Student Work Portfolio - sherryfreyermuth.comsherryfreyermuth.com/wp-content/uploads/2019/10/Freyermuth_Stud… · Student Work Portfolio. 01 In the summer of 2016, I was awarded

01

Sherry Freyermuth

Assistant Professor

Lamar University

Department of Art

SherryFreyermuth.com

[email protected]

774.218.8149

Student Work Portfolio

01In the summer of 2016, I was awarded a $15,000 Lamar University Presidential Fellowship Award for Teaching Innovation. I developed two courses that focused on design thinking techniques. This project is the result of the first of two courses where graphic design students were tasked

with creating a new brand identity and responsive website experience for the local Beaumont Children’s Museum. This real client project allowed each student to participate in user research through interviews, focus groups, generating personas, design thinking workshops,

and user testing. The final result was a client presentation to pitch the museum director on a new brand identity, website design, and social media campaign. This display shows the project that was selected and implemented into all aspects of the museum space.

USER EXPERIENCE DESIGN CLIENT PROJECT

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Marisol Lua | Fall 2016

02

PER

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AL

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“Be an opener of doors”. - Ralph Waldo Emerson

Integrity atLamar University

Designed by James Lang

ACADEMIC INTEGRITY POSTERS

In Spring 2014, I collaborated with the Lamar University Stu-dent Government Association and the Office of the Provost to create a series of posters that inspired students on campus to be more committed to academic integrity. I worked with another professor to create these posters with two groups of

students. My class was a small advanced graphic de-sign class and the other class was a large introduction to graphic design class. In order to help the beginning students, each of the advanced students had to act as art director for their group and worked in teams of four to

five students in order to create a cohesive look and feel for each set of posters. All the posters were featured at an academic integrity conference, and two sets of designs were printed and distributed across campus as posters and yard signs.

Left: James Lang, Right Jonathan Smith | Spring 2014

03 GRAPHIC DESIGN THESIS PROJECT

This is an example of a graphic design thesis project. In the LU Department of Art, BFA students must complete a thesis proj-ect as a graduation requirement. The process includes writing a research paper and completing a self-directed project where the final result comprises of at least eight unique pieces of

art or design. Students must complete a thesis defense and display the final work in the Dishman Art Museum for a professional museum show where they design the full visual experience of how the work is showcased. This student created a project to teach elementary age students

about design thinking. It included series of classroom posters, an art kit, and a curriculum booklet for the em-pathize phase of the design thinking process. The student tested their curriculum with 5th grade students and dis-played the results on the column display (bottom right).

Erika Leggett | Spring 2017

04 DESIGN THINKING PROJECT

In the summer of 2016, I was awarded a $15,000 Lamar University Presidential Fellowship Award for Teaching Innovation. I developed two courses that focused on design thinking techniques. This project is the result of the second of two courses where students from different majors such

as graphic design, studio art, communication, and engineering worked together to develop a solution to a ‘wicked problem’ where the solution is not clear or defined by any one answer. The intent of the course was to develop critical thinking and problem solving skills

that are necessary for 21st century jobs, and to provide more collaborative experience in the classroom. The challenge was to improve relations between the local South Park neighborhood (where our campus sits) with LU. This is one of three outcomes from the project.

Dusti Wells, Cameron Uresti, Whitney Adams, Cully Cuniff, Cristina Cabrera | Spring 2017

05

CENTER OF SPREAD

MINIMUM MARGIN1/2”

LEFT PAGE OF MAGAZINE SPREAD RIGHT PAGE OF MAGAZINE SPREAD# T H O U G H T S A N D P R A Y E R S

When Empathy Becomes a Meme

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LOREM IPSUM DOLOR SIT AMET, CONSEC-TETUER ADIPISCING

LOREM IPSUM DOLOR SIT AMET, CON-SECTETUER ADIPISCING ELIT, SED DIAM

LOREM IPSUM DOLOR SIT AMET, CONSECTETUER ADIPI-SCING ELIT, SED DIAM NONUM-MY NIBH EUISMOD TINCIDUNT UT LAOREET DOLORE MAGNA ALIQUAM ERAT VOLUTPAT. UT

SYMPHONY FOR

WARTrump the Pied Piper ofAmerica calls for lemmings.

