Architecture: a return to art is the way forward

June
26
2014

What would it look like if architects were allowed to be artists again; as comfortable in the manual and intuitive realms of drawing, painting and sculpture as with parametric modeling and digital imaging? What if we were to reject the limitations of product-driven, systematic design and production and re-engage the full range of tools innately available and refined over the course of millennia?


Watercolor by Christian Sottile.

The evolution from humanities to technology
Once considered to be among the principal arts, Architecture has passed through a technological revolution over the course of a century, moving from the art based approach of the famed French academy, the École des Beaux-Arts, to the functional dictums and objectivism of the German Bauhaus that would forever alter the course of design and education.

This revolution in education culminated during the digital era. Both the product and process of design entered the last phases of a radical transformation, unmoored from centuries of humanistic origins. Its success proved the potential of something distinctly other, with little emphasis on anthropomorphic, geographic or cultural connection; thereby embracing the full, expansive possibilities of the virtual and the synthetic. This last stage of the revolution has now passed its third decade, and we have grown increasingly detached from humanistic concerns.

An opportunity within reach
Firmly planted as we are in the digital era, the opportunity exists to reconsider the practices that preceded the revolution, to rescue tools that may have been set aside too quickly; tools that will prove essential in charting a way forward for architecture and design. What was jettisoned in the exuberance and upheaval of unprecedented technological innovation is the elusive quality that allows our buildings to speak to us: their humanity - evident and embedded in the pursuit of beauty and the art of making.

Today, this places the architecture profession at an extraordinary moment in history, an era in which we may now synthesize the best of the past with the victories of the digital revolution to embrace a truly hybridized future. It’s not the tired old debate between the École des Beaux Arts, a school of art, or the Bauhaus, a school of building, but rather a ‘BeauxHaus,’ a School of Building Arts.

Activating a fresh approach
At Savannah College of Art and Design, this approach to architecture is reflected in the SCAD Museum of Art. Built in 2010, SCAD MOA embodies what has long been taught in the SCAD School of Building Arts: the dissolution of boundaries between design disciplines. The museum is a place where the highest ideals of urban design, architecture, interior design, architectural history, historic preservation and furniture design all find distinct yet integrated expression.

SCAD Museum of Art: a case study
So how would a renewed emphasis on the tactile art of making - on the real - change the design process and the built environment?


Returning to SCAD MOA as a case study, at its core, the museum is a testimonial to synthesis, created using a design process that included the full spectrum of available tools and methods, from digital modeling and BIM, to physical model making, in situ mock-ups, sketching, painting, and digital collage. It’s a building brought about through a construction process that included full scale enlargements of hand-drawn details to create field templates; that included prefabricated modular building envelope components, integrated with local craftsman, practicing the most ancient of building trades, hand-crafting the building using the human hand and eye as their primary tools.



The confluence of disciplines embodied by SCAD MOA makes it one emblem for a new order of design that will allow architects to create the next generation of cities, to reject the soulless, placeless design strategies that characterized city centers created or recreated in the latter half of the 20th century; that will empower architects instead to create new places that come alive with a synthesis of art, humanism and delight, as well as technology and innovation.

This is the way forward.

Christian Sottile (M.Arch., 1997) is the dean of the School of Building Arts at Savannah College of Art and Design where he oversees programs in architecture, urban design, interior design, historic preservation, furniture design and architectural history. He is also design principal of Sottile & Sottile and the design architect for the SCAD Museum of Art.

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The future of preservation: Will a new generation take up the cause?

June
16
2014

Growing up, I regularly thumbed through family photo albums. This ritual of navigating the worn, yellowing pages of images, as if I were traversing history, was eye opening. The photos contextualized my place in that history. So I panic when I think that my daughter may not experience that same sense of belonging because these physical signposts do not exist for her to explore, at least not in a form that she can touch or feel, except to swipe at them on the screens of the devices behind which they’re trapped.

Photos of my great grandfather and grandmother from our family tree.

This angst I have over not being a better steward of our young family’s growing photo collection makes me a preservationist. That’s what a group of students from Savannah College of Art and Design helped me to understand. The last people you might associate with being champions for the old and non-digital, all younger than me, recently gathered to present their plan for engaging new generations in the pursuit of preservation. Their solution, a historic preservation patch for Girl Scouts, is a collaboration between SCAD’s historic preservation department, the National Trust for Historic Preservation and the Girl Scouts of Historic Georgia.

A prototype of the patch designed and created by SCAD students.

