madeleine coultripdesign & illustration

When I was first interviewed to be a Bonner Leader I said I refused to volunteer with children

because I could not deal with their nuisance. But when my full class schedule did not allow me the time for service sites that I wanted to visit, I had to look outside my comfort zone in order to fulfill my service goals. When a fellow Bonner told me about Head Start, a non-profit government funded pre-school for disadvantaged children, I decided I would give it a try. The teachers work hard to enhance the students’ comprehension, speech, etiquette and social skills. The program has two different classes, in the morning and evening. Pre-school classes are essential in preparing children for elementary school, so that when enrollment for kindergarten starts, the students will not be behind their peers.

When I first started volunteering at Head Start the children really did not care much for me at first. It was as if they thought that I was just going to leave anyway. But when they saw that my friend and I came back the following day they began to ask us questions such as, “Why are you here”? Hearing that question shocked me, like they were used to having people leave them. But I wanted to show them that I cared for them and was willing to give them my time and attention.

So my fellow Bonner and I worked diligently on activities that reinforced their lessons; activities such as making puppets: drawing Christmas cards, and coloring outlined characters helped them understand the concepts behind their lessons. As I became more familiar with the school I got a real feel for how important Head Start is to the low-income families in the community, especially since I grew up in a low-income neighborhood myself. I truly wish that I could have had this kind of opportunity as a child. And I wanted to help teach these children so they could have the education to do great in life. Time started to really fly by as we bonded more with the children. Even the teachers were starting to rely on us to bring different games and activities for them.

After almost five months of volunteering at Head Start I feel as if the students have truly learned something from us. They used to question our interest and call us liars when we said that we loved them. Now they run to us when they see us and ask us to stay longer. The students and teachers at Head Start have truly made a difference in my life, and I feel like a better, more caring person whenever I think of them. To go from someone who is impatient when around children to someone who does not mind their occasional tantrums in a few short months is a magnificent feeling. I will always keep a special place in my heart for the bonds that I have made at Head Start.

Jamie Marie Flores

6 Bonner Beat Spring 2010

I Refuse to Volunteer

with Children

HOME IS WHERETHE HEART ISMIRIAM’S HOUSE

MIRIAM’S HOUSELUNCHEON12:00 –1:30 PMBURTON STUDENT CENTERLYNCHBURG COLLEGE

MAY 19th 2010

IS HOME&

hello 4

senior thesis 6

graphic design 8

publication design 20

branding 34

illustrations 38

photography 40

PortFo

lio

yourselfyour genome,

With millions of genetic variations that differentiate one person from the next, the human genome is astonishingly revealing: Anyone who has wondered why he has green eyes will find the answer right there, in the genes, and the presence of certain genetic variations may partly explain why he is particularly adept at hitting a fastball. But 23andMe also offers a peek over the horizon, showing genetic predispositions to any number of conditions, from cancer to diabetes and arthritis.

Other new arrivals to the fledgling genomic-testing business include Navigenics and deCODEme. Many feature quirky applications; ScientificMatch, for example, offers a dating service, sorting potential mates based partly on genes associated with the immune system, theoretically increasing the chances that a couple will have offspring with robust immunity. Sciona promises a customized diet and lifestyle regimen based on an analysis of 24 genes. Almost anything seems possible, and genetic testing has become an estimated $730 million industry that is expected to grow 20% annually.

But 23andMe, named for the number of paired chromosomes that make up each genome, is the splashiest new DNA vendor. When Jay Cross logged on to the 23andMe Website to see his results, he learned that his extended family originated some 45,000 years ago on the Arabian Peninsula. Perusing his “Gene Journal,” Cross found other similarly arcane factoids, including his propensity for restless leg syndrome and his earwax type. But he was stunned to learn that, genetically speaking, he was 20% less likely than the average person

W hen Jay Cross read about the new service from startup genomic-testing firm 23andMe, part of the appeal was academic. Cross, a 63-year-old business consultant, is

naturally curious, and he was drawn to the idea of participating in cutting-edge science. But he was even more interested in what he might glean from his DNA about his personal health struggles. At 44, Cross had quit smoking and started running, only to suffer a heart attack shortly thereafter. Another followed a few years later. Cross, who also battled depression and attention deficit disorder, started to wonder, “Am I genetically predisposed to all this, or have I just been a bad boy?”