Lorem ipsum dolor sit amet, consectetuer adipiscing elit. Aenean commodo ligula eget dolor. Aenean massa. Cum sociis natoque penatibus et magnis dis parturi-ent montes, nascetur ridiculus mus. Donec quam felis, ultricies nec, pellen-tesque eu, pretium quis, sem. Nulla conse-quat massa quis enim. Donec pede justo, fringilla vel, aliquet nec, vulputate eget, arcu. In enim justo, rhoncus ut, imperdiet

Lorem ipsum dolor sit amet, consectetuer adipiscing elit. Aenean commodo ligula eget dolor. Aenean massa. Cum sociis natoque penatibus et magnis dis parturi-ent montes, nascetur ridiculus mus. Donec quam felis, ultricies nec, pellen-tesque eu, pretium quis, sem. Nulla conse-quat massa quis enim. Donec pede justo, fringilla vel, aliquet nec, vulputate eget, arcu. In enim justo, rhoncus ut, imperdiet

FUSED METAPHOR PROJECT

In this assignment, students from my Introduction to Graphic Design class are tasked with creating a fused metaphor that illustrates a political message. The goal of the fused metaphor is to combine two symbols into one new image. The objective of the assignment is to improve

concept development skills while learning how to create a visually appealing graphic using Adobe Illustrator. Once the graphic is completed, students work on the second part of the assignment, which is to create a magazine spread featuring their illustration. Students begin to

gain an understanding of typography for print layout in order to convey a message and capture an audience. This assignment takes approximately three weeks to complete.

Michelle Lancaster, Jeremiah Hall Bryant, Maddison Smithhart, James Holt | Spring 2018

06 ILLUSTRATION PATTERN DESIGN PROJECT

This project was created in the Illustration I course. Students are tasked with designing a series of three correlating pattern designs and must select at least one to mock up on a product design. Students must develop a design concept based on a target audience and select the product in order

to make decisions about design, scale, and detail in their patterns. Students also had to create a name and logo for their pattern to represent a product line featuring their patterns. The student on th left designed a series of cell phone cases featuring fish and ocean motifs, and

the student on the right created a reusable shopping bag featuring fruit patterns. This task also allowed for a better understanding of print processes and working with rapidly growing print on demand services.

Natalia Acosta (left), Crystal Tirawan | Fall 2019

07 HISTORY OF GRAPHIC DESIGN TIMELINE PROJECT

The objective of this History of Graphic Design project was to pick a person or historical movement from Meggs’ History of Graphic Design and create a timeline to feature important dates and events relating to the chosen subject. Students had to research additional information beyond what was provided

in the assigned textbook and submit a bibliography with their project. Because this class can be taken by students from a wide variety of majors, students can choose to design a timeline poster in a size of their choosing (such as the one displayed here), or they can create a Power

Point presentation. This allows graphic design students an opportunity to design an infographic, while not creating a disadvantage to students that are not majoring in graphic design or students that are not as far along in their graphic design course work.

Chelsi Miller | Summer 2016

08 ONE PAGE MENU PROJECT

Desktop Mobile

The goal of this Web Design project is to learn the basics of HTML and CSS by coding a one page menu site. Students use Brackets or Mozilla Thimble to write their code, and the basis of the assignment comes from the Don’t Fear the Internet tu-torials by Jessica Hische and Russ Maschmeyer. As a class, we

go step by step through the tutorials and students practice additional coding using Codecademy.com. Students learn concepts about web fundamentals and best practices, how to manipulate code, and the importance of using CSS for styling content. The LU graphic design curriculum does

not focus on web development, but this project allows stu-dents to explore the process to decide if they would like to take electives in computer science to further their studies. The course arms them with the knowledge to better com-municate with developers in future work settings.

Nhu Nguyen Tran Spring 2018 (left) | Naja Garrette Spring 2019 (right)

PhoEver

09

The Two Towers

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o To

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s

T h e L o r d o f T h e r i n g s

T h e L o r d o f T h e r i n g s

J. r. r. ToLkienPubLishing

“War must be, while we defend our lives against a destroyer

who would devour all; but I do not love the bright sword for

its sharpness, nor the arrow for its swiftness, nor the warrior

for his glory. I love only that which they defend.”

— J. R. R. Tolkien, The Two Towers

John Ronald Reuel Tolkien

He was an English writer, poet, philolo-

gist, and university professor, best known

as the author of the classic high fantasy

works The Hobbit, The Lord of the Rings,

and The Silmarillion. While many other

authors had published works of fantasy

before Tolkien, the great success of The

Hobbit and The Lord of the Rings led

directly to a popular resurgence of the

genre. This has caused Tolkien to be popu-

larly identified as the “father” of modern

fantasy literature — or, more precisely, of

high fantasy.

About The Lord of The Rings

Long ago an evil lord named Sauron wanted

to create a ring so powerful, that he could gain

control of all the lands. He eventually forged

what is called the One Ring, but through

certain circumstances, Sauron was defeated,

and to everyone’s relief, the One Ring was lost.

Many many centuries later, the One Ring even-

tually found its way to a hobbit by the name of

Frodo Baggins. However, once he obtained the

One Ring, bad things started happening, and

Frodo along with his friends decided to rid the

world of the evils of the ring. The series follows

Frodo Baggins and his dangerous journey to

destroy the One Ring and bring peace back

to his world. He faces many hardships and

battles, meets new friends and dangerous foes.

But through it all, will Frodo actually be able to

become the savior that his world needs?

