Laura Coombs is a graphic designer in New York. She is currently a Visiting Professor at Pratt Institute and the Senior Designer at the New Museum of Contemporary Art. She has taught, lectured, or served as a critic at design schools including the Yale School of Art, Princeton, Columbia GSAPP, Cooper Union, Parsons, Pratt, MICA, and Werkplaats Typografie. She graduated from Cornell University with a Bachelor of Architecture degree and Yale School of Art with an MFA in Graphic Design.
Yasaman Sheri is a designer and creative director who works in the field of sensing and perception. She has led design interactions at Microsoft Hololens Operating System team and collaborated with Toyota, Mozilla XR Studio, Google (X), Sissel Tolaas and Yeast Lab, Ginkgo Bioworks and Space10. Yasaman is also an educator, teaching Sensory Design at Copenhagen Institute for Interaction Design, among others. She is frequent visiting lecturer and faculty at Art Center College of Design, Columbia GSAPP and Stanford.
Ayham Ghraowi is a graphic designer and editor based in New York. From 2017 to 2019, he was lecturer in Critical Practice at Yale School of Art, where he also served as the Assistant Dean for Research and Public Projects. In 2018, he initiated the Yale School of Art Press. In summer of 2019, alongside Byron Kim and Lisa Sigal in their inaugural year as co-directors, he joined as faculty at Yale Norfolk Summer School where he continues to develop curriculum and teach. In addition to teaching, he directs an independent studio of collaborators that design and produce publications, digital applications, exhibitions and films. He was recently producer and the assistant director of Drill, a film by Hito Steyerl that premiered at Park Avenue Armory in Summer 2019. He is a contributing editor at e-flux journal.
Shannon Finnegan is a Brooklyn-based multidisciplinary artist making work about accessibility and disability culture. They have done projects with Banff Centre, Friends of the High Line, Tallinn Art Hall, Nook Gallery, and the Wassaic Project. They have spoken at the Brooklyn Museum, School for Poetic Computation, The 8th Floor, and The Andrew Heiskell Braille and Talking Book Library. In 2018, Finnegan received a Wynn Newhouse Award and participated in Art Beyond Sight’s Art + Disability Residency. In 2019, they were an artist-in-residence at Eyebeam. Finnegan’s work has been written about in C Magazine, Art in America, Hyperallergic, and the New York Times.
NOTE: This lecture has been rescheduled for March 25.
Wednesday, March 11, 10:00am–1:00pm CSB 218C
“Jane [Wong] is an architect and everyday designer. She holds a degree in Architecture from the University of Waterloo School of Architecture, where upon graduating, has worked as a project lead for a major condominium project in Toronto and a key designer on several other high profile mixed-used commercial and residential projects.”
“While practicing full time in architecture, she has pursued her interests in social innovation and personal craft through exhibitions and other research studies. She has been published in OnSite and has also had several exhibitions of her work showcased in Toronto, including a regional competition winning project for Canada’s entry to the 2012 Venice Biennale in Architecture. She also co-founded RUNE as a platform for exploration into architectural objects and jewelry design.”
“Her time at Waterloo allowed for the pursuit of many international internships, including a term in Copenhagen. This international experience allowed her to both broaden her understanding of urban typologies, and also gain insight into the day to day operations of vastly different cultures around the world.”
“Those years set a foundation into what has now grown into a critical interest in constructed and social environments, and how those are heavily influenced by the intersection of architecture, technology and new media.”
“The potential for social innovation to change a city through interactive technology is fascinating, and Jane returns to Copenhagen to pursue graduate studies at CIID for what looks to be an exciting and fast-paced year of exploration and research!”
Gregor Huber is a co-founder of Huber/Sterzinger (formerly Glashaus), a collaborative design practice based in Zurich, Switzerland.
Past projects include Yto Barrada, The Dye Garden, Edition Digital Culture Nr. 6 – Virtual Reality, and A Pyrotechnic Display of Creativity (recipient of the Swiss Design Awards 2009).