One of the first things the scouts needed to learn, they realized, is what exactly historic preservation is. It’s a good question, actually, for adults and kids, one that promotes an awareness of our surroundings and the laying down of our devices in order to delve into community. As the SCAD students, ages 21 and up, teach in their guide for leaders and scouts, historic preservation goes beyond saving buildings to include protecting artifacts, culture and, yes, even family history and photos. Though Savannah, where the students are pursuing their degrees, is an epicenter of historic districts and preservation, their guide is intentionally broad enough to relate to any city in the U.S.


SCAD historic preservation students partnered with graphic design, dramatic writing, fibers and sequential art students to create the guide. To earn a patch, scouts must fulfill seven activities that fall under different categories of preservation, like personal history.

Any tool that promotes historic preservation to the next generation must be conducive to mass appeal, lest the fervor for ‘saving places’ dies with the present generation. One indicator that doesn’t bode well for the future of preservation, for example, is the average age of those who read Preservation Magazine: 61.

The apparent apathy toward historic preservation among young people is something that keeps preservationists like SCAD professor Connie Pinkerton, who led the students in the creation of the Girl Scout patch, talking.

Connie, a former Girl Scout whose daughter is also a Girl Scout, notes that her millennial generation students must carry the torch or, more appropriately, an LED light in support of historic preservation. A quick survey of her students about what could possibly have sparked their interest in historic preservation as an area of study is a case study for hope.

Savannah’s storied, historic buildings, many of them rehabilitated by SCAD, drew Bethany Emenhiser (M.F.A., historic preservation) to historic preservation. “People made things with their hands and those things and places are still standing. But today, even in our high-tech world, homes are being blown over by tornados,” she said of her admiration for preservation.

“Going green and sustainability are so in, but preservation was the first sustainability.”

That observation is astute for a student whose peers, by contrast, spend hours upon hours in a building near hers using the latest in 3D printing technologies.

Likewise, Jake Eichorn (B.F.A., historic preservation) became interested in preservation when studying at SCAD opened his eyes to the treasures of historic Savannah.  The 21-year-old, who will spend his summer helping a professor rehab a Victorian, gets starry-eyed talking about property record chains and a future career fixing up and flipping historic homes. For Jake, breaking down the fundamentals of historic preservation into a form that ten and 11-year-olds can understand was a rewarding challenge, just as the pursuit of the historic preservation patch will no doubt be also.

I’m glad my daughter, armed with our family photo album, will have the option to pursue this patch if she so chooses.

The historic preservation patch will be unveiled at the 2014 National Preservation Conference (Nov. 11-14) at SCAD Savannah.

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How to get into the video game industry

June
12
2014

Updated June 12: Savannah College of Art and Design’s team “Prisma” won the 2014 E3 College Game Competition. This is the second year in a row that SCAD has taken the top prize, awarded to them on the floor of the Electronic Entertainment Expo (E3) by president and CEO of the Electronic Entertainment Association (ESA), Michael Gallagher. A panel of industry professionals evaluated the five finalists and chose SCAD’s 2.5-D, side-scrolling platformer as the winner.

Posted June 11: They may not have landed their dream jobs yet, but check again after they show their game "Prisma" at the Electronic Entertainment Expo (E3) as finalists in the 2014 E3 College Game Competition.


SCAD's E3 team with the ESA's Michael Gallagher, ITGM faculty, program chair Luis Cataldi and Professor Tony Tseng.

Members of team "Prisma" from Savannah College of Art and Design are in the thick of it. The booth where they're showing the game is surrounded by leading publishers and developers, and they’re in the midst of searching for jobs where they can unleash the fundamentals they’ve acquired in SCAD's interactive design and game development program.

Who better to ask about this topic of getting a job in the video game industry than those who have done the research and have a completed game on their resumes to boot? Before we get to the advice from the student developers and recent grads, here's the interactive design and game development program coordinator from SCAD Atlanta, Professor Tony Tseng.

"Prisma" is the product of Professor Tseng's senior studio class, a three-quarter, nine-month process in which students work in teams to design and develop original games from scratch. On the topic of breaking into the industry and the demand for talent, Professor Tseng is quick to note that the surge in mobile devices and the direct digital distribution of content has pushed the game development industry into a ‘new golden age.’

Game developers no longer need incredible amounts of money and a giant publisher to put their games in the market for general consumers. They can publish and sell their games with a very affordable budget. As a result, students have the option to ‘go indie' and develop and sell their own games if they want to instead of working for an established game studio.

That’s good news for those who want to make a career out of video games. But let’s start at the beginning.

Playtesting of "Prisma" at SCAD Atlanta.

Thread: How does having a degree in game development improve one’s job prospects?

