STUDIO 323

lauranick

waynekellie

andrealinda

addrieneben

benjaminmary

BOUSMANBURKETTCORBETTDUFFFUHRMANFUNGHALLKIEHLMITCHELLNGUYEN

GRAPHICDESIGNTHE UNIVERSITY OF SOUTH CAROLINA

BFA

class of 2010-2011

HI

toc toctab leofcontents

academics05 degree requirements

07 courses

09 portfolio review

community13 faculty

21 alumini

resources59 aiga sc

65 internships

67 locations

69 the library

71 links

73 contact us

studio 32325 general information

27 student profiles

47 student work

53 showcase

MISSION STATEMENT

The graphic design program teaches the theory, history and practice of visual

communications design by providing students a firm foundation in formal and conceptual

design. Our courses cover publication and editorial design, logo design and branding, packaging,

illustration, poster design, multimedia, motion graphics and interactive design.

the criminal,like the artist,is a social explorer.

// david carson

academics .05 degree requirements

07 courses

09 portfolio review

05

06

Core Studio Art Classes ARTS 102: Visual Arts Computing ARTS 103: Fundamentals of ArtARTS 107: Color TheoryARTS 111: Drawing IARTS 112: Drawing IIARTS 260/261: Photography (or equivalent photography course)Note: Candidate must complete foundation requirements before moving to advanced course work.

Graphic Design Concentration ARTS 245ARTS 246ARTS 265ARTS 345ARTS 346ARTS 445ARTS 446ARTS 447ARTS 545

Studio Art Electives (15 hours): ARTS 448+12 hours ARTS 200+ level courses

Cognate Requirements (12 hours):ARTH 300/500ARTH 300/500

Note: Cognate may be replaced by non-studio art minor. Senior Portfolio Preparation. (3) Advanced studies in professional presentations, professional interviews, and graphic design business topics. B.F.A. majors only. This class must be passed in order for a B.F.A. to graduate. (Prereq: ARTS 346)

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Graphic Design I. (3) The basics of visual communication, including formal issues, fundamental communication principles, image development, and relevant digital applications. Studio art majors and graphic design minors only. (Prereq: ARTS 102 and 103)

Graphic Design II. (3) Continuation of ARTS 245, with the addition of typography and word/image relationships. Relevant digital applications. Studio art majors and graphic design minors only. (Prereq: ARTS 107 and 245)

Beginning Illustration. (3) Basic illustration projects emphasizing principles of visual communication, development of resource material, composition and preparation of sketches, comprehensives, and finished illustrations in a variety of media. (Prereq: ARTS 103, 111, 112, or consent of instructor.)

Visual and Verbal Interaction. (3) (Intermediate level exploration of type and image in a variety of visual communication prob-lems employing a variety of media. Design majors only. (Prereq: Portfolio Review acceptance, ARTS 246, and ARTS 260 or 261)

Series Development and Practice. (3) Development of complex visual communication projects that involve problem-seeking and problem-solving and result in works with multiple elements. Discussion of current visual communication issues. Design majors only. (Prereq: Portfolio Review acceptance, ARTS 345)

Time and Sequence. (3) Advanced visual communication projects involving time and sequencing with both visual and verbal elements using a variety of media. Design majors only. (Prereq: ARTS 346)

Structures. (3) Advanced exploration of visual structures, both 2D and 3D, in visual communication problems. Design majors only. (Prereq: ARTS 445)

Senior Project I. (3) Individual final project in graphic design. (Prereq: ARTS 346)

Design Internship. (3) Work experience at a visual communication place of business. Design majors only. (Prereq: ARTS 346)

available fall only available spring only available both semesters

General Education The University of South Carolina requires a diverse range of courses as part of their Undergraduate Core Requirements. Courses range from writing, foreign language, history, mathematics, lab science, philosophy and social science.

The University of South Carolina is currently making changes to its Core requirements as is the Art Department to the requirements for the BFA and BA degrees. The most current and accurate requirements will always be found online on the official University Undergraduate Bulletin at http://bulletin.sc.edu.

Listed here are many of the classes graphic design students will be required or encouraged to explore as part of their experience and education in the graphic design program in the Art Department. A slightly modified curriculum is expected in Fall 2011.