The request for a sequel after the success of The Hobbit, Tolkien was

prompted to begin what would become his most famous work: the epic

novel The Lord of the Rings (originally published in three volumes 1954–

1955). Tolkien spent more than ten years writing the primary narrative

and appendices for The Lord of the Rings in which he received great sup-

port, especially from his friend C.S. Lewis. Both The Hobbit and The Lord

of the Rings are set against the background of one of Tolkien’s earlier

and popular book, The Silmarillion, but in a time long after it. Tolkien at

first intended The Lord of the Rings to be a children’s tale in the style of

The Hobbit, but it quickly grew darker and more serious in the writing.

Though a direct sequel to The Hobbit, it addressed an older audience,

drawing on the immense back story of Beleriand that Tolkien had con-

structed in previous years, and which eventually saw posthumous publi-

cation in The Silmarillion and other volumes. Tolkien’s influence weighs

heavily on the fantasy genre that grew up after the success of The Lord of

the Rings.

The Fellowship oF The Ring

Th

e Fello

wsh

ip o

F Th

e Rin

g

T h e l o R d o F T h e R i n g s

T h e l o R d o F T h e R i n g s

J. R. R. Tolkienpublishing

“All that is gold does not glitter, Not all those who wander are

lost; The old that is strong does not wither, Deep roots are not

reached by the frost. From the ashes a fire shall be woken, A

light from the shadows shall spring; Renewed shall be blade

that was broken, The crownless again shall be king.”

— J. R. R. Tolkien, The Fellowship of the Ring














high fantasy.



































the Rings.

The ReTuRn of The King

Th

e fello

wsh

ip o

f Th

e Rin

g

T h e l o R d o f T h e R i n g s

T h e l o R d o f T h e R i n g s

J. R. R. TolKienpublishing

“How do you pick up the threads of an old life? How do you

go on, when in your heart, you begin to understand, there is

no going back? There are some things that time cannot mend.

Some hurts that go too deep...that have taken hold.”

— J. R. R. Tolkien, The Return of the King














high fantasy.



































the Rings.

BOOK JACKET DESIGN PROJECT

This book jacket design project is completed during the Introduction to Graphic Design course. The objectives of the assignment are to help students learn to design in systems by creating a series of three book cover designs in a set of their choosing such as a trilogy, books by the same author, or a

set within the same genre. Lectures about the history of book printing as well as discussions on print production make up a big part of the class. The students must not use any photographs in their designs and illustrative graph-ics must not include any effects such as drop shadows or

gradients, and a lecture on the history of the object poster coordinates with this assignment. Students also create a publisher logo by generating a unique opportunity in form with two letter forms. This larger scale project takes about five weeks to complete.

Caleb LeBouef | Fall 2012

10 INDEPENDENT STUDY PROJECT

Some parents have been complaining to the principal that you do not send home �nished projects every week. You do not want your art program to be known as “craft time.” What should you do?

A. Ignore the parents. This is your art program and you are a trained art teacher.B. Talk to your principal and show them the scope and sequence for your year long curriculum. Explain why some projects take more time than others. C. Do what the parents are demanding. Send home a completed art project every week, even if the quality suffers.

One of your colleagues continually complains on Facebook about one of her students, identifying the child by name. What should you do?

A. Agree with her because everyone has a �rst amendment right to freedom of speech.B. Remind her that Facebook posts are not private. Her actions are unprofessional and she could get reprimanded for violating the teacher’s code of ethics. C. Unfriend her. You don’t want to be involved with this kind of drama.

A student from one of your classes has autism; every time he comes into your classroom he goes straight to your glue section and spends the whole art period playing with the glue bottles. What should you do?

A. Let the student do what he wants.B. Talk to the Special Education teacher and ask for suggestions as to how to engage the student more. C. Hide the glue bottles.D. Tell the other students to get him to sit down and make art.

I’m a big supporter of undergraduate research, and have su-pervised many independent study projects as well as mentored students who’ve received LU undergraduate research funding. In this project, the art education professor at LU and a col-league at UT were working on a research project that involved

the creation of a board game for students entering the field of art education. Extrapolate! is a game that allows art education students to think through various scenarios they might encounter in an art classroom at the K-12 level. I was able to help connect one of my graphic design students

with the professors to complete the entire brand identity and board game design along with seventy-two individual card designs, and a booklet/directions manual—all over the course of one semester. The game is now being shopped for publication and may go into production in the next year.

Gwendolyn Mumford | Fall 2016

011 HISTORY OF GRAPHIC DESIGN DIVERSITY AND INCLUSION PROJECT

The objective of this History of Graphic Design project titled “Questioning the Cannon” was to explore the role of diversity and inclusion in graphic design. Although Meggs’ History of Graphic Design is a well-regarded and extensive textbook on the topic of graphic design history, it has been

criticized for its lack of diversity in the designers featured in the text. In this assignment, students are tasked with analyzing the topic of diversity and inclusion in graphic design. They must select a designer that is part of an underrepresented group and create a persuasive

presentation about why this designer must be included in the next edition of the textbook. Questions students must address include: What is diversity and inclusion? How does it impact design? What other steps do you think are needed to improve diversity and inclusion in design?