Prof. Tseng: In the broadest sense, game design refers to the idea behind a game. But it's come to mean a whole lot more than that. In large immersive games, game design refers to the central theme or point and the core gameplay mechanics, as well as the story and plot and the characters' back-stories. Having good ideas for a game is not enough, a game designer needs to present the ideas clearly and communicate with the production team effectively. In our program, the students learn how to construct clear game design documentations and level diagrams, build non-digital and digital prototypes and create and execute production plans. In our senior studio we simulate a real game studio environment and students work in a team to create fully playable games. This education and training gives our game design students the capability to take on any game project on day one of their job in the industry.

T: What can one do to become more appealing to hiring managers in the industry?

PT: First, preparing a strong and professional looking portfolio is the most important thing. At SCAD, we offer a very hands-on education, as we want our students to be able to build what they have in mind (not just talk about). Students produce portfolio-quality projects by working in pretty much every studio class in our program starting their sophomore year. In their senior year, we have a dedicated portfolio class in which we teach our students how to construct specific portfolios to target their dream jobs. Next, getting internships with well known game studios is important. At SCAD, for example, we have established internship programs with many game studios in metro Atlanta for our students. Winning major game design and development competitions such as E3 is also a way for new talent to get noticed, as is networking at other major gaming conferences like GDC, SIEGE, IndieCade.

A team from SCAD was a co-winner of the 2013 E3 College Game Competition.

T: What are different career paths in the industry?

PT: The industry recruits for game artists, animators, designers and programmers. Here's the path for each of these roles:

Game Art: Start as a 2d/3d character or environment artist building secondary/background/non-playable character and props -> senior 2d/3d character or environment artist building main characters and feature props = art director overseeing the entire art production and managing the art team.

Game Designer: Start as an associate game designer designing scenario/combat/event/dialogue -> game designer designing the core system of the game = creative director overseeing the game design team and developing original ideas for new titles.

Game Programmer: Start as junior programmer coding modular sections of a game like scenario/combat/event/dialogue/UI -> senior programmer designing and coding the main framework = technical director overseeing the entire technical production and managing the programming team

Now, back to some of the members of the E3 team who fulfilled these roles while making "Prisma" and what they’ve gleaned from their job searches.

Don't wait until college to learn how to program, or how to draw, or how to deconstruct a game's systems. Practice every day while you can.  Don't be afraid to show your work to people, and don't be discouraged when your work gets ripped apart. Pick up the pieces and keep trying.  We have a saying in the ITGM department, which is to 'Fail better.'

-Kyle Bolton, Prisma’s project manager, designer and programmer
Current job: Independent contractor at Thrust Interactive

Try to get involved. Start a personal blog where people can see and critique your work. Go to Lynda.com or YouTube to learn programs. Go to Polycount Forum’s Wiki for technique. Join a mod team (or the like) to have a shipped product on your resume.

-Hank Silman, Prisma’s art director and environment artist
Dream job: Game artist at Naughty Dog

Employers want to be wowed.  They want to be so captured by your work that they want to see more and get you in for that interview. 

-Angelica Rodriguez-Vazquez, Prisma’s environment artist
Dream job: 3D environment artist at Nintendo or Blizzard

Like every other industry, game development employers look for what you can do to contribute to the studio, from the hard skills needed to complete the tasks at hand, to the soft skills needed to promote a better and more productive work environment.  Since the game development pipeline incorporates many disciplines, what employers look for specifically will vary and every applicant should tailor what they demonstrate to the situation.

-Khoa Nguyen, Prisma’s technical artist and programmer
Dream job: Technical artist at Blue Mammoth, Xaviant or Thrust

Whether or not "Prisma" lands in the hands of the 181 million Americans who play video games, it’s fair to bet that with a start this strong, something these future industry leaders will work on will make it to the 21 billion dollar market. They'll meet you there.

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Landmark moment for SCAD graduates in Hong Kong

June
9
2014

It was a milestone for Savannah College of Art and Design's 35-year history when its first graduating class from Hong Kong walked across the commencement stage.

More than 60 graduates gathered at the W Hong Kong Hotel, which overlooks the West Kowloon waterfront, to celebrate the beginning of a long journey of achievements ahead. Nearly 300 families, professors and supporters of SCAD attended the ceremony in Hong Kong's new art and cultural quarter.


  
Valedictorian Katrina Teh (B.F.A., illustration, 2014) left her hometown of Manila to study at SCAD in 2011. This is the second diploma that she's earned. Before SCAD, Katrina graduated with honors from the most prestigious university in Manila. Still, she felt there was more she could do to make her passion dovetail with her career. She came to SCAD with a very clear goal of realising her dream of drawing for a living.