Gra

phic

Des

ign

BFA

Deg

ree

Cour

se R

equi

rem

ents

BFA Degree Suggested Course Progression

fall springcore corecore corecore coreARTS 102 ARTS 107ARTS 103 ARTS 111

fall springcore corecore corecore ARTS electiveARTS 112 ARTS 260ARTS 245 ARTS 246

fall springcore corecore coreARTS elective ARTS elective ARTS 265 ARTS elective ARTS 345 ARTS 346

fallcognateARTS 447ARTS 448ARTS 545

fall springcore corecore corecognate cognate ARTS elective cognateARTS 445 ARTS 446

year 1

year 2

year 3

year 4

year 5

07

08

PO

RTF

OLI

O R

EVIE

W

Having a limited number of design students creates a cohesive group, which is vital to a successful design curriculum. Design is a collaborative profession with both production and creative development aspects. In order for students to have the most effective learning environment, they need to feel part of one class, one group, which undergoes the same experiences at the same time. This develops skills for working in groups and reinforces the magnitude of maintaining these types of relationships beyond school and in the professional world where networking and connections are vital.

The portfolio itself is a compilation of work completed in the ARTS 245 and ARTS 246 classes with improvements based on feedback that the student has received from verbal and written critiques throughout the year.

The two-hour project and the vocabulary test will be assigned and completed on separate class periods during the week of class. The vocabulary test is made up of terms learned in ARTS 245 and 246 including both typographic and image-making terminology. The test results will be available for the students the day of portfolio review, however, the vocabulary test has no impact on the grade earned in the ARTS 246 class. Therefore minors who are not planning to submit a portfolio for review are not required to take the test.

Each of the three components will be evaluated on a 100-point scale. In order to pass the portfolio review you must receive an average of 83 points (B) or better in all there areas combined. However, that does not guarantee your acceptance. If more than 22 students receive a grade of 83 or above, only the top 22 will be accepted. In the event of ties, the reviewers will look back at the student’s combined grade point average earned in both ARTS 245 and ARTS 246. Because the University does not use a minus scale and the graphic design classes do, the grades will be converted back to the original grade percentage and then averaged.

During the review there are three reviewers, Stephanie Nace, professor; Marius Valdes, professor and an invited practicing designer. They will evaluate portfolios on the areas of concept, image-making, typography and craft. Each student will receive an evaluation sheet with their returned portfolio so that they can see areas that need to improve.

The objective of the Portfolio Review is to limit the number of students in the program so as to strengthen the quality of it’s student base, create value through a program that must be earned rather than given, and improve the quality of teaching by being able to focus the classes.

No more than 22 students will be accepted into the program each year, but that does not guarantee that many students will pass. Portfolio Review is evaluated on three separate components; a portfolio of work, a two-hour project, and a vocabulary test.

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0

communi ty.13 faculty

21 alumini

we’re supposed to be the people that make culture,not decorate culture.

// james victore

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Stephanie Nace joined the Department of Art in 2002. She teaches both upper and lower

level classes and supervises the design program.

Professor Nace received her BA in Graphic Design from Penn State and her MFA from

Kent State in Visual Communication Design. In addition to teaching, Stephanie is the co-

owner of froglegs studios.

Her most recent works include 3D paper structures, artist books, exhibition signage and

public awareness posters. Her poster Diversity is Freedom was recently chosen by the

AIGA World Day of Design committee.

STEPHANIE NACEAssociate Professor

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Marius Valdes was born and raised in Charleston, South Carolina. He received his BFA

in Graphic Design from the University of Georgia and his MFA in Visual Communication

from Virginia Commonwealth University. He has shown his artwork in exhibitions in

Colorado, Georgia, Los Angeles, South Carolina, and Virginia in addition to private and

commercial commissions from across the United States. Valdes’ commercial artwork

has received awards from design publications including Print and Communication Arts,

and professional organizations such as the Advertising Federation of Charleston, and

the American Institute of Graphic Arts. Valdes currently lives in Columbia, SC where

he is an Assistant Professor of Graphic Design at the University of South Carolina. See

more of his work at www.valdescreative.com and www.zoovaldes.com.

Illustration by Aaron Magee

MARIUS VALDESAssisstant Professor

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Nikki Villagomez proudly joined the USC Department of Art in spring ‘05.

Nikki received her BFA in Graphic Design from Louisiana State University. After

graduating from LSU she moved to New York City and began working as a junior

designer for Hearst Magazines. After being promoted twice within her two years at

Hearst, she accepted a job as Promotion Designer at Women’s Wear Daily (WWD), a

Business to Business magazine owned by Fairchild Publications. She worked a year

in this position before her husband’s job moved them back to South Carolina where

she grew up.

Upon moving back to South Carolina, Nikki started the South Carolina chapter of the

American Institute of Graphic Arts, the 49th chapter of AIGA. As the president of this

organization, she was responsible for getting the speakers, organizing each monthly

event and overseeing any creative that was produced. Currently Nikki is a full time

freelancer in Lexington, SC.

NIKKI VILLAGOMEZAdjunct Instructor

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Maria Fabrizio is a boomerang.