For $999, 23andMe offered insights into this fundamental question of nature vs. nurture. After making his payment, Cross deposited some saliva in a tube and mailed it off to the firm’s Silicon Valley headquarters. Researchers at the company, which was launched in autumn 2007 with the slogan “Genetics just got personal,” scanned the DNA sample and posted his results on password-protected Web pages.

protospring2010

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MAIL-ORDER ORACLE: If you could see your body’s blueprint // your genes spelled out // would it really change // the future of your health? By David Howard

LynchburgCollegeat

a week of recreation and

celebration with a special

focus on water as a precious

resource that is in danger in danger

locally and globally

olsen.t@lynchburg.edu or call 434.544.8491

2010

TuesdayApril 20

ThursdayApril 22

FridayApril 23

SaturdayApril 24

5-11 PM Depot Grill Fundraiser All profits from meal go towards drilling well in Uganda

4-5:15 PM Hopwood Auditorium: Keynote Speaker “International Water Issues”

7 PM Lynchburg College Women’s Soccer vs. Liberty Univ. St. Baldrick’s Foundation Cancer Service @ halftime9 PM Community Soccer All-Star Game

All Day The Pavilion: Documentary Flow—The World Water Crisis Jammin’ Jamboree: local bands playing10-3 PM Beaver Point: Bucket Brigade—Hand Dredge College Lake1-4 PM The Dell: Big Brother/Big Sister Kids’ Carnival7 PM Lynchburg College vs. W&L Lacrosse Game9 PM The Pavilion: No Greater Sky Rock Concert

madeleine coultripdesign & illustrationmaddie.coultrip@gmail.com

314.814.5418

Hello.

i graduated from lynchburg College with

a degree in graphic design and a minor

in journalism/Pr.

i’m from saint louis, Missouri.

i’m the middle child in a family of 11 kids

(8 boys, 3 girls).

i love mangoes and foreign films and spicy thai food.

i sometimes carry my own hot sauce around with me.

i collect little elephant figures.

i dream about design.

I’m Madeleine, but you can call me Maddie.

illustrationwatercolor & marker

11 x 14 inches

4

5

senior tHesisJuli Scarves & branding

6

scarvessilk crepe de chine22 x 22 inches each

packagingmixed media

postersPhotoshop, paper, gold pen 30 x 13 inches each

7

SENIOR THESIS

lC international PrograMs poster campaign

8

Photoshop11 x 17 inches each

GRAPHIC DESIGN

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and annual juried student art show

last impressions are important too.

Illustrator5 x 7 inches

GRAPHIC DESIGN

11

come see ours at the daura galleryApril 26 – May 14, 2011Opening Reception on Tuesday, April 26, 4-5 PMRefreshments provided

Sarah BrightJaren Brown

Gregory BrueningMillie Coleman

Madeleine CoultripElizabeth Hamilton

Devon HarpLauren Miller

Victoria RubnitzTirsha Tokarsky

Daniel Toney

senior art tHesis eXHiBitionshow card

LynchburgCollegeat

a week of recreation and

celebration with a special

focus on water as a precious

resource that is in danger in danger

locally and globally

olsen.t@lynchburg.edu or call 434.544.8491

2010

TuesdayApril 20

ThursdayApril 22

FridayApril 23

SaturdayApril 24

5-11 PM Depot Grill Fundraiser All profits from meal go towards drilling well in Uganda

4-5:15 PM Hopwood Auditorium: Keynote Speaker “International Water Issues”

7 PM Lynchburg College Women’s Soccer vs. Liberty Univ. St. Baldrick’s Foundation Cancer Service @ halftime9 PM Community Soccer All-Star Game

All Day The Pavilion: Documentary Flow—The World Water Crisis Jammin’ Jamboree: local bands playing10-3 PM Beaver Point: Bucket Brigade—Hand Dredge College Lake1-4 PM The Dell: Big Brother/Big Sister Kids’ Carnival7 PM Lynchburg College vs. W&L Lacrosse Game9 PM The Pavilion: No Greater Sky Rock Concert

