Kristie Bruzenak, professor of foundation studies, SCAD Savannah, received a 2017-2018 sabbatical award for her project "Illustrated Surface Design as Modeled by William Morris." During her sabbatical, professor Bruzenak traveled to London for two weeks to research the floral surface illustrations of 19th century artist William Morris. Her goal was to understand Morris' process and translate it to fit the digital technologies of current practices. Professor Bruzenak has developed a paper on William Morris' design process to be published by the William Morris Society. She posts her work on Instagram.

Due to the similar interests and topics present in professor Bruzenak and professor Linda Warner Constantino's projects, the sabbatical award committee recommended the two professors offer collaborative workshops. As a result of these workshops, SCAD students participated in the Deep South Orchid show, hosted by the Deep South Orchid Society, winning several awards, including first, second, and third place in watercolor; best of orchid art; and awards in graphite and color pencil.

In the second installment of "A Tale of Two Sabbaticals," Kristie Bruzenak speaks insightfully about her sabbatical experience.

SCAD:  How did you choose the subject of your sabbatical?

Professor Kristie Bruzenak: I teach the elective courses that make up our scientific illustration minor. As a branch of scientific illustration, botanical illustration is a field of great interest to me. My studies in botanical illustration led to my interest in pattern design, especially the designs of William Morris.

Morris' patterns are fluid and elegant, and speak about the nature of his subject, flowers. His designs belie a practice of careful observation that imparts a richness to his work. Many of Morris' designs have a puzzling structure with roots in Middle Eastern Arabesque grids. There is nothing written about his process, so I wanted to take a look at what museums hold in their non-public archives to help me better understand how his designs were created.

The SCAD illustration B.F.A. program of study offers a concentration in illustration for surface design. I was motivated to satisfy my curiosity for my own sake, and for what I might be able to share with illustration students. I was hoping to discover helpful insights, and I did. What I didn't expect was meeting the many remarkable individuals I encountered during my sabbatical, and receiving an invitation to publish my research through the William Morris Society.

Cyclamen, pencil on paper, 10" x 14".

SCAD: How will the sabbatical influence your work as an educator at SCAD?

Bruzenak: Having the opportunity to deepen my expertise by looking into the "back room" holdings of large museums like the Victoria and Albert, and sitting in a smaller room of the William Morris Society, lifting original drawings out of archival boxes and seeing the pencil and paint marks of a master was impressive. Knowing that my white-gloved hands were holding the secrets of a century old process that influences design to this day was humbling. The sheer number of pages, the quality of the work and the indications of exploration and resolution was an experience I will use to inspire students. SCAD students can see the sparkle in your eyes as you relate what you have learned with enthusiasm, and it is heartening to see it reflected back.

While in England, I took advantage of an opportunity to study with Rosie Sanders, an international painter of large botanical watercolors. I joined five other artists living and working in her home and studio for four days. Rosie has a lovely garden and also brought in specimens to explore. We sat around a large dining table in her charming cottage each evening discussing art. It was a joy to participate and see how she manages her work and her business. Rosie would spend time each day in her office posting on social network, communicating with her gallery and managing her exhibitions, her schedule and her finances. This experience is another story to share with students and help them understand the importance of having business expertise and management skills. Even highly successful artists need to keep their business lives going on a daily basis.

SCAD: How will SCAD students benefit from your sabbatical experience?

Bruzenak: Professor Linda Warner Constantino and I took our sabbaticals at the same time. Since we have closely related interests, we were asked to collaborate on tangible outcomes. We planned "The Orchid Project" and gave illustration students a pair of workshops designed to help them prepare submissions to the Deep South Orchid Show. I taught a workshop on drawing orchids while Linda taught one on painting orchids. I also asked my scientific illustration students to use orchids as a subject for their botanical illustrations. The results of the workshops and the course work were submitted to the show and our SCAD students earned seven awards. My students won first, second and third in colored pencil and second in black and white drawing. Linda's students were very successful as well. Next year, Linda and I plan to continue the project and submit student work to the Atlanta Orchid Show. We expect great results!