Michelle Lancaster | Summer 2018

DIVERSITY & INCLUSION IN GRAPHIC DESIGN:

P r e s e n t e d b y M i c h e l l e L a n c a s t e r

Angel DeCora

W H Y D E C O R A S H O U L D B E I N C L U D E D I N E D U C AT I O N A L M AT E R I A L

L I K E M e g g s ’ H i s t o r y O f G r a p h i c D e s i g n

In addition to breaking gender and racial norms, Angel DeCora’s design helped bring authentic Native American culture into the public eye. Her interior design for the 1901 Pan-American Exposition in New York featured an American Indian-themed living room which propelled indigenous art to the mainstream media, and showcased her role in the Arts and Crafts movement.

Initial (with detail) from Wigwam Stories, 1906

These are common words in contemporary society. They carry a heavy emotional, political, and personal meaning for many people on such issues as diversity in collages, in the workplace, and the question of how we celebrate and accept the inherent differences of individuals and groups. This greatly affects how our society functions. But what do diversity and inclusion really mean?

W H AT A R E D I V E R S I T Y A N D I N C L U S I O N ?

Diversity• the condition of having or being

composed of differing elements : variety;

• especially : the inclusion of differenttypes of people (such as people of different races or cultures) in a group or organization

Inclusion• to take in or comprise as a part of a

whole or group• to contain between or within

FURTHER STEPS

Being Open-MindedOpen-mindedness stimulates cooperation and understanding, and this is essential in expanding diversity. People must be willing to be tolerant and open to new ways of thinking that they aren’t acclimated with. And –according to the Journal of Inclusive Design Education – education will not be able to cultivate creativity unless educators are able to successfully expose their students to a substantial diversity of culture that will allow their designs to speak in “different languages.”

12 BRAND IDENTITY PROJECT

GRAB YOURSELFA DOG.

Ruff night?

R

This Brand Identity course project is a large scale self-directed project. The objective is for students to learn about designing in a system by creating a brand identity for a product or service of their choosing. They must conduct market research, create a mood board, design a logo design,

build a brand guide, and create at least six assets to demonstrate the brand such as packaging, advertising, websites, mobile apps, etc. In this class, students also create client based projects and present brand identity case studies. The overall experience is a good introduction

to the thesis process, where students must create a self-directed project over the course of their last semester in order to graduate.

Justina Jennings | Fall 2012

13 POSTCARD PROJECT

“I feel that as a society, we rely completely on our devices to communicate instead of actually communicating. We spend more time checking Facebook, Twitter, and email than actually having conversations with others. Although most mail and printed materials are seen in our contemporary society as a waste, graphic designers should not reject their impact. When used correctly, they can leave a lasting impression on their audience, much more than a digital file.”

The purpose of this Introduction to Graphic Design project is to learn how to design with photography in creating both print and digital experiences. Students had to create a series of four printed postcard designs utilizing photography and image manipulation created in Photoshop. All four designs

were then recreated as a series of animated gifs. This jux-taposition of print and digital experiences was discussed and included readings from The Medium is the Message by Marshall McLuhan. The last component was for students to send their postcards to friends in both digital and print

formats and describe the experience of print vs. digital communication in a personal essay. The above text is an excerpt from the student essay that went with the dis-played postcard project.

Melissa Maddox | Fall 2012

14 PACKAGE DESIGN AND ADVERTISEMENT

arturo’sartisan soda

NO COSTUME IS COMPLETE WITHOUT IT.

Forget him

by thespoonfulfall in love with gelato Amorehunter organic & fresh honey

your tea of choice

fresh-squeezed lemon

ground ginger

fight colds, the natural way.

you will need:ginger tea

This Typography course project is an intermediate level assignment that helps prepare students for the upcoming Brand Identity course. Each student must design a packag-ing label for a cylindrical object and work to resolve a ty-pographic approach to the design of the logo and label. The

students also learn to work in systems by designing three coordinating designs of the same product, such as three different flavors as depicted in the examples here. The last component of the project is to mock up a magazine advertisement for their product design. This also allows

students an opportunity to consider copywriting as an essential part of the concept. By allowing a smaller scale project before the Brand Identity course, students are pre-pared to design more complex systems. This assignment takes about four weeks to complete.