12

Photoshop11 x 17 inches

MiriaM’s Houseluncheon logo, advertisement &program cover

HOME IS WHERETHE HEART ISMIRIAM’S HOUSE

MIRIAM’S HOUSELUNCHEON12:00 –1:30 PMBURTON STUDENT CENTERLYNCHBURG COLLEGE

MAY 19th 2010

IS HOME&

Illustrator

GRAPHIC DESIGN

13

Wading inWater For liFeposter

1

2

4

14

Bonner leadersPrograMrecruitment flyers, binder covers & t-shirt designs

1. flyermarker & watercolor11 x 8.5 inches

2. flyermixed media8.5 x 11 inches

3. binder coverPhotoshop8.5 x 11 inches

4. t-shirtIllustrator

5. binder cover Illustrator8.5 x 11 inches

3

5

GRAPHIC DESIGN

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16

tHe agingand CaregiVing resourCe Centervolunteer recruitment & open house posters

Photoshop11 x 17 inches each

GRAPHIC DESIGN

17

GOODWILLYOUR PLANET WILL THANK YOU

WHATEVER IT IS, RECYCLE IT AT GOODWILLYOUR COMMUNITY WILL THANK YOU

HOWEVER YOU CAN, SUPPORT

18

goodWill industries

poster campaignIllustrator

16 x 20 inches each

GOODWILLYOUR WALLET WILL THANK YOU

WHATEVER IT IS, FIND IT AT

GRAPHIC DESIGN

19

alPHaBooK accordian fold book

20

design & constructionInDesign, cut paper5 x 2.5 inches each page

PUBLICATION DESIGN

21

JOURNAL OF VISUAL ARTS AND CREATIVE WRITING

LYNCHBURG COLLEGE | 2010-2011

aurousJournal oF Visual arts

and CreatiVe Writing

cover art, layout & art direction

22

A u r o u s

Millie ColemanDigital Photography

Doll Pet Triptych of shellsJill Markwood

Encaustic drawing created with graphite, charcoal, wax, and India ink3 drawings each 22 x 30 inches

1514

Welcome to the inaugural edition of the Aurous! The title, Aurous, means of or containing gold, and we think it hits the mark exactly. We have selected from many wonderful entries what we think are exceptional works of art to showcase. We were overwhelmed with the positive response from the students and faculty and we want to thank every person who entered. We hope you find this selection of entries to be as inspiring, delightful, and stimulating as we do.

In the design and layout, we tried to move fluidly from one to the next, mixing and matching images and text for a balanced combination that was both cohesive and exciting. Art speaks for itself, so we kept the other design elements and font variety to a minimum. We began with a simple mission: to showcase the best of the best here at Lynchburg College, and I think we have accomplished that goal. Please enjoy the issue!

-Maddie Coultrip

Art Director’s Note

AUROUSArt Director & Editor | Maddie Coultrip

Assistant Editor | Edgar Reyes

Faculty Advisors | Ursula Bryant & Delane Karalow

Literary Advisor | Laura Marello

Special Thanks to | Dr. Dan Lang,Dean of the School of Communication & the Arts

Riggs Hundley, Springtime and Ewe

Millie Coleman, Sunbathing

Tori Rubnitz, Sea Life

Ellen Reynolds, Green and Rust

Lauren Dunn, Aged Industry

Dana Constanzer, Untitled 1

Laura Albrecht, Emotion

Maddie Coultrip, Untitled, From Life Series

Millie Coleman, Doll Pet

Jill Markwood, Triptych of Shells

Cathy Williamson, The Portrait

Edgar Reyes, Disheartened

Grace Mattox, Spiral Descent

Jennifer Watlington, Value study of Franz Marc/ The Large Blue Horses

Tirsha Tokarsky, Winter’s Landscape

Millie Coleman, Jardin des Tuileries

Millie Coleman, Pont Neuf

Tarcha Joyner, Mannequins III

Edgar Reyes, Self-Portrait

Edgar Reyes, Suppressed

Heather Dodge, Fork Art

Riggs Hundley, Wind Chill

Tarsha Joyner, Another Millenium: I’ll Wait For Her IV

Lindsey Sullivan, Beauty in the Kitchen

James Young, A Powerful Hat

Stephanie Best, Untitled 1

Heather Dodge, Rubik’s Cube

Edgar Reyes, Van Gogh Study

Riggs Hundley, Sailboat Shaped Poem

Laura Albrecht, Dragonfly

Rachel Matney, Anatomy of a Smoker

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Table of Contents

Cover Art: Untitled, From Life Series,

Maddie Coultrip, Waterolcor & Pen

Copyright 2011 Art Department, Lynchburg College

First North American serial rights, individual copyrights revert back to their authors after publication