On A Pyrotechnic Display of Creativity, Aurelia Müller noted:
“Gregor Huber is responsible for the content, concept and design of the Rote Fabrik newspaper and has been awarded a Swiss Federal Design Grant in recognition of his graphic design for the years 2007 – 2009. The newspaper, which appears ten times a year, provides information on the programme of events at the Rote Fabrik in Zurich, a former factory turned alternative arts centre. It also addresses a wide range of topical issues. Although it focuses more on the role of this historically left-wing institution as an ongoing project rather than on any ideological dogma, according to the graphic artist, the newspaper can and does take a political stance.” “The themes traditionally associated with the alternative arts scene are deliberately replaced by current topics. In one issue, for instance, the newspaper explores ‘Wissen und Bedenken’ [Knowledge and Misgivings]. In another, it looks at the Wikipedia Generation and the rise of half-knowledge. Under the heading ‘Focused on you and your needs’, the question of survival in a corporate world is discussed, while an issue devoted to ‘Selbstveröffentlichung’ [Self-publication] is all about privacy and the quest for identity in a mass-media society. What is particularly remarkable about this newspaper is the way it merges content and form: in this issue, a Facebook-style layout is used to convey all the information gathered online and collated to form the fictitious personal profile of a so-called Mr Rolf Müller.” “The key to the graphic design of the Rote Fabrik newspaper is that it responds specifically to the current theme of each issue and is freely adapted to suit the topic rather than having to follow a prescribed format. This tailor-made approach means that the design of each issue is unique, brimming with ideas and invariably full of all sorts of surprising and unexpected graphic solutions.” “Gregor Huber notes how important it is for him to be on the lookout for new, experimental ways of getting the message across. He has certainly proved that amply in his design for the newspaper. The positively pyrotechnic display of creative ideas in his use of different styles, together with his meticulously executed and highly varied solutions make him a deserving winner of this award.”
Federico Pérez Villoro is an artist and researcher living between Mexico City and New York. Through texts, performances, and digital artifacts, Federico explores the materiality of language and the impact of technology in socio-political behavior. His work has been exhibited internationally and published by Printed Matter, C Magazine, Gato Negro Ediciones, and the Walker Art Center’s The Gradient. Federico has taught undergraduate and graduate courses at the Rhode Island School of Design and California College of the Arts. He has lectured and acted as a visiting critic at schools such as CalArts, The New School, UNAM, and Hongik University. In addition, Federico has advanced a number of experimental educational initiatives. He recently founded Materia Abierta, a summer program on theory, art, and technology in Mexico City. Previously, Federico developed Second Thoughts, a series of lectures, workshops, and discussions on contemporary design at Fundación Alumnos and Museo Tamayo. Alongside Roxana Fabius, he is the co-founder of (human) learning, an itinerant study group that has been hosted in spaces such as P! in New York City, Art Center/South Florida in Miami, Florida, and ZONAMACO in Mexico City. In 2013, he received an MFA from the Rhode Island School of Design.
An independent graphic designer in New York City, David Reinfurt introduced the study of graphic design at Princeton University in 2010. In late September 2019, Inventory Press and D.A.P. published a book based on his teaching, A New Program for Graphic Design, a do-it-yourself textbook that synthesizes the pragmatic with the experimental and builds on mid- to late-twentieth-century pedagogical models to convey advanced principles of contemporary design, rooted in three courses (Typography, Gestalt, and Interface).
As a co-founder of O-R-G, Dexter Sinister, and The Serving Library, Reinfurt has developed several models that have reimagined graphic design and publishing in the twenty-first century. He was 2016–17 Mark Hampton Rome Prize Fellow in Design at the American Academy in Rome and is the co-author of Muriel Cooper (MIT Press, 2017).
New York-based designer Yotam Hadar has over a decade of experience collaborating with studios, agencies, and clients in leading concept-driven projects in typography, print, branding, environmental and interactive media for clients in culture, retail, media, education, government, and tech. Past experience includes Nike NY, 2×4, Pentagram, Project Projects, Sagmeister & Walsh, Hugo & Marie, Mother Design, among others. A design educator since 2009, Yotam taught design and typography at Yale School of Art, Pratt Institute, Parsons School of Design and Rutgers University.