Maria was born in Columbia, South Carolina. She moved to Greenville to attend the

Governor’s School for the Arts and Humanities and then returned to Columbia to earn

her BFA in Graphic Design from the University of South Carolina in 2008. She just

completed her MFA in Visual Communication and Graphic Design at Virginia

Commonwealth University in May of 2010 and has returned to USC to teach classes

for upper and lower level design students.

Maria has also returned to work as a designer at RIGGS Partners, where she worked

prior to graduate school and she serves on the board for South Carolina AIGA as the

education chair.

Maria’s design work focuses on tactile relationships, the value of process and how

creative writing can further visual communication. To view her thesis visit the VCU

digital archive or her current work visit www.mariafabrizio.com.

MARIA FABRIZIOVisiting Professor

Kimi Maeda is a theatre artist.

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stud io 323 .25 general information

27 student profiles

47 student work

53 showcase

insert a clever design quote thatwe obviously cameup with.

// the 2010 class

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Located on the third floor of McMaster, Studio 323 is the senior studio space which students are given access to once they reach the 400 level classes in the BFA progression. Basically, we live here.

EVERYTHING HAS BEEN MADE BY A DESIGNERconcentration :: graphic design**

name :: laura bousman*

* when i am not myself, i am loemae. she is much more creative than i. she is from Connecticut but wants to live in California.**a concentration, which is a career choice, is one that forms over time. calling it your major is not enough. calling it your passion is not enough. it is much, much more. just as existence is too much to understand, as is design. design is everything. when you pursue design, you pursue visually changing the world you live in and your perspective towards it all. a picture becomes a thousand words, the moon is your best friend. the world we live in is art. the people around you are art. design is your art. so really, you are an artisan of the world. after all, everything we see, all that we touch, the roads we walk on, the costumes we wear, have all been created by a designer.

How can you look at the world around you without longing to create?

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EXPERIME_TATION

LEADST_

I_NOVATION

Wayne Corbett

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hello.

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ity, M

D

design is :: a bunch of little monsters constantly running around in your head. They’ll drive you crazy but you would miss them if they ever left you.

advice :: work your ass off.

fell in love :: I thought I got into design by doing layout for my high school newspaper. I didn’t understand what design actually was until I got to college.

favorite part of the program :: taking home the W. portfolio review is a lot of work and it sucks at the time but getting in makes it all worth it.

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I am only me.

I’m just not sure, entirely, who ‘me’ is.

Today, I do not know who I want to be, where I want to go, what I want to do, or how I’ll even get there.

But it’s a journey I wish to take, because the options seem limitless and the time short. when I was younger I wanted to be a musician,

music teacher, teacher, doctor, nurse, artist, art teacher,

princess, geologist, archeologist, pharmacist, a singer, actress, mother…

when I was younger I wanted to be a grown-up.

Design is a beautiful, ingenious field that molds and constructs itself in various forms. And like us, it changes and adapts to the times and has a spirit of its own. It wraps across your contours and gives life to inanimate objects and a heart to the most trivial of things; teetering on a thin wire of lust, conviction, and life. Design has it’s own pulse; its own heartbeat. And we, as designers, give it life.

So treat it with the upmost care and diginity.

It is the message and you are the messenger.

Born and raised in Columbia, SC.

As for design…ANDREAFUHRMAN, 21

linda

fungcreate.experiment.explore.

indulge. create again.

19MY HUMBLE ABODE // lexington, south carolina

WHY USC? // i don’t know. why not? why leave

when design is everywhere around you?

INSPIRATION TO BECOME A DESIGNER // my photoshop

teacher in high school was the first to tell me

that she believed that i could become a great

graphic designer. ever since then, that’s all i

want to be.

89DREAM JOB // designing for fuzzco, modern dog, or arlo

JOB FROM HELL // serving’s definitely number one. that

and working for a sign & banner company that

believes clip art and templates should even exist

INTERESTING FACT // i’ve decided to become a flight

attendant after i graduate before i settle down

with becoming a designer so i can live both dreams

graphic

designer

FAVORITE ASPECT OF DESIGN // typography....

typography....typography...and typography

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MY WORK

why carolina:I’ve never been very good at making big decisions, so, it basically came down to who was going to give me the most scholarship money. Carolina won the coin toss and here I am.

why graphic design:A similar story: I came into the university undeclared, with my only certainty being that I wanted to minor in music. I met a cheerleader on a band trip who told me about the design program. I didn’t really have any other solid leads, so I figuredI’d go for it and see what would happen. Over the course of the past four years, I’ve been able to see that God had been preparing me for this career all of my life; from my Grandfather’s hand-made signs, to my middle school art awards, to years of playing in photoshop never knowing I’d actually use those skills.