Left to Right: Morgan Penick, Mary Catherine Wilber, Amanda Toups, Stephanie Messina, Dusti Wells | 2014–2017

15 TYPOGRAPHY AND BRAND PERCEPTION RESEARCH PROJECT

In this Brand Identity project, students had to research the following question: How do Lamar University students perceive typography? They specifically had to address the role of Comic Sans and Papyrus, two widely used typefaces, yet also two of the most despised typefaces in existence

today. By conducting surveys, interviews, and reading secondary sources, students gathered findings into a document that analyzed and displayed their findings. What they learned that was most valuable was that while many students were knowledgeable about typography,

they did not have strong opinions about typefaces such as Comic Sans and Papyrus. Often color and product quality were more important to brand perceptions. This challenged what students expected to find and helped them grapple with an abstract research problem.

Brittany Bennett (left), Michelle Lancaster (right) | Spring 2019

OU

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OA

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n order to glean the Lamar student body’s perception of two of designs most hated typefaces — Papyrus and Comic Sans —we distributed a survey to undergraduate stu-

dents across campus what typefaces they are familiar with and which they would use for dif-ferent projects. This was followed by a round of interviews where targeted questions were asked about what students look for in a brand, and about their direct opinions about the notorious typefaces in question.

Going into this project I assumed that Papy-rus and Comic Sans were relatively well-known —and hated. However, I was surprised when a majority of respondents not only did not know about those infamous typefaces, but did not know enough about the type to judge it. Implying that a typeface as refined as Times New Roman is on the same plane as Comic Sans, some inter-viewees did not see a difference between any of the presented fonts at all.

This research has opened my eyes to the somewhat disheartening reality that non-de-signers don’t pay much heed to typography and design in the products and media that they con-sume. James Cameron’s Avatar is a great exam-ple. As the saying goes, beauty is in the eye of the beholder. What designers see as horrendous, somebody may think is lovely, even typefaces that are a crime against design like Comic Sans or papyrus.

Our Goal

4

20

“I designed [Papyrus] when I was 23 years old... it was not my intent to have it be used for everything.”

— Chris Costello, creator of Papyrus

OU

R G

OA

L

A

What typefaces would you use for an event flier?

What typeface would you use to

write an academic paper?

What typefaces are you familiar with?

What typefaces do

you use most often?

What typefaces do you see the most?

5

We wanted to research non-design students' opinions on Avatar's recent re-brand, but in a non-objective way. Utilizing the survey, the old and new logos were listed as "option 1" and "option 2" and students were asked to choose which one they responded to more positively. Interestingly, the majority chose the original papyrus logo.

Original Re-Design

33.8%

27.7%

11.8%OriginalNeutral

Re-design

Which Avatar logo do You Prefer?

21

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16This Illustration I course project objective was to create an illustrative style album cover design. The students then had to expand the artwork into a wide range of media that is common for promoting music such as iTunes, Twitter, and Youtube. An interesting aspect of the project includes a

discussion about how media evolves so quickly in digital formats, and as this particular project was completed, the Youtube platform underwent a dramatic redesign, thus making the point even more clear that designers need to familiarize themselves with trends in media. The final

part of this project was to create a printed album design as either a CD package or vinyl record sleeve. This allows stu-dents to consider both print and digital craft in the final solution to their designs. This image was also published in my Plot(s) journal article Coding As Craft.

Thomas Harris | Spring 2013ILLUSTRATION FOR MUSIC MEDIA

17 WEBSITE STYLE TILE

In this Typography course assignment, students were tasked with creating a style tile for a client project. The students were given a creative brief with a company name, website audience, and client goals for the project. They were then tasked with creating a new logo for the company

and a ‘style tile’ for the website that included a focus on typographic hierarchy. Style tiles are commonly used in website design in order to get approval for a design before working on time consuming mock ups and expensive coding. Style tiles are the perfect cross

between a mood board and a full page mock up and allow clients and decision makers a clear idea of the visual design, hierarchy, colors, and textures before the project gets fully developed.

Patrcia Correa | Fall 2018

Colors

Buttons

Headline Font: Gotham Black Regular

Subhead Font: Gotham Book Regular

Modis vidis resto erum et vendenetum aliquam, utasit erios imendit repraerum cores estiae sum quae nulluptaque num excerferum volessequi culla voloreic tempor molupta tiossed ipsaniet eosapis que porecae. Lat idicill aceatur? Pudi corepe-ro isi blatur, cusam, ut eosa sit re, untio magnimusam qui nim quiscia id moluptam, ad etum et quid eatemporro et dolupta-tiae. Et dolupta tatusciatum, velitataqui beatestrum int modis reici cus pro eat.Min parum fugit volorae sandani hicitem susti imporum ut ut odigendipiet arcit arit, everum in et rendendus vendam quibus nessum nobis ea con cusciis acienimus velis aut verum sus ipis nim as dis non cus eatist, quidenimpor sequae non repero do-

This is an example of a Text Link. >>

AccessibleCommunity

ReliableModern

FriendlyInviting

PersonableTextures/Patterns

What are his ns

18 DOWNTOWN BEAUMONT BROCHURE

This project was created as a collaboration between my Brand Identity class and an Architectural History class taught in the Lamar University honors college. Students in the history class did extensive research about the Beaumont downtown and its architectural history and distilled their

findings into copy for a brochure. The research was presented to my students and they worked in two groups of three and four to develop a concept for an informative brochure with a map highlighting important buildings in the city. One design was modern and bold, and this

more illustrative approach was selected by the dean of the honors college to be printed and distributed both on campus and at the local Beaumont Visitor’s Bureau.