“I consciously chose SCAD because I wanted to be technically better as an artist. I came here finding that I was growing up – learning how to be a better person. SCAD opened my life to a world of creative people and great opportunity for growth. ”

In her speech, Katrina also said that at SCAD she found “comrades in art,” like minded students with the same passion for creating things who would go through critiques together, sleepless from tirelessly perfecting key frames, value contrasts, kerning or line quality.

While at SCAD, Katrina exhibited her work widely, received coverage in the Philippine Star and The Hong Kong Economic Journal, and led a team from SCAD to win the 2012 Disney ImagiNations Hong Kong competition. Following her ImagiNations win, she was awarded a trip to Disney headquarters in Glendale, California and an internship at Hong Kong Disneyland. Recently, she accepted a position as a concept designer at Hong Kong Disneyland and will continue to work as an illustrator and painter, as well. Her advice for fellow graduates:

“There is no peak upon graduation, my friends, only an infinite sky of possibilities. Keep moving forward, and never give up.”

Presiding over the commencement ceremony, SCAD president and co-founder Paula Wallace conferred degrees to the graduates. The new SCAD alumni were also addressed in a speech by interior designer Ken Hu (M.A., interior design, 1995), a partner at Chen Chung Design. Ken shared his experiences as a creative professional and told the group what they can look forward to after studying at SCAD.

The first batch of graduates was also joined by Adrian Cheng Chi-kong, a cultural entrepreneur and advocate for art and education in Hong Kong and Asia, as well as co-founder and chairman of Arts in Heritage Research. SCAD awarded Adrian an honorary doctorate degree.

SCAD Board of Trustees chair Albie Whitaker III, board member Chan Lai Wa, Deputy Consul General of the U.S. Consulate in Hong Kong, Tom Cooney, and Raymond Chan, a representative from Hong Kong's office of the Commissioner for Heritage, were among some of the distinguished guests at the ceremony.

 

SCAD(香港):首屆學生行畢業禮

六月七日是SCAD(香港)舉行首屆畢業禮的大日子,見證了SCAD創校四年的一個重要里程碑。

六十多名畢業生懷著興奮心情出席了畢業禮,帶著全體師長的祝福,邁向人生下一段精彩旅程。畢業禮舉行的地點W酒店臨近西九龍海濱,亦即將發展為香港新的文化藝術區。
約三百名畢業生的親友、老師及支持SCAD的業界好友出席分享畢業生的喜悅,場面熱鬧。
  
插畫系學士課程學生Katrina Teh今年以優異成績畢業,並獲得代表畢業生在典禮上致告別辭的機會。Katrina熱愛創作和畫畫,於2011年由馬尼拉來港入讀SCAD。她先前在馬尼拉一所大學以優異成績畢業並取得第一個學士學位,但她仍感不足,希望進一步裝備自己,她入讀SCAD時懷著明確目標:將繪晝創作的興趣變成一生的事業。Katrina致辭時說:「我選擇入讀SCAD,因為我希望磨鍊技巧,成為一個更優秀的藝術家。在這裡我發現自己成長了,變成一個更優秀的人。SCAD創造了一個有利學習進步的空間,讓我可以與其他有創意的人連結交流。」

Katrina認識了不少志同道合、同樣熱衷創作的「戰友」同學,數年來一起捱夜、一起趕功課,奮力完善每個技術細節如動畫創作的關鍵幀 (key frame)、明度(value contracts) 、字距(kerning),甚至是線的質量。

在學期間,Katrina的作品有機會於Philippine Star及信報刊登,她並與三位同學組隊勇奪2012年迪士尼幻想工程香港挑戰賽冠軍。他們的奬品是免費參觀美國加州的迪士尼樂園,以及到香港迪士尼接受為期八周的實習生訓練。今年六月畢業後,Katrina將獲聘為香港迪士尼的概念設計師。

她勉勵同屆畢業班的同學:「畢業不是旅程的終結,反而是無盡機會的開端。努力向前,永不放棄。」

畢業典禮由SCAD校長Paula Wallace主持,她並向一眾畢業生頒贈學位和證書。

SCAD傑出校友、著名酒店設計師及鄭忠設計事務所合伙人胡偉堅在畢業禮上發表演講,鼓勵畢業生善用他們在學校獲取的知識,為創意產業及現代藝術作出貢獻。

藝術及古蹟資料研究的創辦人及主席鄭志剛獲頒發榮譽博士學位,以表揚他對推動香港藝術和文化的貢獻。其他出席的嘉賓包括SCAD董事會主席Alan B. Whitaker III及董事會成員陳麗華、美國領事館及發展局的代表。

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Updated: Emerging filmmakers 'see' their dreams come true

June
4
2014

Updated June 4: Congratulations to director Olivia Riley Day and her crew from Savannah College of Art and Design for winning the Sprite Films Fan Favorite Award for the short film “See Your Dreams.” America voted on “See Your Dreams” and five other student films that were finalists in the 2014 Sprite Films competition at sprite.com/films this spring. In return for racking up the most votes by the public, Olivia and the film’s co-producer Akmyrat Tuyliyev will receive a trip to the American Film Institute’s (AFI) film festival in November and a $5,000 donation to SCAD’s film department.