from: Columbia SCage: 22 alias: House

now:I graduate in December 2010 with a minor in music and a BFA in graphic design. Though the real world is about to slap me in the face, I’m confident that I can take everything I’ve learned and make myself marketable. I don’t worry about tomorrow, for tomorrow will worry about itself.

advice for prospectives:If you’re not a perfectionist, if you can’t sit at a computer for more than 2 hours, if you don’t picture yourself working 60 hours a week, and most importantly, if you don’t love creating: GET OUT WHILE YOU STILL HAVE LIFE! On the flip side, if somebody had said that to me four years ago, I would have never made it to where I am today. All that to say, go for it and give it your best, because your personal best is all anyone can ever ask of you.

mitchelldesignstudios.com

theinitiativeF O R S O U T H C A R O L I N A ’ S F U T U R E

newheightschurch printnow browncowgamecockdesign

J Sneaksdesign your feet

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Having grown up along the beach, I am a South Carolina native. USC seemed the obvious choice for college because it not only offered a diverse community, but it also provided a multitude of opportunities. Another plus was the fact that it was close enough to my family and home in Myrtle Beach. I always knew I wanted to be some type of designer because of my passion for art and graphic design seemed to fit the bill. At 21, I’ll soon be graduating in May 2011. I am not sure where design will take me, but I know I will be ready to take on the real world when the time comes-as scary as it may seem. Design itself cannot be sugarcoated. It can be difficult, tedious, and even murderous at times, but the feeling of accomplishment is priceless. If there can be any advice offered for future design students, it is to take care of yourself for you will endure many sleepless nights and more importantly, the ultimate challenge of pushing yourself as both an individual and as a designer.

Laura BousmanARTS 447: Senior ProjectStudents had to create a series of comic book covers for either Marvel or DC Com-ics. They were then also to create a poster and an ad to promote the series release. Laura chose to design her covers for the Silver Surfer comic series.

Kellie DuffARTS 246: Graphic Design IIThis course mainly focuses on typog-raphy. This assignment was to create an identity systems for an imaginary business. This system is for a doggy day care and obedience school.

> > > > >

> > > > >Andrea FuhrmanARTS 245: Graphic Design IThis course is an introduc-tion to design. For this project, students created CD covers for a specific song. This cover is made entirely of cut paper. >

>>

diversities and

contradictions // break the rigid

boundaries and stop making

sense // just celebrate the freedom and play

BRACE

EM

diversities andcontradictions // break the rigid

boundaries and stop making

sense // just celebrate the

freedom and play

Nick Burkett (left)Ben Kiehl (right)ARTS 346: Series DevelopmentEvery year, the graphic design juniors participates in a poster competition for the First-Year Reading Experience poster at the Univsersity. Students are asked to design a poster to be placed around campus.

nutrition

ALMONDScontain monounsaturated fats which provide essential fatty accids known as omega-3s and omega-6s that pro-duce an alert mental state and im-prove focus. Almonds are perfect as a mid afternoon snack. Grab a handful and take them to work with you in a snack cup or baggie

1960 1980Po ts

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a n e r a t h a t c a l l e d f o r a c l i m a t e o f c u l t u r a l c h a n g e .

a d e s i g n t h a t c h a l l e n g e d o r d e r a n d c l a r i t y o f mo d e r n d e s i g n .

a p e r s

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R ET RO &V ER N AC U LA R

EARLY SWISS.N EW-WAVE

R ET RO &V ER N AC U LA R

CHRISTOPH RADL AND VALENTINA

GREGO CREATED A SERIES OF LOGO

DESIGNS FOR MEMPHIS. THE MEMPHIS

VOCABULARY OF FORM AND PATTERNS WAS

GIVEN TYPOGRAPHIC EXPRESSION.

1980

MICHAEL VANDERBYL CREATED A PROMOTIONAL MAILER FOR SIMPSON PAPER COMPANY.

HIS DIAGONAL PLACEMENT, TEXTURED LETTERFORMS, AND MIXED FONTS ECHOED THE

UNINHIBITED VIGOR OF THE ITALIAN DESIGN STUDIO MEMPHIS.

1985

PAULA SCHER’S, “GREAT BEGINNINGS” SPREAD FOR KOPPEL

& SCHER PROMOTIONAL BOOKLET CONSISTED OF FREELY

COMBINED AND REINVENTED ELEMENTS OF TYPOGRAPHIC IDEAS,

PARAPHRASED RUSSIAN CONSTRUCTIVISM, FUTURISM, AND DADA.

1984

LORRAINE LOUIE AND SUSAN MITCHELL CREATED THE COVER FOR THE QUARTERLY, A SERIES WHICH INCLUDED

A VAST INVENTORY OF COLORFUL SHAPES ORGANIZED WITH AN UNERRING SENSE OF BALANCE.