InDesign 40 pages8.5 x 8.5 inches

PUBLICATION DESIGN

23

street art

The reasons and motivation vary so greatly for each artist that the purpose of street art also

eludes most, but with more street artists speaking openly about their work, and more in depth research being done, the mystery and anonymity of street art is dissolving. What began as a desperate attempt to escape definition and to move flu-idly between art and advertising and remain on the streets where it would be seen, street art is now stuck in limbo in galleries, priced at millions, being studied as species of advertis-ing in its rhetoric, and its place in the public realm being questioned, the

global street art movement seems to have confused its own place and role in the world. Many other areas have been impacted by and are impacting street art, but it should be realized that street art is its own enterprise and must remain as such, even as it evolves and expands.

From its rough beginnings to its current controversial status, street art captures the fascination and imagination of many different people and is involved in many subjects. In what may have originally been a state of rebellion against law enforcement and rules of society, graffiti was born out of a need to be

a crime thats good for society?What began as a “risk to achieve fame through a name,”

graffiti originally was the language of a subculture fighting for territory and power. Although its origins are unclear, street art eventually crept in and the media became fascinated with it. Street art is celebrated by the media because it appears “to represent something almost universal and safe, but with a slight edge, despite the animosity from graffiti writers and the law.” There is no official definition of the street art movement but it has generally become accepted to include any “art” seen on the streets. In the very broadest terms, graffiti is writing and drawing done illicitly on a public wall, including street art. The term graffiti, however, comes with a negative connotation because of the association with gangs, tags, and destruction of public property. For this study, graffiti will refer to any and all writing and drawing done illegally in a public space, including street art. But street art, as a sub-section of graffiti, will be more explicitly defined and separated from other forms of graffiti. This definition will be the first step towards understanding street art in context.

noticed and leave a mark on territory. This kind of writing still exists, but it has been overwhelmingly covered by a more aesthetically invigorating kind of mark referred to as street art. The Global Street Art Movement is evolving daily. While the artistic merit of street art is still being debated, its value in other areas such as urban planning and advertising is beginning to take shape. As this movement evolves in technique, subject matter, market importance, and purpose, its importance as rhetoric for creativ-ity and viewing public space is also evolving. Although not a fully formed movement, street art already has

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street art editorial

layout, poster & collateral

Illustrator & InDesign

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much to offer. But most importantly, it should be considered a separate entity, remaining in the streets where it can influ-ence fine art, public art, and advertising, but never forget its ties to freedom and community.

Although the drive and purpose var-ies greatly from artist to artist, there is a general acceptance by artists and viewers that street art is both a means to creative self-expression and a public gift of beauti-fication. Giving art back to the society from which it comes, artists such as Banksy work hard to make the marks mean some-thing, educate and/or entertain. Others are simply trying to communicate with as many people as possible. And still others look for ways to make the world less gray. Defining the artistic worth of this genre is no easy feat. While some form the opinion that street art holds very little, if any artistic worth, others argue that it moves modern art forward in a new direction unlike any other genre before it. Because of such a range of ideas, street art must be viewed, as any art is, on a piece by piece basis and not through a vague “good” or “bad” window.