Posted on April 3: Breaking into film requires more than talent. It requires access and visibility. Olivia Riley Day (B.F.A., film and television, senior) from Savannah College of Art and Design found a direct line to both. She's one of six finalists participating in the Sprite Films program for student filmmakers and vying for a chance to win a contract to produce a Sprite branded project.

With her short film “See Your Dreams” up for the world to vote on now through May 15 at sprite.com/films, we delved into what makes director Olivia tick. She and Akmyrat Tuyliyev (B.F.A., film and television, senior), one of the film’s producers, just returned from CinemaCon in Las Vegas, Nev., where "See Your Dreams" was screened for industry leaders.

Olivia and Akmyrat, with the 2014 Sprite Films finalists, meet producer-director Ivan Reitman whose film "Draft Day" will be released on April 11. Photo credit: Michael Buckner/Getty Images.

Thread: Name one “pinch me" moment from CinemaCon?

O: The most unforgettable moment of CinemaCon, and probably my life, was at the awards ceremony. The announcer called my name and I stood while big-name stars actually clapped for me. It was kind of insane, and I still can't believe it happened.

T: What inspired the concept for “See Your Dreams”?

O: Everyone in life has had to overcome challenges, and some people face challenges that they believe are too great to overcome. This story is about believing in yourself and always staying true to your dreams, and if you don't give up, your dreams will one day become a reality.


Olivia and Akmyrat at work on the McDonough, Ga. set of "See Your Dreams."

T: How did you develop your passion for film?

O: I always loved the escape that going to the movies gave me, however I did not realize my passion for film until I went to three and a half years of business school and knew that I needed to express my creative side to be happy. I am a natural born leader/director so it was only fitting to control the creative side of the one thing in life that I love more than anything, the movies.

T: What are some trends, techniques or technologies that you’re watching?

O: I don't worry about the latest trends or technology past what is going to get my story across the best. If a new technology comes out that strikes my interest and benefits my story I will utilize it, but as of right now I stick to digital. One day I would love to work with the robots Bot & Dolly, they are a very expensive and unique technology that only extremely successful filmmakers get the opportunity to work with.

T: What’s your advice to aspiring student filmmakers?

O: I recommend looking out for opportunities like Sprite Films. The program has allowed me to compete at a higher level, thus gain recognition at a higher level, and has helped me get one step closer to seeing my dreams become a reality. If you are in film school, I recommend that you attend all the film festivals you can because that’s where you can meet industry professionals and establish connections that could lead to greater opportunities once out of college.

T: How has the Savannah Film Festival molded you as a filmmaker?

O: The Savannah Film Festival has allowed me to establish connections with industry professionals I otherwise would not have been able to meet and given me wonderful insight from famous directors that I will carry with me forever.

T: Anything else that you want Thread to know?

O: Never stop 'seeing your dreams,' and if you don't know what they are, do not stop searching until you find them.

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VIDEO: Dr. Maya Angelou's 1998 commencement address

May
29
2014

In this season of graduations and rites of passage, we are pleased to feature one of the shining moments from Savannah College of Art Design's 35-year history: Dr. Maya Angelou's 1998 commencement address in Savannah, Georgia. Listening to Dr. Angelou's speech to SCAD grads reminds us of the gift of her legacy and our gratitude for her timeless life's work.

 

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A taste of tiny living in SCADpad

May
7
2014

I volunteered to live in Savannah College of Art and Design's experimental micro-house SCADpad because I wanted to test whether a 135 square-foot dwelling is truly liveable. I figured cooking was going to be my biggest challenge when I moved into SCADpad Europe this week: even when you have full-sized equipment (i.e. stove, oven), cooking in a small space is difficult. Where do you prep? Chop? Plate? Clean up? My mother is a fantastic cook. As a child, I was attached to her hip, which meant a lot of time with her in the kitchen. I learned to cook from her, absorbed it rather, over years of watching, mimicking and helping her prepare meal after meal.

But in a kitchen with only a sink, microwave, and a one-burner stovetop? Now that’s a challenge, especially if you’re going for something slightly healthier than mac ‘n cheese from a cardboard box.