1987

CHRISTOPH RADL AND VALENTINA

GREGO CREATED A SERIES OF LOGO

DESIGNS FOR MEMPHIS. THE MEMPHIS

VOCABULARY OF FORM AND PATTERNS WAS

GIVEN TYPOGRAPHIC EXPRESSION.

1980

MICHAEL VANDERBYL CREATED A PROMOTIONAL MAILER FOR SIMPSON PAPER COMPANY.

HIS DIAGONAL PLACEMENT, TEXTURED LETTERFORMS, AND MIXED FONTS ECHOED THE

UNINHIBITED VIGOR OF THE ITALIAN DESIGN STUDIO MEMPHIS.

1985

PAULA SCHER’S, “GREAT BEGINNINGS” SPREAD FOR KOPPEL

& SCHER PROMOTIONAL BOOKLET CONSISTED OF FREELY

COMBINED AND REINVENTED ELEMENTS OF TYPOGRAPHIC IDEAS,

PARAPHRASED RUSSIAN CONSTRUCTIVISM, FUTURISM, AND DADA.

1984

LORRAINE LOUIE AND SUSAN MITCHELL CREATED THE COVER FOR THE QUARTERLY, A SERIES WHICH INCLUDED

A VAST INVENTORY OF COLORFUL SHAPES ORGANIZED WITH AN UNERRING SENSE OF BALANCE.

1987

1961

WOLFGANG WEINGART, WHO HAD

ALREADY COMPLETED AN APPRENTICESHIP

IN TYPOGRAPHY AND STUDIED ART, ARRIVED IN

BASEL FROM SOUTHEASTERN GERMANY

TO STUDY WITH EMIL RUDER.

1964

BRUNO MONGUZZI, A DESIGNER,

TEACHER, AND TYPOGRAPHER,

BEGAN HIS CAREER AT

STUDIO BOGGERI

IN MILAN.

SIEGFRIED ODERMATT DESIGNED A TRADEMARK FOR THE UNION

SAFE COMPANY, WHICH WOULD BECOME THE ANTITHESIS OF

SWISS DESIGN. THE LETTERFORMS OF THE WORD UNION FORMED

A COMPACT UNIT, WHICH SUGGESTED THE STURDY STRENGTH OF

THE COMPANY, SACRIFICING LEGIBILITY IN THE PROCESS.

1966

WEINGART SET OFF IN A NEW DIRECTION, TURNING TOWARD OFFSET PRINTING

AND FILM SYSTEMS. HE USED THE PRINTER’S CAMERA TO ALTER IMAGES AND

EXPLORED THE UNIQUE PROPERTIES OF FILM IMAGE. HE BEGAN TO MOVE

AWAY FROM PURELY TYPOGRAPHIC DESIGN AND EMBRACED COLLAGE AS

A MEDIUM FOR VISUAL COMMUNICATION.

1970

WEINGART TRAVELED TO AMERICA AND DELIVERED

PRESENTATIONS AT EIGHT PROMINENT DESIGN SCHOOLS.

HIS NEW DESIGN SENSIBILITY FELL ON FERTILE SOIL.

1972

PUBLICATIONS OF DAN FRIEDMAN’S WORK

IN THE JOURNAL VISIBLE LANGUAGE, HAD

A WIDESPREAD INFLUENCE ON TYPOGRAPHIC

EDUCATION IN THE UNITED STATES AND

OTHER COUNTRIES.

1973 AN APPLICATION OF THE

ARCHITECTURAL TERM

POSTMODERN TO DESIGN WAS

A CHICAGO EXHIBITION BY BILL

BONNELL: POSTMODERN TYPOGRAPHY:

RECENT AMERICAN DEVELOPMENTS.

1977

ONE OF THE EARLIEST USES OF THE TERM ‘POSTMODERN’ IN

RELATION TO DESIGN IN THE GENERAL SENSE APPEARED

IN THE BRITISH MAGAZINE, DESIGN.

1968

1961






1964



BEGAN HIS CAREER AT

STUDIO BOGGERI

IN MILAN.






1966






1970




1972 PUBLICATIONS OF DAN FRIEDMAN’S WORK

IN THE JOURNAL VISIBLE LANGUAGE, HAD

A WIDESPREAD INFLUENCE ON TYPOGRAPHIC

EDUCATION IN THE UNITED STATES AND

OTHER COUNTRIES.