This spring I will be offering a full-day workshop in pattern design organized on Arabesque grids. This workshop will be the first in a series of three that will help SCAD students participate in Le Grand Prix du Carré Hermès, an international scarf design competition. Additional workshops in the fall will support the second and third stages of the process. I hope sharing my growing knowledge of pattern design will help SCAD students to excel in the competition.

I will be creating four sets of pieces for an exhibition to be held winter 2020, with my colleague Linda Warner Constantino. Each set I create will consist of a botanical painting, a page of motifs developed from the painting and a final pattern design. The pattern design will reflect William Morris' practice of organizing motifs using Arabesque geometry. Linda and I will be holding the show locally so students can learn from the process shown, as well as from the final pieces.

Vitis rotunidfolia, Scuppernog, watercolor on paper, 10" x 14".

SCAD recognizes that continuous faculty professional development contributes significantly to the quality of teaching and learning at the university. The SCAD Presidential Fellowship and Sabbatical Awards programs provide eligible professors with opportunities to pursue professional growth and new or renewed professional achievement through study, research and practice.

In the past five years, a total of 86 SCAD faculty received sabbatical awards from the university. Two of the 2017-18 recipients were, intriguingly, SCAD professors specializing in botanical illustration: Linda Warner Constantino and Kristie Bruzenak. These simpatico professors, both highly accomplished botanical illustrators, have taken complementary paths to improvement as artists and educators, facilitated by SCAD Faculty Sabbatical Awards.

Linda Warner Constantino, professor of illustration, SCAD Savannah, received a 2017-2018 sabbatical award for her project "A Passion for Painting Plants: Botanical Painting Immersion for Professional Development." During her sabbatical, professor Warner Constantino attended two intensive botanical painting workshops led by Elaine Searle in Umbria, Italy in summer 2018. One workshop focused on botanical watercolor painting on vellum. The second workshop focused on creating botanical study sheets and observing the subject matter from a scientific rather than an artistic perspective.

Professor Warner Constantino also participated in a half-day workshop in London by noted botanical painter Billy Showell. Additionally, she attended the American Society of Botanical Art Conference in St. Louis, Missouri in fall 2018 where she participated in two workshops on botanical painting on vellum. The goals for her sabbatical project included improving her botanical watercolor illustration and learning new approaches to enhancing her skills. Throughout her project, professor Warner Constantino has been posting her work progress on Instagram.

"Death with Dignity" (watercolor); curcuma flower.

For the first installment of "A Tale of Two Sabbaticals," Warner Constantino spoke enthusiastically about her sabbatical award.

SCAD: How did you determine the subject of your sabbatical?

Professor Linda Warner Constantino: It chose me, in a way. I love watercolors, and am a loose landscape painter and illustrator. When the SCAD illustration department created a minor in scientific illustration, I asked to teach a class on botanical watercolor. I earned my certification in botanical painting through the British Society of Botanical Artists Distance Learning Diploma Course. This was funded by a SCAD Presidential Fellowship. The course was the most challenging creative thing I had ever done. I fell in love with it. My recent sabbatical award was dedicated to further improving myself as a botanical artist and illustrator. There is quite a lineage of botanical art in England and I have sought out the best to mentor me, so I can then pass what I learn on to my students.
 
SCAD: How will the sabbatical award influence your work as an educator at SCAD?

Warner Constantino: Before I even left for my sabbatical trip to Italy and London my students could sense my enthusiasm. I told them I couldn't wait to share what I learned upon my return. I enjoy teaching one-day all-day intensive workshops on botanical art where students get to slow down and focus. I emphasize focus, immersion, and skills and do not worry as much about completion in one day. Students enjoy connecting with nature in the creative way that only botanical art can.

The SCAD Presidential Fellowship and Faculty Sabbatical Award helped make me a better artist. Students respect SCAD professors as accomplished artists as well as capable educators. Enthusiasm is contagious.
 
SCAD: How will SCAD students benefit from your sabbatical experience?

Warner Constantino: I will be creating a series of four paintings on vellum and four study sheets as part of an exhibit that I will be having with my fellow professor Kristie Bruzenak in the winter of 2020.  This exhibit will be a celebration of nature and art with an emphasis on craftsmanship and process. My students enjoy connecting with nature in a creative way.