My SCADpad kitchen is a single plane of countertop, 7 Women’s Size 7 Keds long by 2 Women’s Size 7 Keds deep. Half is taken up by the sink and single-burner stovetop. A large cutting board can squeeze in on the other half, next to the Keurig coffee maker and in front of the kitchen utensils. In other words, there’s not a lot of space. So how do you cook?

Three words: Keep. It. Simple.

I’m talking one pot simple: stir-fries, one pot pasta, lots of sautéing and steaming. For my first meal, I made stir-fry with lots of vegetables, some leftover roasted chicken I brought to SCADpad from home, and steamed rice. I call it SCADpad Stirfry.

While the space is tight, I can say that the SCADpad kitchen was designed for the user. Of course, everything is in reach. How could it not be? But in such a tight squeeze, burning yourself could be an issue. The SCADpad designers factored that in. The burner is “magnetic induction,” meaning the flat plane will only heat magnetized pots and pans. The “burner” will not burn you if you happen to graze your hand over it. You could place a stick of butter on the “hot burner” but it would not melt. The burner will only heat magnetized metal. All of the pots and pans in SCADpad have been specially made with magnetic coating to respond to the burner.

But if for some reason the cooking doesn’t work out, there is always the SCADpad iPad: use it to order delivery. Just be sure to give detailed directions to the parking deck.

Glennis Lofland is a writer, reader and occasional runner pursuing her M.F.A. in writing at SCAD Atlanta. A native Virginian from a country town called Crozier, she traveled across the globe before coming to Atlanta. She holds a bachelor’s degree in English with a minor in linguistics from the College of William and Mary. Follow her on Twitter @GlennisLofland.

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Turning the career fair on its head

May
1
2014

Savannah College of Art and Design created a reverse career fair called Out to Launch (O2L) about seven years ago to empower students to amplify their bodies of work in their own voice. It’s a reversal in that the employers come to the students, instead of the students going to the employers at their headquarters or a conference hall. We invite industry representatives to view the portfolios of students at our Atlanta location right before they graduate, a preview of the new talent entering the marketplace.

By requiring students to host potential employers ‘on their own turf,’ they come to understand the value of their education and active participation in it. They see the portfolios of their fellow students and begin to make professional connections that pay off earlier in their careers. The ownership they take in O2L enables them to better market their whole educational experience - facilities, pedagogy, faculty – and harness those elements for their benefit.

By way of example, one hundred percent of the animation students who participated last year reported earning a job opportunity at O2L.

Initially, we didn't realize just how successful the format would become, growing from 11 employers participating in 2008 to more than 120 in 2013. It turns out that industry relishes the idea of taking time to absorb an array of prospective interns and employees, asking questions at their own pace and truly understanding the educational environment that has contributed to their talents.

As O2L grows, so does the buzz. We went from inviting only local agencies in the beginning to hosting a variety of national companies, and the success stories grow every year.

Through O2L, our students have landed internships and full-time positions at companies like Marvel Comics, The Home Depot, Wieden+Kennedy, Sony Pictures, MTV and more.  This year, employers like the Centers for Disease Control, IBM Interactive and MailChimp have signed on.

Our faculty members are proud to see our passion for preparing students for creative careers come to fruition. The broad range of students who participate in O2L proves that the format is beneficial to all students, regardless of discipline. Each year, more academic majors are represented at O2L, with students from 13 different programs participating last year.

In addition to drawing a pool of top-notch employers with opportunities to offer, we invite keynote speakers and a panel of professionals, handpicked from industries that are relevant to the students’ career paths. O2L may have turned the career fair upside down, but the students who participate and the employers who hire them are coming out on top.

This year, our keynote is motivational speaker and creativity advocate Kevin Carroll, founder of Carroll Katalyst, LLC. The panel, moderated by The Weather Channel's executive vice president and chief marketing officer, Scot Safon, includes:

Judy Salzinger is the advertising program coordinator at SCAD Atlanta. Previously, she was vice president and creative director at Cross Media/Golin-Harris International and led initiatives such as creative direction for top sponsors of the 2002 Salt Lake City Olympics and Fortune 500 companies.

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Video: Sidewalk Arts 2014 and the winners

April
29
2014

Sidewalk Arts 2014 saw 1,000 Savannah College of Art and Design students, alumni and prospective students transform the pathways of Forsyth Park into a colorful carpet of inspired chalk art. This timelapse by photographer Andrew Forino (B.F.A., photography, 2014) captures the mellow frenzy of the day: artists drawing against the clock, their audience lured ahead by one brilliant illustration after another.