While artistic merit is being debated and judged, street art is being studied in many different areas. Finally, looking at its successes, it seems that advertising has a lot to learn from street arts effective use of language. Street art, with its many forms, seems to have seven cohesive rhetorical practices, which can help explain its suc-cess in communicating to the public. They are (1) aestheticization, (2) playfulness and cheerfulness, (3) meaning manipula-tion, (4) replication, (5) stylistic experimen-tation, (6) rediscovery, and (7) competitive collusion. These seven practices provide a means to expand creative output in many areas. Advertising, if it could harness the power of street art, in theory, could occupy overwhelming power in the market. Some feel that this would only make people suspicious and feel cheated. The future will be telling. Even if advertising could learn to emulate street art, there might always be a piece missing in the equation. Essentially, legal graffiti-like advertising would lose some of its merit because the act of vandalism is what makes street art so interesting and empowering:

It is vandalism, no matter how ordered or beautiful. In fact, it is precisely in its illicit aspect that graffiti presents its most

useful facet for social analysis. Its creates intersections where legitimate and illegiti-mate meet and enables cultural groups to give themselves solidity and definition…it is often produced by those without power, to negotiate relationships with both the society from which they are disempowered and other within their own groups. If graffiti is a window into a culture…then it is the same window that people use to look in on themselves as they actively construct the guidelines and concerns of their lives.

In this sense, street art, in order to remain legitimate, must continue on the streets, by people, for people, and address the people’s concerns. Others can learn from it, try to understand it, purchase it, and imitate it, but the fabrication and com-mercialization will never ring as true or be as much of an art as the pure erratic and beautifully unpredictable nature of art on the streets: “Perhaps we lose sight of this basic need for expression, as unsightly as it may seem. Graffiti may never be embraced wholeheartedly, and perhaps it must remain on the fringe of social accept-ability to preserve the authenticity of its character.”

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a

a

basicallyTags represent street art in an early form, focused on spreading an individual’s name. Often repetitive, these marks appeared everywhere and were relatively simple.

Highly stylized writing evolved from tags and focused on a more aesthetic practice of self-affirmation.

Sticking is a practice of posting drawings, messages, or symbols so as to spread short messages quickly and broadly. This form allows most of the work to be done before the artist hits the street.

Stenciling is a form which allows the artist to mimic the same symbol over and over easily and quickly in many places by using a cutout of some sort.

Poetic assault is one of the more recent manifestations of street art, consisting of infusing dull public places with poetic content.

Urban design relates to public beatification of architecture with an aesthetic focus.

THeSe Seven caTergOrieS will HelP yOU recOgnize STreeT arT

Finally, one study presents four differ-ent theoretical purposes behind street art for redefining public space: (i) private ap-propriation of public space, (ii) dweller’s re-sistance to the alienation of public space, (iii) artists’ claim for street democracy, and (iv) joint striving for common place. All of these have to do with both the artists’ drive and the viewers’ response. These four theoretical purposes give us something more concrete to apply to street art and help to identify a message of communica-tion in the public sphere. Allowing for a vast number of possibilities, the purpose of street art, according to these theoretical purposes is as varied as the artists’ who make it.

Street art is not fine art, graffiti, public design nor advertising, although all of these areas can learn from it just as much as they inform and influence it. Street art is in limbo, which allows it to constantly transform and reinvent itself according to its creator and location. This idea speaks to the blurry lines that make up so much of mass culture. Neither black nor white, street art is literally a splash of color in our sometimes gray world.

Art is not like other culture because its success is not made by its audience. The public fill concert halls and cinemas every day, we read novels by the millions and buy records by the billions. We the people, affect the making and the quality of most of our culture, but not our art. The Art we look at is made by only a select few. A small group create, promote, purchase, exhibit and decide the success of Art. Only a few hundred people in the world have any real say. When you go to an Art gallery you are a simple tourist looking at a trophy cabinet of a few millionaires.”-BanKSy

‘‘a a

s

s a

ainDiviDUaliSTic view

Private appropriation of public space

& Dweller’s resistance to the alienation of public space

cOllecTiviSTic view

Artists’ claim for street democracy

& Joint striving for common place

THere are BaSically TwO DifferenT wayS TO lOOK aT THiS STUff in SOcieTy

street art as reclaiming publ ic space

PUBLICATION DESIGN

25

tHe Bonner

Beatlayout &

illustrationsInDesign & Photoshop

8.5x11 inches26

PUBLICATION DESIGN

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tHe real sHoW entrY For

Proto MagaZine

layout & illustrations

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InDesign & Photoshop8.5 x 11 inches