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AN APPLICATION OF THE

ARCHITECTURAL TERM

POSTMODERN TO DESIGN WAS

A CHICAGO EXHIBITION BY BILL

BONNELL: POSTMODERN TYPOGRAPHY:

RECENT AMERICAN DEVELOPMENTS. 1977




1968

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BEGAN HIS CAREER AT

STUDIO BOGGERI

IN MILAN.






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Mary NguyenARTS 346: Series DevelopmentDuring this class, each student created their own start-up magazine. They were responsible for the content, photography, illustrations and design. This spread is for a health and wellness magazine.

> > > > >Wayne CorbettARTS 415: ScreenprintingThis project was to complete a two-color screenprint poster. Wayne chose to put his own spin on VH1’s Save the Music Campaign.

> > > > >

Ben MitchellARTS 446: StructuresThis poster was created for the Haiti Poster Project. Each student in the class submitted a poster.

> > > >

Mary Nguyen (left) & Linda Fung (right)ARTS 445: Time & SequenceFor this project, students created posters which served as timelines for a specific era in graphic design history.>

>

Ben KiehlARTS 346: Series DevelopmentThis is a spread from Ben’s start-up magazine created in this class. His magazine focused on the circus.

> > > > >

T H E B E A T L E Strubute concert

shea stadium, nyc

december thirty �rst 2010

7 5 4 7 0 0 8 2 3 3

$3.75

Linda FungPositive Poster CompetitionIn their senior year, the stu-dents were asked to enter professional design com-petitions. The theme of this entry for the was “a glass half full”. Students were able to chose two competi-tions to enter on their own.

> > > >

Kellie Duff (left) & Adrienne Hall (right)ARTS 346: Series DevelopmentThese two covers are for the start-up magazines Kellie & Adrienne created in this class. Both are covers for travel magazines.

>>

Andrea FuhrmanARTS 246: Graphic Design IIThis project was to research a famous designer and create a poster in their style. Each student was assigned a dif-ferent designer and shared their re-search in a presentation.

>>>>

Adrienne HallARTS 415: ScreenprintingThis assignment was to create a half-tone poster. Adrienne chose to create a band poster.

> > > > >

Ben MitchellFreelance DesignStudent are encouraged to do freelance in addition to the required internship. This project shows that passion is key to a designer’s work.

>>

>

* Please note that class proj-

ects are subject to change

every semester. The projects

shown will not always be a

part of the cirriculum.

Laura BousmanARTS 265: Illustration IFor this project, Laura illustrated the Beatles and designed a poster for a Reunion Tour.

> > > > > >

SHO

WCA

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EVERY YEAR, THE GRAPHIC DESIGN JUNIORS & SENIORS PUT ON A GALLERY SHOW OF THEIR WORK.

THE SHOW IS AN OPPORTUNITY FOR STUDENTS TO DISPLAY THEIR WORK FOR THEIR FAMILY & FRIENDS.THE STUDENTS ARE SOLELY RESPONSIBLE FOR THE THEME, COORDINATING, & SETTING UP THE SHOW.

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56“This is a really great show, I think you guys are doing a great job. I see a lot of potential and talent in all of your work. Keep it up!” - Kevin Archie, Graphic Design Alumni

69 the library

71 links

73 contact us

resources .59 aiga sc

65 internships

67 locations

never fall in love with an idea. they’re whores: if the one you’re with isn’t doing the job, there’s always, always,always another.

// chip kidd

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AIGA is the statewide, local chapter of AIGA, the professional association for graphic design. Since 2004 AIGA South Carolina has striven to stimulate, enhance, and develop the graphic design profession in South Carolina. The association has been a host to many inspirational speakers including Chip Kidd, James Victore, Michael Beruit, Sean Adams,

Sagmeister, and most recently Ellen Lupton. Another large part of AIGA South Carolina’s programming are the educational events and programs, workshops, lectures, and student events such as the annual portfolio review. Each spring, the local chapter sponsors a portfolio review for design students in South Carolina, giving them an opportunity to get feedback from local and national professionals. InShow is AIGA South Carolina’s annual design competition. It was

originally started by the Columbia Communicating Arts Society and taken over by AIGA South Carolina in 2004. Initially, InShow was created to highlight only professional work in the Columbia area. In 2004, a category for students was added and in 2005, the call for entries was extended to the entire state of South Carolina. As one of the few state chapters in the association, AIGA South Carolina strives to create a design community of both beginning and more seasoned

designers. Its current initiative is to unite the four corners of the state in design and to help designers form the periphery of society to the center. AIGA South Carolina members include professionals, teachers, students, in-house designers and agency art directors. The organization offers several different membership levels for professionals, students and faculty. Becoming a member gives you access to a wide range of both local and national benefits.