The winners include:

Best in Show: Madison Burger (B.F.A., illustration, 2010) and Katie Campbell (B.F.A., graphic design, 2004)

SCAD 35th Anniversary Award: Illustration students Jordyn Moss and Taylor McCaslin and animation students Grant Whitsitt and Abigail Slupecki

Graduate Student Award: Illustration student Sanaz Bagheraloloum Yazdani

Gray’s Reef Award: Animation student Jose Matheu and architecture student Ricardo Chiuz

Drawing Minor Award: Animation student Laurie Murray

Individual Student Award First Place: Illustration student Nguyen Tran

Group Student Award First Place: Illustration student Hyeonji Kim and fashion marketing and management student Soobin Lee

Alumni Award First Place: Cliff Lummus (B.F.A., graphic design, 2006; M.F.A., writing, 2011)

High School Competition First Place: Kari Hiner

 

 

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The jewelry of Downton Abbey with designer Andrew Prince

April
28
2014

English jewelry maker Andrew Prince is across the pond for a U.S. tour that includes Bergdorf Goodman, which sells his designs, and Kleinfelds in New York City. He’ll give a public lecture at Savannah College of Art and Design on April 30 at 5:00 p.m.

Andrew’s impeccable taste and encyclopedic knowledge of jewelry and fashion could convince the most unadorned of us to match our bling and bouffant. Coexisting with Andrew’s unflinching sense of humor and style is a scholarly seriousness about his craft that will change the way you watch the PBS hit series "Downton Abbey," now filming its fifth season, or any other period piece on television, big screen or stage. Here’s the designer on the virtues of costume jewelry, his commissions for legends like Michael Jackson and, of course, how he bejewels the ladies of Downton.

Thread: Give us a sneak preview of the talk you’ll give at SCAD Museum of Art.

Andrew Prince: It’s about how fashion and jewelry are usually treated as two entirely different subjects, yet they are absolutely intertwined. So many people in the clothes industry know nothing about jewelry, and so many people in the jewelry industry know nothing about fashion. Jewelry follows fashion and it’s a talk that explains how the fashions change and why they change and why at the beginning of the 20th century there was such a revolution in jewelry design.

T: What’s the relationship between jewelry and costume design in film and TV?

AP: With costume design, one of the important things is not so much to match the jewelry with the costume, but to match the jewelry with the age of the person. You might get someone in the 1930s in their 60s wearing a modern dress, but her jewelry would be 20 or 30 years older than that. It wouldn’t be up to date because most people buy their jewelry in their 30s, 40s and 50s when they look their best. Using Maggie Smith’s Downton character the Dowager Countess as an example, all her jewelry would have been Victorian and Edwardian pieces. She would not have had Art Deco piece. Sometimes you see period dramas where you have a matron wearing modern jewelry and that’s totally wrong. It’s like if you can imagine someone in their 60s today wearing someone like Stephen Webster. It wouldn’t happen or it would be very unusual.


Necklace for Dowager Countess of Grantham that was worn at a formal dinner along with a choker. This style and combination is typical of the late Victorian or Edwardian period.

T: How does your jewelry aid the development of Downton’s characters?

AP: The jewelry is more of a background really because it’s supporting an image. It was never meant to take the characters over. For example, Cora, who is the American heiress, she would have had very large jewelry, diamond pieces to hold her own against the English aristocracy who had some very large pieces themselves. At that time, England was a very wealthy country because it had an empire and lots of money was coming in. So the families were able to afford these very lavish pieces of jewelry. So the jewelry is more of a frame for the character rather than part of the character. It’s a little bit of decoration to enhance the character.


Tiara made for Cora of pear shaped diamonds. This is a very dressy tiara worn for court and, being an American heiress, Cora would have come to England with a lot of diamonds as an indicator of great wealth.


Hairpiece made for Cora. She wore this tucked in back of her hair for dinners at home. Because of the eclectic influences, such as exotic countries, during the Art Deco period this design was based on a Japanese plum blossom.

T: Do you loan pieces to the production or are they commissioned?

AP: Some of the early pieces were ones that I already had in stock, but some of the pieces, particularly for the presentation of court and Lady Mary’s feather piece, they were made specifically for the character. The one for Caroline McCall, the show's costume designer, she basically said, "This is the period, this is the person, this is what’s happening. What do you think needs to be done?" There is one particular tiara, the one Queen Mary was wearing during the presentation, and when it came to two days before shooting I had a panicked call from Caroline who said, “We need her tiara to be bigger because Cora’s is going to be bigger than the queen’s and it does not look good.” So I spent 24 hours on the new crown and delivered it two days later.