New York-based graphic designer Kristian Henson is part of the publishing imprint, Hardworking Goodlooking (with Dante Carlos, Czar Kristoff, Clara Balaguer). They recently spoke to the Walker about how cultural work can be used as a critical tool through various platforms, especially publishing, which they explore through a transnational collaboration: Henson works in New York; Carlos, in Portland; Kristoff and Balaguer in the Philippines.
Neema Githere is a curator and guerrilla educator/performance artist based in the #digitaldiaspora. She is part of the collective Data Healing which seeks to illuminate + activate the intersections between nature, spirituality, and technology. Her new site Presentism2020 is a manifestation of her ongoing theories, projects and relationships: afropresentism, #healingimagery, radical love, #divestfrominstagram, and data healing.
“It may feel as if the internet is up in the clouds, but in actual
fact it’s at the bottom of the ocean, in the form of 880,000 kilometers
of fiber-optic cables. These cables make up the essential infrastructure
for sending all our emails, websites, photos, films and of course
emoticons. Beneath the waves, our wireless life is very bound up with
physical wires—it’s the virtual made physical. Among the submerged
cities, drowned sailors and hidden histories, the ocean is home to a
complex communications network. Here, the technologies controlled by the
West expand along the old colonial routes, so in a way the cables are
the hardware of a new, electronic imperialism. Deep Down Tidal is a
video essay in typical net.art style, weaving together cosmological,
spiritual, political and technological narratives about water and its
role in communication, then and now. It’s about how this cable network
can facilitate the retention and expansion of power. It also reminds us
that water doesn’t forget.”
This session will be a reflection-based workshop around the concept
of data healing. Terms of interest: data trauma, data healing, cyber
doula. As students read the assigned text, I encourage them to reflect
upon & attempt to self-define the above terms, which will frame our
conversation in class.
Design Seminar: Contemporary Practice invites designers to share their practice, methods, and references. When asked to describe themselves, these practitioners often list multiple titles—creative directors, art directors, book designers, web designers, interaction designers, industrial designers, programmers, writers, researchers, technologists, ethicists, educators—reflecting the multidisciplinarity in the field today. Their subjects of study range include publishing, materiality, machine learning, sensing, data healing, and more… Through presentations, reading discussions, writing, and weekly engagements with different designers, this semester-length seminar will introduce students to a variety of contemporary practices.
Dimensionism: Modern Art in the Age of Einstein, on view at the Zimmerli Museum through January 5, 2020, is a groundbreaking exhibition that explores how modern art was influenced by advances in science, from Einstein’s theory of relativity to newly powerful microscopic and telescopic lenses.
Dimensionism.Space is a microsite conceptualized, designed and developed by the Design Practicum Fall 2019 class at the Art & Design department at Mason Gross School, Rutgers University, New Brunswick, on the occasion of this exhibition. The Designers in this class wanted to promote this seminal exhibition across the campus through a contemporary and computational lens by way of reflecting on the work of their choice and creating a digital avatar or a tribute to that in the form of code and its visual reflection. This microsite is designed and produced by, Jennifer Aguirre, Elyssa Feerrar, Conor Finn, Lau Krystal, Tyler Lee, Kathleen Makar, Jillian Mulhern, Rushika Raman, Sara Reed, Francesca Stoppa, Maya Tillman, and the project is mentored by Donna Gustafson, Thomas Sokolowski and Atif Akin.
Going into our senior and junior years of design school, it was exciting to be able to work on a project that had as much cultural and professional significance as Rhizome’s Oldweb.Today internet archive. The archive pulled from historical sources dating as far back as the early 1990s to provide an interactive experience that approximates the experience of using the historical internet. This project provided the opportunity to tackle various design problems in a real-world scenario in a way in which they could be understood and implemented in relation to one another. The challenges of this project encompassed everything from visual identity and branding to the user experience and interface design. During the course of the project, we spent time moving between groups each of which took a distinct approach to and interpretation of what an internet archive would look like in 2019.
We proposed three different visual identity systems and UI/UX scenarios with different code names that are all now under consideration by the design and development team of Rhizome. UI/UX scenarios are either developed on the front end or represented through mock-ups.