ABOUTAIGASC MEMBERSHIPBENEFITS// Free admission to all AIGA South Carolina events // Discounted entries for InShow// Receive a 15% discount on all purchases from the Adobe Store// Receive discounts and exclusive promotions from Apple// Get a complimentary copy of AIGA’s Design Annual, 365// Free access to AIGA’s member-only publications and web sites// Support AIGA in efforts to advocate the importance of design in its economic, social, political, cultural and creative contexts

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PASTSPEAKERS3 Dogz CreativeAlex IsleyAndy Cruz, House IndustriesBill Grant, Grant Design CollaborativeChip KiddChris Bilheimer, REMEd Murietta, Cartoon NetworkEllen Lupton

Frank ChimeroJakob TrollbackJames VictoreJill BellJim Sherredan, Hatch Show PrintJoshua Ramus, Office of Metropolitan ArchitectureLanny Sommese

Michael Beirut, PentagramMichael Braley, And PartnersNoah Scalin from ALR DesignSantiago PiedrafitaSean AdamsSeymour ChwastStefan SagmeisterTim Hale, FossilYee Haw Industries

Q&A: AIGA SOUTH CAROLINA BOARD MEMBERSWhy did you want leadership role in AIGA South Carolina?I am a design educator and originally, I joined the board as Education Director. After a few months of serving in that role, the position of President came available and I was asked to take it on. The role as president appealed to me on two fronts. AIGA South Carolina is a state chapter so I wanted to see more involvement from state. Being able to make connections with other people is one of my favorite things to do and I knew that this would be an amazing opportunity for that. We have started efforts to truly make this organization a state chapter. We now have board members from other cities and we are

the people and help build the South Carolina design community.How does AIGA ser ve the student community as a whole?A range of opportunities are offered to a student that would otherwise be almost virtually unobtainable. From having your portfolio reviewed by professionals in design to meeting a design hero face to face -having a place to belong is a great value when you are in school.

CharlesJeffcoatCHAPTER PRESIDENT, 2009-2010

in the process of having programming events in other cities as well.What makes AIGA unique for local creative professionals?AIGA is the professional association for design. On a larger scale, South Carolina members will find a wealth of knowledge in their membership from tax questions and forms to discounts with Adobe and design services. On a local level, the opportunity to meet others in the same field, dealing with the same issues, is invaluable. I also feel that the programming provided by AIGA is more design specific and less advertising based.What was your best experience?Being able to meet and interact with

Why did you want a student leadership role in AIGA SC?I wanted to try and learn leadership skills that related to what I love, which is design. I was really interested in having a hand in what my peers were interested in. It was also another way to learn about design overall. What was your best AIGA experience?Interacting with both the designers we brought in to speak and with the local professionals. It actually allowed me to meet the people that have helped me in my career and I could not have gotten connected with them without the help of the organization.Who was your favorite guest speaker?Sagmeister. Hands down.

What do you think AIGA brings to the student experience?The organization brings so much to the student experience through resources, professional materials, designers...the list goes on. Being a student member really helps to get you connected early on with the most important network in the design field.

MariaFabrizioSTUDENT PRESIDENT, 2007-2008

“The opportunity to meetothers in the same field,dealing with the same issues,is invaluable.”

“I wanted to tryand learn leadershipskills that relatedto what I love, whichis design.”

What was your best AIGA experience?Hanging out with Stefan Sagmeister at Starbucks for two hours while he checked his e-mail.

Why should students be involved in an organization like AIGA SC?To be inspired, to make connections, to learn, and to use that amazing job bank that’s provided for internship and career opportunities in the future.What do you think AIGA brings to the student experience?A peek into the future of what it is like to be a creative professional.What was your favorite event?There has been more than one. James Victore was inspiring, Chip Kidd was hysterical and Sagmeister made me want to be a better human being.

BobWertzCHAPTER PRESIDENT, 2006-2008

FLASHBACK: THE FIRST PRESIDENT & FOUNDER

“Having a place to belong is a greatvalue when youare in school.”

Why did you want to take on the job?I was the founding vice president of the South Carolina chapter. We were able to build a strong chapter in such a short time. I was excited to take over as president and continue the amazing programing that Nikki had started.How has AIGA helped your career?Actually, the job I have now is a direct result of networking through AIGA. I have met scores of both artists and designers –locally and nationally – that inspire me to keep doing better work.What has been your favorite event?My favorite event was Sagmeister and

I will never forget looking out at over 160 designers from around the state as I introduced him. It was the biggest event in AIGA SC history and my last as the chapter’s president.Who did you most enjoy meeting?A tie actually. Sean Adams barely made it out in time for his lecture due to weather issues so he had to be picked up in Charleston. We had a great conversation about AIGA, design and South Carolina history. Stefan Sagmeister was great too. We chat-ted for several hours at the Starbucks while he responded to e-mail.