Tiara that Queen Mary wore during the court presentation. Closely resembling a crown, this piece had to be very big and grand because she is the queen. Pearls were very expensive during these times, and a matched set of pear shaped pearls would have been out of reach for most everyone except royalty.

Maggie Smith is very specific on her jewelry. She’s particular about her character. I was concerned about what she would think about the choker and the tiara. And when it was shown to her she said, “Oh it’s wonderful, it’s exactly what I want,” I was relieved because it could’ve been a case of making something else.


The Dowager Countess of Grantham’s signature choker. She wears this in almost every scene, as she models herself on Queen Mary and Queen Alexandra (who were both very into chokers). The style is Late Edwardian/Belle Époque and is typical of a piece that a wealthy man would have bought for his wife while she was in her 30s.

The choker is a big piece of jewelry that shows wealth, and while it is not considered blindingly flashy or ostentatiously vulgar, it is something she would have used almost as “armor” to show the world her social and financial status.

T: What are these pieces worth or is it a matter of worth?

AP: The most expensive thing that goes into them is time. A lot of the stones are especially cut for me so that the cuts are correct. For example, a 1930s piece would have a different style of cut than a piece from the Victorian times. So quite often you find that when films loan real jewelry that it’s too bright. Under the lights in the studios the stones are too dazzling, so they have to be dulled down. Costume jewelry works best up under film lights because it’s not as bright as diamonds. Diamonds are blinding. There’s a particular tiara that Judy Dench wears in the film “Mrs. Henderson Presents” that is emeralds and crystals. In the studio I toned them down with graphite, which makes the stones look darker and can be washed off, because under the lights they were too strong. The pieces have to be tailored to the filming. Also, insurance on jewelry is too expensive, so studios tend to commission very good costume jewelry.

T: I saw your quote: "You can’t have fun with diamonds." You must be joking.

AP: Seriously. It’s because if you have a $25,000 pair of earrings you will spend the entire evening wondering if they’re still on, or whether the event you’re going to justifies the occasion to bring them out. If you have a string of pearls for $10,000 or glass beads, which one are you going to where more often?

T: What are the most memorable commissions that you've made?

AP: A friend of mine was making Michael Jackson a jacket. I had made a very large piece of jewelry for me - a shoulder jewel - that I was going to wear to a party. She saw it and she said, “I know someone who would like that, but can you make it bigger?” And that’s how that commission came about. That was a fun one. The other is a shoulder strap that runs down the back of a dress. It was for an Oscar lady. I can’t really say who. It went through the dress designer.

T: Mentorship is a big part of your story. What do you tell your mentees?

AP: One is to keep at it. The second one is don’t blow the profits. You always have bills coming in. When you start off and the money comes in, it seems fantastic and it builds up and builds up. You’ve got to put something aside every month, just in case something happens because everybody’s business goes down. It’s never an easy ride. Also, there are two things you’ve got to listen out for when dealing with clients. One is, “Don’t worry, I’m very easy to please.” You’ve missed out on a word. I’m “not” easy to please. And the second one is, “I don’t mind how much it costs, just go ahead.” They don’t mind how much it costs, but they’re not going to pay you. You’ve got to give them a price. Otherwise they’re going to refuse to pay.

T: What designers influence you?

AP: I’m rather ashamed to say it, but Cartier. Cartier from about 1900 to about 1939. They were outstanding. So much better than they are today. At that time the company was run by Louis Cartier himself and he was the driving force. They were modern. Now the company is not a driving force because it has so much history to rely on. So like Stephen Webster, he’s a fantastic designer. Cartier would never produce pieces like that because it’s too groundbreaking and they’d alienate their traditional customers that have been with them for 30 or 40 years. Lalique was also groundbreaking. I wish my brain worked like that because he was a genius in every single way. From a jeweler’s point of view, Cartier is wonderful for technical reasons and commercial reasons, but for sheer artistic extravagance and amazement Lalique is unsurpassable.


Tiara for the Earl of Grantham’s sister for the post court presentation reception at their London house. This piece is a copy of an actual Cartier tiara that was worn by a titled English woman and is reflective of the appropriate style that an extremely wealthy woman would have worn during that period.

T: What’s next for you?

AP: I’m going to start doing some more lavish pieces. I want to do impact pieces. So I’m being influenced by the Duchess of Cambridge’s things at the moment; big necklaces. I love big necklaces, so there’s some big necklaces coming out. I’ll also be working with English dress designer Sharon Cunningham. She did a lot of bridal stuff years ago and wants to do more couture things, and she’s a beautiful cutter. We want to create wonderful gowns incorporating lavish jewelry. 

And that takes us back to where we began, fashion and jewelry. Hear more from Andrew on April 30.

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