I held a well-attended leaf-painting workshop last fall. I also collaborated with professor Bruzenak to hold a series of workshops called the Orchid Project. Kristie held a workshop on drawing orchids and I held one on painting orchids in watercolor. Approximately 17 SCAD students who created orchid artwork entered their work in the Deep South Orchid Society show held in late March at the Coastal Georgia Botanical Gardens. Kristie's students won awards and so did mine. In the watercolor division, my students took first, second and third place and best of show.

I will be teaching a shell painting workshop during spring quarter in 2019. I also have incorporated study sheets into my botanical class. I am writing a botanical class elective for the graduate level, since there is growing interest as we evolve our curriculum. Professor Bruzenak and I both strongly believe that there is interest and opportunity to engage with this kind of art. These workshops and courses, supported through our sabbatical awards, create expanded learning opportunities for SCAD students.

See more of professor Warner Constantino's work at her website.

Stay tuned for part two of "A Tale of Two Sabbaticals" with professor Kristie Bruzenak.

After three hundred-plus scintillating slides, amidst relentless positive verbosity, Dr. Nelly Ben Hayoun's hour-long lecture at SCAD MOA concluded with a neon projection: BE CURIOUS AND AMBITIOUS AND NEVER EVER GIVE UP. The students' ovation was a roar of joy.

The event, part of SCADstyle 2019, was Dr. Ben Hayoun's first visit to SCAD Savannah. A designer of immersive experiences for world-class clients including NASA, BBC, Mattel and WeTransfer, Dr. Ben Hayoun, a "Top 50 Creative Leader Driving Change in the World" (Creative Review) is the director of the forthcoming feature film "I Am (not) a Monster."

"The Williy Wonka of Design" was introduced by SCAD student Jenn Lee (B.F.A., UX design). "As a UX design major," Lee said, "people ask me how you design an experience. Dr. Ben Hayoun is an incredible example of how with enough creativity, discipline and passion, any experience, no matter how immersive and ambitious, is possible."

Ben Hayoun detailed the rigors of large-scale projects and running a growing studio, emphasizing the importance of specialization while expanding your base and range of knowledge.

"Change takes time. You want to get a design job that allows you to work long-term. Nurture your working relationships. Create trust."

A slide depicting Ben Hayoun in a hardhat at the Large Hadron Collider whizzed by. The energy in the room was commensurate with the Big Bang. "Ninety-five percent of the universe is made of dark energy," Dr. Ben Hayoun observed.

Amidst the seriousness of Ben Hayoun's projects, playfulness prevails. She described building an active volcano inside her London flat, and baking and serving a gooey cake to NASA scientists while pitching them on her International Space Orchestra. "At that point they agreed."

Among the attendees in the auditorium were students from professor Michael Chaney's Experimental Film and Installation class (FILM 365). The morning following her SCADstyle talk, Ben Hayoun visited their classroom at Savannah Film Studios.

"This class is an elective," explained Chaney. "These students take creative risks and want to learn more about creative risk-taking. They're introduced to different theories and philosophies including John Berger's 'Ways of Seeing' and Tom Gunning's ‘Cinema of Attractions'. We put it into practice, shooting films on our phones and screening them in different contexts. We call it contemplation in action."

Dressed in a Dreamland Boxing shirt and the gold chains of a champion, Dr. Ben Hayoun beamed. "Sounds like a good time!" She asked the class: "What made you want to study film?"

Cassie Lee (B.F.A., film and television, 2019): "I come from a small town and documentaries were the way I learned about different perspectives in the world I'd never been exposed to. I'm interested in history and sociology. Films can manipulate and inform people's perspectives. Studying film helps me grow as a person."

The conversation was free-flowing, with students suggesting ideas including projecting experimental films around The Hive to attract passersby. Dr. Ben Hayoun gave practical advice. 

"Funding your film involves work. To write a grant application takes time. People who are awarded grants are methodical people. Look at the objectives and goals of the grants, what the committee are trying to achieve. Take their stated objective and write how you are going to accomplish exactly that. Read the guidelines and follow them. You have to do it."

Student Lizzy Bamford (B.F.A., film and television) edged forward. Inspired by Dr. Ben Hayoun's space orchestra anecdote, she presented the artist with a homemade chocolate sheet cake with buttercream frosting. Twenty-four hours of instructive inspiration concluded on a truly sweet note.