Marisol Lua, Kim Lowell, Ross Meche | Spring 2016

2

Settlement • 1838-1901INTRODUCTION

The city of Beaumont was chartered by the Republic of Texas in 1838 and it soon became a center of commerce for the lumber and cattle industries. Everything changed on January 10, 1901 when the Lucas No. 1 well blew in making Beaumont the center of the new oil industry. The landscape of Beaumont rapidly changed as brick and masonry low-rise buildings began popping up as the town grew. In the mid-1920ʼs the Spindletop oilfield was revived by drilling deeper wells on the edge of the Spindletop salt dome. This new period of wealth saw many high-rise buildings erected in Beaumont. With the interstate highway system and the rise of suburbia many of these beautiful buildings have been torn down, but through repurposing and some new additions by the City of Beaumont we can renew interest in our historic downtown district.

MORE Information

The City of Beaumont was chartered by the Republic of Texas in 1838. This small town on the banks of the Neches River soon became a center of commerce for the lumber and cattle industries. Many beautiful Queen Anne style homes were built in this period such as the Sanders house (1895). The first commercial section of Beaumont was Crocket Street (c. 1900) with mud streets flanked by wooden false front buildings.

Crockett Street, currently the heart of downtown nightlife, was built at the turn of the 20th century and has since been restored to its current condition. Its original purpose was to house various businesses, but it now is home to restaurants and entertainment venues such as Dixie Dance Hall and The Gig.

Spindletop I • 1901-1925The sleepy town of Beaumont changed forever on January 10, 1901 when the Lucas No. 1 well blew in just outside of Beaumont. The landscape of Beaumont rapidly changed as brick and masonry low-rise buildings began popping up as the town grew. The massive influx of people led to the construction of hotels like the Hotel Beaumont (1922) as well as many churches like the First Baptist Church (currently the Tyrrell Historical Library) (1903). This period saw Beaumont grow North and South along Main, Pearl, and Orleans Street.

In the mid-1920ʼs the Spindletop oilfield was revived by drilling deeper wells on the edge of the Spindletop salt dome as well as the discovery of new wells. This new period of wealth saw many high-rise buildings erected in Beaumont. One of the new buildings was the Kyle Building (1933), one of the finest examples of Zig-Zag Art Deco in Texas. The years of Spindletop II were characterized by the vertical expansion of Beaumont. By the end of World War II, Beaumont was a thriving urban community and supplied the nation with everything from oil to cargo ships with its new expanded port and canal system.

Spindletop II • 1925-1945 Post-War • 1945-1985In 1956, Interstate 10 was constructed in Beaumont effectively bypassing the downtown district. Coupled with the rise of suburbia, many residents of downtown Beaumont moved away. A few buildings were constructed such as the First City Building (1962) and Century Tower (1962) in an effort to keep the oil business in Beaumont, but overall the post-war period saw a decline of downtown Beaumont.

Built in the early 60ʼs, this piece of architecture was designed by renowned architect L.W. Pitts and used to serve as the First Security National Bank. The façade consists of a sun screen that was meant to both lessen cooling costs of the building and to contribute to its modern-ist style. The building currently functions as office space.

Contemporary • 1985-present

In the 1970ʼs, individuals as well as organizations such as the Beaumont Main Street Program began to rebuild interest in Downtown Beaumont. Re-adaptive use of many of the remaining historic buildings led to the return of businesses to the downtown district. One of the most intensive restorations was that of the Jefferson Theatre (1927). The Event Centre (2012) is another part of the effort to make Downtown Beaumont a center for social and recreational activities.

The Event Centre is a new construction that serves as one of Beaumontʼs finest event venues. The center features a twelve acre Great Lawn for concerts, and two and a half acre lake with a thirty-five foot fountain. As a beautifully executed piece of contemporary architecture, this building breaks up the historic buildings that keep focus on the past, and sets sights towards the future of downtown.

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Constructed in 1903, this building originally served as the home of First Baptist Church. By 1923, the congregation outgrew the church. Local entrepreneur W.C. Tyrell bought the building the same year and donated it to the City of Beaumont to be used as a Beaumontʼs first library. The structure served as Beaumontʼs main library until 1974 when a new building was constructed at 801 Pearl, and now serves as the cityʼs historical library. The structure, with its decorative art glass, pointed arches, towers, faux vaulted ceiling, and stone construction is a remark-able and well-known example of Richardsonian Romanesque Architecture.