Throughout the process, we had multiple remote online real-time interactions with the Rhizome team, Pat Shiu, Lyndsey Jane Moulds and Mark Beasley and then had to chance to visit them at the New Museum for the second presentation of the project.
Working in the solitaire group we created a multi-surfaced mockup to help create better separation of information. This interface was based more on a retro look and used brighter colors to make the experience feel more light and fun. Solitaire’s color selection was based off of Rhizomes RGB color palette and other added colors stayed with the same tones. We created a new hierarchy for the timeline that better explains how the browsers work and what is the most optimal browser for the site and time you are searching. In the early stages, we decided that tabs like “commonly searched sites” and “user guides” would be helpful for people who are new to the site and may not have an idea of what to search first as well as to give a background of the website and help troubleshoot problems. The design of the interface of this approach emphasized the efficiency and accuracy of the tools that it provided users over simplicity or seamlessness. When designing the user interface, we tried to focus on the chronological flow of user inputs that were required to request a webpage from the archive.
The branding of this page was based on the concept of popup windows layering on top of each other; an effect that was common in the early days of the internet with its lax security standards and primitive advertising techniques.
The colors were taken from the Rhizome glitch effect, evoking that same feeling from the initial company to their product. These colors were also expanded to the whole website creating a more out there stark design that can be contrasted to their more subtle approach.
Oldweb.Today, ya can’t have it without the dot. Based off a 10×10 grid, our logo speaks both to the history of the web, as well as OWT’s origins in New York. Through systematic removal of pixels, the letterforms become less choppy as they go from O to W to T, bringing the old web to today. The colors of the site are muted and largely greys to allow the emulated content to be the main focus. Typefaces were handled in a similar way, using simple fonts that don’t dominate the screen and are easily legible. Our goal in the UI was the accessibility and ease of use. Through an intuitive calendar-like timeline, users can be sure their searches are accurate. Once all the information has been selected, users are drawn to the emulated browser that takes up much of the screen.
Much of the idea behind the Dot logo and its branding has to do with systems, and how they work. The logo itself was rendered by following a set of rules. Our approach was reductive and somewhat minimalist in how we felt functionality should be emphasized instead of decoration. A strength of the finished product is how it speaks to internet functionality of both the past and present, no matter what time period.
The goal of this web space was to bring the slick design of the modern world to the passing fun and in your face aesthetics of the late 90s/early 2000s. Contrasting between old school fonts, web safe ties together the past and modern present into a GIF-able to be transformed and separated by a time loading hourglass further delineating the past, present, and future.
The idea for the brand identity for web-safe revolves around juxtaposing six of the original web-safe fonts like Arial, Palatino, Impact, Verdana, courier new and Comic Sans with a more modern one (in this case Roboto). The “.today” part of the logo stays in Roboto while the “OldWeb” half constantly changes into one of the six web-safe fonts. The dot that separates the two halves shows a Windows 98-era hourglass icon. There are possibilities for rapid animation of the logo or perhaps randomizing which font shows up for its first half upon refreshing the page or re-entering the site.
Neue Machina was chosen as a secondary font to be used for the printed matters of Oldweb.today, due to the deep ink traps that give it a mechanical and industrial aesthetic, yet rendered beautifully in ink.
The choice of a black, white, gray, and an HTML blue color palette stemmed from the default hyperlink blue that stems from the old web, and still can be visible in non-updated websites. While keeping the palette monochrome with one color standing out, this renders the attention of the audience to focus on the content as opposed to making a grander design.
Practicum Class of Spring 2019
Jeffrey Gardner Daniel Gilmartin Weronika Korzec Tyler Lee Joel Novas Fred Quayenortey Matthew Simonetti James Zerilli Sarah Rim Ana Filomeno Senary Chapman Richard Siggillino
In case any of you know someone who is looking for full-time work:
Junior Designer- BARD GRADUATE CENTER
The Bard Graduate Center (BGC), a division of Bard College located on West 86th Street in New York City, is seeking a full-time Junior Designer.