Learn more about Nelly Ben Hayoun Studios.

SCADstyle 2019

Sunlight streamed into the chapel of the Clarence Thomas Center for Historic Preservation on Friday afternoon as SCAD students from diverse degree programs and guests from the community gathered for a workshop spearheaded by the Institute of Classical Architecture & Art (ICAA). With materials placed neatly before them, attendees took their seats as Michael Mesko, ICAA fellow, introduced the first session.

"The purpose of this workshop," Mesko said, "is to demystify the language of classical architecture."

Over the course of the day, ICAA instructors expounded upon the adaptability of the classical language of architecture, its regional variations, and its relevance as a living and continuous tradition. The instructors presented erudite architectural concepts in an accessible manner. (At one point, Michael Mesko playfully described the capital of a Corinthian column as a "leafy salad.") Instructors referenced familiar examples of the classical orders in the city of Savannah and SCAD buildings, highlighting Kiah Hall as Doric, and the Scottish Rite building—which now houses Gryphon Tea Room and Art's café—as an example of the Ionic.

In a session on regional iterations of classical forms, Clay Rokicki, chair of the education committee of the ICAA's southeast chapter, described architecture as a form of narrative, possessing a particular thesis, storyline, and stylistic convention: "Just as you learn literary style and decorum as you learn to read, you learn to read the city by studying the language of classical architecture."  

Students put these concepts into practice as the workshop moved to Independent Presbyterian Church, where the Doric columns of the church's portico were used as a template for a drawing exercise. They scrutinized the granite columns, measuring tapes and sketchbooks in hand.

"This workshop has broadened my understanding of architecture itself," remarked James Christian (B.F.A., photography).

As the workshop drew to a close, students lined their sketchbooks along the steps of the church, a visual testament to the accomplishments of the day. Students and instructors commented on the unique elements of each sketch and the progress made throughout the workshop.

Aline Feijo (M.F.A., preservation design), emphasized the importance of studying the classical language of architecture: "The only way to create great architecture is to understand great architecture, architecture that has lasted for millennia."  

Earlier in the day, Stephen Chrisman, a principal at Ferguson & Shamamian Architects in New York City, had referenced 16th century drawings of the Pantheon by two anonymous French architects. The drawings had a particular poignancy for Dr. Geoffrey S. Taylor, dean of the SCAD School of Building Arts.

"Those architects used the Pantheon as a template for understanding the classical language of architecture," Dean Taylor remarked. "It's inspiring to see SCAD students going through the same process, five hundred years later."

Stay current with SCAD events here.

Founded in 2008, SCAN is the award-winning quarterly print magazine showcasing the SCAD Atlanta community from the student perspective. Ten years, thirty issues and more than 200 awards later, SCAN is going strong.

"From its inception, we always knew we wanted SCAN to be different, which is why we focused on a lifestyle theme," said Makensangla Payne (M.F.A., fashion, 2018; B.F.A., fashion, 2010), the first editor-in-chief of SCAN. "Being a global university, it was imperative to reflect SCAD's international flair and make SCAN diverse, fresh and relevant." Payne, currently SCAD executive director of international student recruitment and relations, has seen every subsequent issue. "Every contributing team has done an exemplary job of creating, designing and connecting with its audience."

A typical issue of SCAN includes the work of approximately 35 students. From planning to printing, every bit of every issue — staff photos, tables of contents, sets for fashion shoots, makeup, illustrations — is completed by a team of dedicated students. As Anya Haber (B.F.A., fashion), 2018-2019 editor-in-chief, explained: "The collaboration among dozens of students with different perspectives and majors is what makes SCAN so visually stunning and engaging."

More than 500 students—freshmen through graduate students—have worked on SCAN, growing as artists and designers while preparing for creative careers.

Osayi Endolyn (M.F.A., writing, 2014), editor-in-chief, 2011-2012, said: "I'm proud of creating opportunities for other students to participate and find a place for themselves within student media. One student designer I recruited found a mentor on staff in a fellow student, and that connection changed the course of his early career. Another student was extremely shy and wasn't sure she could offer anything to the student media team. By the time I graduated, she was in a leadership role on staff. Both that writer and designer are still working in their respective fields."