Located at the corner of 215 Orleans Street and 387 Broadway, the Kyle Building consistently maintains its reputation as one of the most architecturally significant buildings in downtown Beaumont. It is a prime example of the Zig-Zag Art Deco style. The Kyle Building was designed as a retail storefront by Babin & Neff and built by Wesley and Brudge Kyle in 1933. Its exterior features limestone, terracot-ta, and aluminum ornamentations, diffused glass, and oak doors. The building hosts 11 storefronts and is commonly referred to as the Kyle Block due to its modularized structure. Since its emergence, the building has undergone two restorations, once during the 1980s and a second time in 2005.

Effie Sanders Cottage, 495 Pine Street, 1889

Hall and Hall Building, 278 Pearl Street, c. 1900

Levy Rosemont Hotel, 441 Orleans Street, 1893

Hotel Beaumont, 700 Pearl Street, 1922

Temple Emanuel, 1120 Broadway Street, 1923

Stedman Fruit Company, 490 Park Street, 1923

Texas Workforce Building, 304 Pearl Street, 1962

Beaumont Downtown Library, 801 Pearl Street, 1973

Gulf States Utility Building, 350 Pine Street, 1982

Jefferson Theatre, 345 Fannin Street, 1927

Edson Hotel, 301 Pearl Street, 1929

Julie Rogers Theatre, 700 Pearl Street, 1928

Art Museum (AMSET), 500 Main Street, 1987

Beaumont Convention Center, 505 Willow Street, 2007

The Laurels Event Center, 1515 Calder, 2015

Calder Ave

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1838-19011901-1925

1925-19451945-1985

1985-present

Restaurants

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Sanders Building479 Pine Street

Wells Fargo Building909 Laurel Street

Saint Anthony Cathedral Basilica700 Jefferson St

San Jacinto Building595 Orleans Street

Jefferson County Courthouse1149 Pearl Street

Coale Building 461 Bowie Street

Packard LaPray Law Office building 1240 Orleans Street

American National Bank Building 510 Park Street

Goodhue Building398 Pearl Street

Crockett Street Block , 200 Block of Crockett StreetTyrrell Historical Library, 695 Pearl Street

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Kyle Building, 387 Broadway Street First Security National Bank, 505 Orlean St

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Petroleum Building550 Fannin Street

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Jefferson St

1 - Sugaʼs Deep South & Jazz Bar

2 - New York Pizza & Pasta 3 - Hamburger Depot

4 - Green Light Kitchen

5 - Chuckʼs Sandwich Shop

6 - Two Magnolias 7 - This Fit Fuel

Museums1 - Fire Museum of Texas

2 - Texas Energy Museum

3 - Art Museum of Southeast Texas

4 - Thomas Edison Museum

5- Beaumont Childrenʼs Museum

6 - Tyrrell Historical Library

The Event Centre, 700 Crockett Street

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INFORMExploreEXCITEDOWNTOWN BEAUMONT

We would also like to thank the following people for generously providing their time and professional knowledge about Beaumontʼs history:

Brenda Jackson, Charles Bollich, Judith Linsley, David Worsham, Penny Clark, Tom Bell, Chris Boone, Steven Lewis, and Don LaBiche.

American National Bank Building470 Orleans Street

Restaurants Museums Explore Events

Sugaʼs Deep South & Jazz BarUpscale Southern Dining409-813-1808461 Bowie Street

New York Pizza & PastaTraditional Italian American Fare409-832-7032790 Neches Street Hamburger DepotThe Best Thing Since Ground Beef409-838-3700790 Neches Street

Green Light KitchenHealth-Conscious Fare & Craft Beer409-347-7284350 Pine Street (Located inside Edison Plaza)

Chuckʼs Sandwich ShopTraditional American Cuisine409-832-7072486 Pearl Street

Fire Museum of Texas, 400 Walnut StreetThe FMOTʼs collections include an impressive compliment of firefighting

apparatus and equipment from the 19th and early 20th centuries. You will be amazed to see hand-cranked aerial ladders, life safety nets, nozzles,

extinguishers, telegraph equipment, and more!

Texas Energy Museum, 600 Main StreetExplore the fascinating world of petroleum science from the formation of oil to the geology surrounding it, and discover the beginnings of Texas oil industry as historical characters share their adventures of the great Spindletop Gusher of

1901.

Art Museum of Southeast Texas, 500 Main StreetThrough unique collections, exhibitions, public programs and outreach in the visual arts, the mission of the Art Museum of Southeast Texas is to provide

education, inspiration and creative vision throughout Southeast Texas.

Thomas Edison Museum, 350 Pine StreetThe Thomas Edison Museum is dedicated to Thomas Alva Edison. The museum

interprets Edison through interactive exhibits. Housing over 1,400 artifacts, this museum is the only facility of its kind west of the Mississippi River.