Founded in 1993, the BGC is comprised of an Academic Program, Research Institute and Gallery. We offer MA and PhD programs in the study of the cultural history of the material world and are committed to the encyclopedic study of things, drawing on methodologies and approaches from art and design history, history of technology, philosophy, anthropology, and archaeology and cultural history.
The world renowned Gallery organizes four exhibitions during the academic year. Our exhibitions examine the material evidence of cultures extending from ancient world to the present inclusive of Africa, the Americas, Asia, and Europe. Each exhibition is accompanied by a scholarly book published in collaboration with, or distributed by, Yale University Press.
Reporting to the Art Director, the Junior Designer will divide their time between design responsibilities and design support responsibilities. Design tasks include work for print, digital, and signage projects. Support includes maintenance of the BGC website, responding to varied web update and small print needs from around the institution, and managing supplies and digital files for the Art Department.
CHARACTERISTICS, DUTIES, & RESPONSIBILITIES:
• Design and assist in the creation of print materials (ads, posters, brochures, exhibition related ephemera, and exhibition books)
• Produce BGC stationary and paraphernalia (business cards, tote bags, etc)
• Daily upkeep and administration of the BGC’s website via a content management system
• Support Website Manager in maintaining social media feeds
• Photograph and video BGC events.
• Other duties as assigned
• Design Skills, demonstrated by a portfolio
• InDesign, Photoshop, Illustrator
• Basic HTML and CSS; familiarity with coding for HTML emails a plus
• Experience with print production
• Basic photography/videography skills
• Ability to code for WordPress a plus
To apply, please submit a cover letter, resume and contact information for three references to email@example.com. No telephone calls please. The Bard Graduate Center is an equal opportunity employer and we welcome applications from those who contribute to our diversity. AA/EOE
The Language and Enrichment Center: Graphic Design Internship
Contact: Stephanie Malke, firstname.lastname@example.org
Start Date: Immediately
Type: Unpaid Internship, For-Credit
Location: Scotch Plains, NJ
The Language and Enrichment Center is a non-profit learning center for young children, whose primary focus is to teach children the Italian language and culture. They are seeking creative and talented graphic design interns with basic to intermediate knowledge of website management, designing marketing materials, app design, social media management, and public relations. Interns will design, maintain, and update websites regularly, increase company presence through web optimization, and assist with visual media. Basic knowledge of Photoshop, Illustrator, AppleMac, and web creation programs is a requirement. Qualified student must have the following skills: Microsoft Word, Excel, PowerPoint, strong analytical skills, standard troubleshooting, communication, organizational, and strong creative design skills.
TO APPLY: Please e-mail resumes to email@example.com
COGNITIVE PSYCHOLOGY DEPT: Study Participants Needed for Color Naming & Memory Study
Contact: Kimele Persaud, firstname.lastname@example.org
Type: Research Study (PAID)
Location: Rutgers, Busch Campus
Graduate Student Kimele Persaud in the Cognitive Psychology department at Rutgers is currently conducting a series of studies quantifying the communicative value of color naming in conversation and the influence of knowledge and expectations for color on episodic memory. So far she has assessed people’s expectations for color labels and color values across several populations including, young adults (Rutgers students), children, and a small native population in Bolivia, and is currently seeking to measure expectations among individuals who have some level of expertise with color (e.g. painters, visual design students, etc.).
TO PARTICIPATE: Please contact Kimele at email@example.com
Company: New Jersey Center for Teaching and Learning Job Title: Graphic Design Intern Job Category: Curriculum Status: Part Time Position- Flexible hourly Location: Any Starting Date: Immediately About New Jersey Center for Teaching and Learning
The New Jersey Center for Teaching and Learning (CTL) is a fast growing organization that is dedicated to improving mathematics and science education. CTL is an independent, non-profit, 501 (c)3 organization that has developed two award winning programs: The Progressive Science Initiative (PSI) and the Progressive Mathematics Initiative (PMI). PSI and PMI offer a proven mathematics and science curriculum to best position students for success in the 21st Century. CTL is undergoing remarkable growth as an increasing number of school systems nationally and internationally recognize the benefits of PSI-PMI.
For more information about CTL and the PSI-PMI programs, visit www.njctl.org.