PUBLICATION DESIGN

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layoutInDesign

8.5 x 11 inches

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tHe soCietY oF

WestoVer FelloWs newsletter layout

PUBLICATION DESIGN

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Cornell study shows

Facebook can elevate self-

esteem levelspg 5in

sid

e: TeenNick to air 90s

Nickelodeon programming

starting Fall 2011pg 5

Student Newspaper of Lynchburg Collegecritograph.lynchburg.edu March 17, 2011

Volume 98, Issue 22

See Tuition pg 3

LC tuition to rise 3 percent for 2011-2012 school year

Victor MunsonCopy Desk Chief

The cost of a t t e n d i n g Ly n c h b u r g

College will rise by 3 percent for the 2011-2012 aca-demic year

This increase translates to $450 more for tuition and $180 more for room and board per se-mester.

“The 3% increase applies to tuition and the base room and board rates,” Associate Vice Pres-ident for Business and Finance John Lewis said in an email. “The other fees such as student activ-ity fee, technology and facilities fee are not increasing.”

The increase to room and board rates comprises a $60 in-crease to room rates and a $120 rise in meal plan rates, which in-cludes $100 to each student’s LC Express account at a discounted rate of $85, Lewis said in the email. This feature was previ-ously offered as an option on meal plans.

LC builds a budget model each year based on guidelines from the Board of Trustees, Lew-

Brewing Beer goes here for fun and stuff

Munson

TAKE OUR READERSHIP SURVEY FOR A CHANCE TO WIN A $25 VISA GIFT CARD

Brewed may be renovatedMegan DelpAssistant Editor

Lynchburg College may renovate Brewed Awakenings, John Knaus, owner of Brewed Awakenings, said.

“I know it’s more than a rumor, of course I have seen meetings, I’ve seen people with their measuring tapes measuring the condi-ment table and all,” Knaus said.

Knaus has not heard whether the school has decided to go through with expanding Brewed Awak-enings.

“I would imagine that they are exploring something, but them being prudent they don’t want to say what it is

Delp

See Brewed pg 4

Photo by Greg Bruening

Run for AnnaOver $15,000 were raised

from The Run for Anna that took place March 1 to raise money for a well in Gulu, Africa. The run was dedi-cated to the memory of Anna Wright ‘11, a former member of the Lynchburg College Women’s Soccer Team who died in a car crash last year. Over 180 runners pre-registered for the race, Todd Olsen, head coach of women’s soccer and assistant professor of health promotion, said.

Photo by Greg BrueningMore pictures on pg 8

layoutInDesign

11.5 x 14 inches

tHe CritograPH newspaper layout

32

LC alum directs

children’s choir in China

pg 3insi

de: Over 500 attend

Relay For Life

pg 4

Student Newspaper of Lynchburg Collegecritograph.lynchburg.edu April 14, 2011

Volume 98, Issue 26

See Buckingham pg 5

Buckingham a driving force for women’s laxAdrian RobinettStaff Writer

It’s spring at L y n c h b u r g College and

the afternoon sun illuminates Shel-lenberger Field. Junior Lesley Buckingham, an attacker and midfielder, is sprinting past defensive players, lacrosse stick in hand. The emerald turf cushions under her cleats as she attacks the goal with one swift flick and the red, black and white rise to their feet and cheer. A goal is not an unusual event for this determined play-er.

As a freshman in 2009, Buckingham scored seven goals and started three games. 2010 was even better, as she is described on the LC Athletics web page as being the driving force behind the LC women’s lacrosse offense, scoring a school single-season record of 59 goals and 17 assists.

Buckingham hails from Herndon, Va. and has only played lacrosse since her soph-omore year of high school.

SGA seeks reconsideration of ROTC

Robinett

SUBMIT YOUR OPINIONS TO THE CRITOGRAPH: CRITOGRAPH@LYNCHBURG.EDU

Megan DelpAssistant Editor

An ROTC program at Lynchburg

College is once again under con-sideration. LC’s Student Govern-ment Association is writing a letter to the faculty encour-aging them to re-examine the possibility of an ROTC pro-gram now that the military’s

Delp

“Don’t Ask, Don’t Tell” policy has been repealed.

“The letter isn’t any sort of legislation from SGA. It’s a Bill of Opinion stating that Senate believes it is in the best interest of the student body for the faculty to revisit the idea. Hopefully upon re-ceiving the letter (most likely at the first faculty meeting of the next semester) the facul-ty will discuss the idea,” said SGA Vice President Vanessa Alberto in an e-mail.