Beaumont Childrenʼs Museum, 701 Main StreetBeaumont Childrenʼs Museum inspires children and families to learn about

themselves and our culturally diverse world through a unique environment of interactive exhibitions and programs.

Tyrrell Historical Library, 695 North Pearl Street

The Tyrrell Historical Library is a historical and genealogical library, with a comprehensive local history archives, located in Beaumont, Texas.

Performing Arts

The Julie Rogers Theatre for Performing Arts 765 Pearl Street

The Jefferson Theatre 345 Fannin Street

Beaumont Civic Center 701 Main Street

The Event Centre 700 Crockett Street

Government Facilities

Jack Brooks Building 300 Willow Street

Jefferson County Courthouse 1149 Pearl Street

Beaumont City Hall 801 Main Street

Beaumont Public Library 801 Pearl Street

Houses of Worship

Ebenezer Missionary Baptist Church 675 College Street

First United Methodist Church 701 Calder Avenue

Saint Anthony Cathedral Basilica 700 Jefferson Street

Saint Mark Episcopal Church 680 Calder Avenue

Temple Emanuel 1120 Broadway Street

Parks & More

Beaumont Rotary Centennial Playground 600 Crockett Street

Beautiful Mountain Skate Park 999 Laurel Avenue

Great Lawn, Track & Lake at the Event Centre 700 Crockett Street

Riverfront Park 805 Main Street

Classic Movie NightsHeld every Friday at the Jefferson Theatre

Dog-tober FestHeld every Fall

Southeast Texas SymphonyConcerts held year-round

Junk Days at BAW ResaleSecond weekend of every month

A Very Merry Main Street MarketHeld every December

The Gusher MarathonHeld every Spring

Julie Richardson Procter 5K Ribbon Run Color RushHeld every Fall

Boomtown Film & Music FestivalHeld every Spring

Beaumont PrideHeld every Summer

For a complete list of upcoming events, visit www.discoverbeaumont.com.

acknowledgementsWe would like to thank the Wayne Reaud Honors College

and Dr. Kevin Dodson for sponsoring this class and the Department of Art for aiding with the design and publication.

We also want to extend our gratitude to the professors, Richard Gachot (Local Architecture) and Sherry Freyermuth (Graphic Design) who guided the production of this project. Lastly, we would like to recognize the following students

from the Honors Local Architecture class: Emily Blanke, Emily Brown, Zachary Defrancis, Tyler Doiron, James Ellis, Rebekah Gonzales, Alejandro Gonzales, and

Jacob Martin Finally, we would like to recognize the students from the Graphic Design class: Jade Freedman, Kim Lowell, Marisol Lua, Ross Meche, Gwen Mumford, Eddie Rohrs, and Cameron Uresti

Two MagnoliasSpecialty Sandwiches & Wraps409-833-5913500 Main Street

This Fit FuelHeart Healthy Cuisine for Picky Eaters409-273-0607730 Liberty Avenue

Katharine & CompanyGourmet Take-Out & Catering409-833-99191495 Calder Avenue

Richardʼs CaféSoul Food409-835-70631087 Magnolia Street

19 INTERNSHIP EXPERIENCE

Students in the Department of Art at Lamar University are encouraged to do an internship before they graduate. I supervise all graphic design internships receiving course credit. In the course, they must have three meetings and submit questionnaires for each meeting as well as submit

an essay and portfolio at the end of the semester. Our students intern all over the country, such as the student who created the left poster while interning for Toni&Guy in Los Angeles. Additionally, we have many students who intern locally, and we are proud to have graphic

design students interning all across campus in offices such as marketing, distance education, alumni relations, athletics, the rec center, and the Dishman Art Museum.

Jade Freedman (left) Summer 2016 | Chelsi Miller (right) Spring 2017

20 DOWNTOWN BEAUMONT MOBILE APPLICATION

In this Web Design project, I used the data collected from the Downtown Beaumont brochure project (project 17 in this document) to have students create a mobile application. The goal in this case was to create an app that would bring more awareness to Beaumont’s downtown area, which

is experiencing a recent revitalization. Many locals, however, do not know about the great events, dining, and museums that are there. Working in teams of 4-5, each group had to do research in the form of interviews, creating personas, and creating empathy maps. This

group created a social app called Prism that would highlight events, entertainment, and dining. By having all of this information in one place, it allows users easy access to all the downtown happenings.

Susannah Williams, Darius Johnson, Marisol Lua, Jade Freedman | Spring 2016

USER TASK FLOW LOGIN/SIGN UP

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LO-FI WIREFRAMES ROUND 2

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PROTOTYPE

Documents

Student Work Portfolio - sherryfreyermuth.comsherryfreyermuth.com/wp-content/uploads/2019/10/Freyermuth_Stud… · Student Work Portfolio. 01 In the summer of 2016, I was awarded