as a format for later work. This is the second semester it has run, and I am still tweaking my approach to the material. For the chapbook, I had the students think about their Five Year Plan–this way they could do some constructive thinking about their own careers while fulfilling the assignment. We also turned the chapbooks into animations or interactive PDFs to help the students get into the idea of interaction design.

Criteria for Internships/First Jobs

You may be new to the industry and inexperienced, but you need not suffer through useless or exploitative internships or first jobs. Yes, we do have bills to pay. Yes, we do need to pay our dues and earn our stripes–but there is no excuse when an employer mistreats you just because it can. Here are some tips gleaned from years of my own mistakes and observations. Criteria for Opportunities It offers a variety of work experiences, if that is what you are looking for. Smaller studios will be looking for people willing to do many things, so keep that in mind. It offers the opportunity to dive deeply into a subject, if that is what you are looking for. Larger studios will slot you into a team where you may not get to do a lot of different stuff, but you will get to have lots of specific experience in one or two things. There are great people with whom you can network and connect. This is the true benefit of these early experiences: the network you …

Presenting Your Work:
Ever Ready Info Kit

This is a massive subject, so read through everything and pick one facet to start on. DO NOT PANIC. Files to Always Have Ready: Varsity Level This is what I always have on cloud storage in case I find an opportunity. You can build up to this. General written documents, as Google docs: Your designer’s statement: why are you a designer? What do you want to do in the world? Have a point, do not be afraid to have a point of view!! One guide for writing one Some designer’s manifestos: 10 Examples  |  100 Years of Manifestos Contact information Professional email address: yourfullname@gmail.com Unprofessional: hottkittenz133$%4@aol.com Only give the basics: phone and email. Sometimes giving your address can make you less a contender if they think you live too far away or in a bad part of town. Your CV, with in-depth listings of all shows (solo and group), residencies, internships, publications, etc. This is a overall file of info you will use to create the smaller resumés CV stands for Curriculum Vitae, and it is basically a …