NikkiVillagomez CHAPTER FOUNDER, 2004-2006

Why did you want to bring AIGA to South Carolina?We have a strong design community that needed to be nurtured.What has been your most memorable event that AIGA SC has hosted in the past five years?I have a special place in my heart for the Culture Exchanges we did with the Honolulu and Las Vegas chapters. I learned so much from both those events and was so inspired by what they sent. James Victore and Chip Kidd gave fantastic lectures. Stefan Sagmeister speaks so passionately

and honest about our profession, it was an absolute honor to hear him speak in our state.Who is your favorite designer?David Carson. He single handily has had the most impact on my career. His work, specifically the choices he makes with typography, is so inspiring to me. Massin runs a close second.What do you think is the greatest part of AIGA as an organization?The camaraderie with designers. It’s so great that there is an organization that is devoted solely to sustaining and inspiring the design profession.

MariusValdesEDUCATION CHAIR, 2004-2006

“It’s so great that there isan organization that is devoted

solely to sustaining and inspiring the design profession.”

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internships An internship is a requirement for our graphic design students. This experience is highly beneficial to a student to

get their first taste of working in a professional working environment. We encourage our students to intern anywhere that

they can be exposed to the career of a creative professional.

Internship opportunities exist in graphic design studios, advertising agencies, corporate communication departments,

marketing firms, newspapers, commercial printers, photography studios, or any other business that requires

the skills of a graphic designer. We post notice of internship opportunities that are sent to the design program but

we also encourage and expect students to seek out and find their own opportunities. We encourage students to

approach any studio, agency or business anywhere in the world that think they can gain professional experience from.

Students should speak with a design professor about any questions or concerns regarding their internship.

Internships require an internship contract to be filled out and signed by the student, the Art Department, and the Dean’s

office. These are found in the main office of the Art Department in McMaster College.

If you are interesting in posting or sharing an internship opportunity please contact Stephanie Nace at [email protected] or

Marius Valdes at valdesm@mailbox

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1.12 milesS&S Art Supplies1633 Mvvain St.Columbia, SC 29201

0.84 milesCity Art1224 Lincoln St.Columbia, SC 29201

McMaster College1615 Senate St.Columbia, SC 29201

0.79 milesFedEx Office1111 Greene St.Columbia, SC 29201

5.17 milesHobby Lobby5422 Forest Dr. #110Columbia, SC 29206

Other good resources:

10.93 milesA.C. Moore275 Harbison Blvd.Columbia, SC 29212

3.3 miles Hobby Lobby2305 Augusta Rd.West Columbia, SC 29169

0.8 milesColumbia Museum of Art1515 Main St.Columbia, SC 29201

0.3 milesApexgraphix1415 Gervais St.Columbia, SC 29201

10.9 milesMichaels244 Harbison Blvd.Columbia, SC 29212

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TheLibrary

Books & Magazines

Commuication Arts / the leading trade journal for visual communications. It’s the largest creative magazine in the world and showcases the top work in graphic design, advertising, illustration, photog-raphy and interactive design. Designers have gone this magazine since 1959.

Print / design for curious mindsCovering a field as broad as communication itself, Print covers commercial, social, and environmental design from every angle.

HOW / ideas at workProvides a mix of essential business information, up-to-date technological tips, the creative whys and hows behind noteworthy projects, and profiles of professionals who are influencing design.

CMYK / inspiring visual communicationsWhere aspiring creatives showcase their talents to an industry driven by inspiration and new ways of creative problem solving.

Becoming a Graphic Designer: A Guide to Careers in DesignSteven Heller & Teresa FernandesCovers the major design industries–from architectureand industrial design to film, television, and publishing-as well to advertising, corporate, editorial, and other design disciplines.

Typographic Design: Form and Communication Rob CarterOffers detailed coverage of such essentialtopics as the anatomy of letters and type families,visual communications and design aesthetics, and designing for legibility.

The Cheese Monkeys: A Novel In Two SemestersChip KiddAn academic satire focusing on a design student,Happy, and his trials and tribulations with creating.

Indie Publishing: How to Design and Publish Your Own BookEllen LuptonAn insightful book on how to publish your workand the different binding techniques. This book is great for magazines, portfolios, self-promos, and much more.

Other books by these authors are great reads as well.

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www.lynda.comhttp://www.adobe.com/downloads

for design inspiration

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

for thoughts & history

for helpful tutorials

www.justcreativedesign.comwww.designfloat.comhttp://inspirebit.com for all your design needs,

thoughts, and inspiration

LINKShttp://www.graphicdesignblog.orghttp://www.designhistory.org

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Documents

STUDIO 323