About the Position
The graphic design intern position requires working under the supervision of the Senior Program Manager to improve the appearance of all curriculum materials.
Key Job Responsibilities
To enhance current course presentations via provided formatting guidelines
To suggest and design formatting improvements for existing materials
Quick turn-around times
Continuous conversation with team members and adherence to deadlines
The above duties are representative of the position and are not all-inclusive.
Recent College Graduate or current College Student with graphic design background
Experience working in a virtual environment (i.e. using Google Docs, Skype, Google+, etc.)
Demonstrated ability to work on his or her own, managing his or her own time
Strong interpersonal, written, and oral communication skills
Fluency with the use of SMART notebook or ability to learn quickly.
Highly self motivated to work quickly and efficiently.
Please submit a resume along with a brief letter of interest expressing your design background and skills. In addition, please include a before and after work sample for a project that you have completed.
CBS Sports Network is looking for a Graphic Design Intern to join us for summer 2013.
The Graphic Design Intern will assist in the creation of website and banner graphics, print ads, flash motion graphics, presentations & signage for CBS Sports Network programming, sales and special projects.
Proficiency using graphic design software
Current undergraduate student (junior or senior)
Must be eligible to obtain college academic credit
Superior communication and interpersonal skills
Exceptional attention to detail
Able to work in a fast-paced environment under deadlines
Ability to handle multiple tasks simultaneously
Ability to work and prioritize work assignments
Prior internship experience in a related field
Active participation in extracurricular activities; clubs; and/ or associations
Leadership positions while maintain an above average GPA is a plus
Additional Candidate Instructions
All internship offers are contingent upon receipt of school letter verifying credit eligibility
Internships are in New York, New York. Selected students must be willing to relocate at their own expense
We are looking for passionate students to join our winning team during the summer 2013 season. Interested students must be able to commit to the full summer program which runs from June through early August and be available to intern 5 days per week. This is an UNPAID, FOR-CREDIT ONLY internship program. And, proof of credit eligibility and course enrollment from an accredited academic institution must be provided prior to start date.
Our network’s internships are professional and learning experiences. As such, they present priceless opportunities for undergraduate students that want to learn the workings of a fast-paced, innovative, and growing cable network.
Instructions to apply: Please visit: http://www.cbssportsnetwork.com/ and click “Careers” fast link at the bottom of the home page
Contact: Lauren Gilbert, LGilbert@forevercollectibles.com, 848.260.4349 Seasonal: Summer 2013, (25 hrs/wk minimum) Location: Somerset, NJ Description: Seeking designers to work in pre-production or web/collateral graphic design internships helping support print design team in creating catalogs, sales, sheets, and marketing materials. Sports enthusiasts a plus.
Also available- new FULL-TIME position open, a Web/Collateral Design position that would help support print design team in creating catalogs, sales, sheets, and marketing materials.
If you are around this summer, I was hoping to have at least a couple of you in my screen printing class this summer. It’s a good way to handle and challenge a lot of ideas you have been using so far. We will be working with screen print to make books, posters, editions, and whatever else you might be interested in. Please contact me at firstname.lastname@example.org if you have any other questions. Looking forward to meeting some of you!
Hey everyone, Mark here. I’m writing because the Student Financial Review is looking for a design student to create the layout and style of the magazine. I was their designer last semester when the student publication began and I’d like to pass off the torch to any design students interested in getting experience with a publication and building their portfolio. The paper is very willing to give them a tremendous amount of flexibility with the layout, and are very open to new ideas.
As a student officer position, it is voluntary and can last through the academic year. The students will work with other editors, writers, and photographers to put out 2-3 issues a semester. Because we are willing to consider a whole new look, the amount of time put in each week is up to designer. However, you will be required to commit 4-10 hours one week with about 3 weeks without work. It can be more or less if you decide to create your own look or go with the last year’s template.
I want to reiterate the point that we’re still experimenting with our style, which tries to incorporate the serious edge of a newspaper with the creative liberties of magazines. So anything goes. Anything. Also, the name of the paper suggests we cover just financial news, but we are very interested in local issues, business, and events.
If you’re interested in a worthwhile challenge, let me know! You can email me at email@example.com