Vice President and Dean See ROTC pg 3

Theresa GilletteStaff Writer

Twenty-one “shavees” gathered on the steps of Hall Campus Center on

Friday, April 8 to shave their Photo by Rachel Matney

See St. Baldrick’s pg 4

Heads shaved for cancer

for Academic Affairs Julius Sigler said in an e-mail that Army ROTC was at LC for several years during the 70s and 80’s. The program was not large at LC and was discontinued for a few differ-ent reasons, Si-gler said in the e-mail.

“First, many faculty (and students) were and are un-

comfortable with any kind of military pres-ence on a col-lege campus--an attitude caused at least partially by the experience of the Vietnam War,” Sigler said in the e-mail. “Other faculty would argue the ben-

efit of having officers who

heads for the non-profit organiza-tion St. Baldrick’s, which is aimed at raising money and awareness to sup-port childhood can-cer research.

Gillette

“St. Baldrick’s is a non-profit organization that raises money to grant funds for childhood cancer research. [Through] head-shaving events organized across the nation, all donations go to St. Baldrick’s foundation to find a cure for children who are diag-

nosed with cancer,” senior Devon Harp, organizer of the event, said in an e-mail.

The head-shaving cer-emony symbolizes beauty in the children who have lost their hair due to cancer,

‘‘Lynchburg College has never had such a policy and it was deemed to be absolutely contrary to our traditional policy of inclusion and non-discrimination.”-Julius Sigler

PUBLICATION DESIGN

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NATIONALENDOWMENTfor theHUMANITIESFEDERAL/STATEPARTNERSHIP

NATIONALENDOWMENTfor theHUMANITIESDIVISION ofPUBLIC PROGRAMS

NATIONALENDOWMENTfor theHUMANITIESDIVISION ofDIGITALHUMANITIES

NATIONALENDOWMENTfor theHUMANITIESDIVISION ofRESEARCHPROGRAMS

NATIONALENDOWMENTfor theHUMANITIESDIVISION of EDUCATION PROGRAMS

NATIONALENDOWMENTfor theHUMANITIESOFFICE ofCHALLENGEGRANTS

NATIONALENDOWMENTfor theHUMANITIES DIVISION ofPRESERVATION & ACCESS

NEH NEH NEH NEH NEH NEH NEH

1100Pennsylvania Avenue, NWWashington, DC20506

(800) NEH - 1121info@neh.gov

NATIONALENDOWMENTfor theHUMANITIES

DIVISION ofEDUCATIONPROGRAMS

NEH

settingexcellence in

motion

stationary, envelope & business card

InDesign & Illustrator

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DIVISION ofEDUCATIONPROGRAMS

Bob McLaneManager

540.754.3458 bob@neh.gov

NEHNATIONALENDOWMENTfor theHUMANITIES

NEH

setting excellence in motion

NATIONALENDOWMENTfor theHUMANITIES

NEH

setting excellencein motion

1100Pennsylvania Avenue, NWWashington, DC20506

DIVISION ofEDUCATIONPROGRAMS NEH

NEH

NATIONALENDOWMENTfor theHUMANITIES

NEH

setting excellencein motion

1100Pennsylvania Avenue, NWWashington, DC20506

DIVISION ofEDUCATIONPROGRAMS NEH

logo & brandingreal sHoW entrY For neH

BRANDING

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logo, brochure & packagingIllustrator & InDesign

BRANDING

Moon roCKs

branding

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pen & watercolor

indePendent studYillustrations

ILLUSTRATIONS

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PHOTOGRAPHS

FilMphotographs

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“nothing is original. steal from anywhere

that resonates with inspiration or fuels your imagination. devour old

films, new films, music, books, paintings, photographs,

poems, dreams, random conversations, architecture, bridges, street signs, trees,

clouds, bodies of water, light and shadows. select

only things to steal from that speak directly to your soul.

if you do this, your work (and theft) will be authentic.

authenticity is invaluable; originality is nonexistent.

and don’t bother concealing your thievery – celebrate

it if you feel like it.”-JIM JARMUSCH