Erin White (B.F.A., writing, 2014), editor-in-chief, 2012-2014, uses the skills learned at SCAN in her career. "So much of my perspective on journalism and media was shaped by my experiences at SCAN, from learning best practices as a proficient, responsible reporter, to operating in a newsroom setting as part of a team. I use the same content budget, interview basics and creative integrity that I learned working on SCAN. What I use most are the fundamentals!" 

SCAN has earned more than 200 regional and national awards, including two Gold Crowns (2015, 2019) and two Silver Crowns (2017, 2018) from the Columbia Scholastic Press Association. Students have earned awards individually for their photography, writing, illustration, advertising and graphic design from top national organizations for college media. Emma Dakin (B.F.A., graphic design, 2018), editor-in-chief, 2017-2018, said: "I'm proud that SCAN and the students who work so hard at making interesting and creative issues are consistently recognized with some of the nation's top awards for student media."

Adam Crisp, director of student media, SCAD Savannah, said, "Though SCAN is principally an Atlanta campus publication, it is sought after at all SCAD locations for its impeccable photography, superior design and thoughtful storytelling. SCAN shows the talent of our students, and provides a superior out-of-classroom learning opportunity for its contributors and editors."

"I love seeing people reading SCAN," added Haber. "I'll miss being stopped in the hall by a student who recognized my picture from the staff page, telling me how much they loved the latest issue, and asking how they can get involved."

Want to help celebrate SCAN's success?

Visit the ACA Library, Friday, April 19, 11-1 p.m. for "Friday Finds" to see back issues and ephemera from all 30 issues of SCAN.

Current and former editors will be there to discuss how you can get involved.

"Objects that are considered art historical don't live in cultural vacuums," announced Dr. Arthur DiFuria, SCAD chair of art history, from the auditorium stage of the SCAD Museum of Art. "They don't sit on shelves or exist inside vitrines or hang on walls all their lives. They are woven into cultural fabrics, connected to the lives of the people who made them, use them, study them and are inspired by them. Perhaps tomorrow you will go into the classroom with a greater sense of this connectedness."

Dr. DiFuria's remarks were a preamble to a presentation by author and collector Alice Kandell, celebrating "Assembly of the Exalted: The Tibetan Shrine Room from the Alice S. Kandell Collection" (Officina Libraria, 2018), a new book about her half-century commitment to Tibetan art. Dr. Kandell's talk, ranging from sense memories of yak butter tea to the efficacy of tangling with the Smithsonian, was a fantastic example of the level of guest speakers and artists who visit SCAD.

Dr. Kandell's reminiscence began in 1965 when, as a graduate student in psychology, she traveled to attend the coronation of the new king and queen (the latter a friend from college) of Sikkim, a tiny nation in the Himalayas bordering India and Tibet.

"When I got to Sikkim," Kandell said, "I was totally overwhelmed by the beauty of the country: the mountains, the air, the people, and most of all the art. In a Buddhist country, the word ‘art' is a complete misnomer. It's not art, it's religious iconography, objects for use in the home and temples."

Photo: Alice Kandell

Since her initial trip to Sikkim, Kandell returned to the region, photographing widely at the king's behest. She also began a collection of religious objects, which now comprise the most comprehensive collection of Tibetan sacred art in the United States.

"Great art does not belong to any one person," Kandell said. "We're just guardians. In 2011, I decided it was time for my collection to go into the public domain. The Smithsonian finally agreed to present the pieces together as a shrine, as it would've been in Tibet."

As Kandell's slide show peaked with depictions of otherworldly richness, she pivoted. "You don't have to travel to coronations in foreign nations, you know. If you're a photographer, and you like to tell stories, you can go wherever you want. You can travel to the kitchen. I did."

After returning to the United States, Kandell explained, she married and became something of a homemaker, although she didn't stop creating: two books, featuring photographs of her then-toddler-aged sons, were the result: "Max, the Music-Maker" (Lothrop, Lee & Shepard, 1980) and "Ben's ABC Day" (William Morrow and Company, 1982). This seeming tangent was part of Kandell's larger point: inspiration is where you find it—just keep your camera with you.

The evening concluded with additional remarks on Kandell's work by Kerry Lucinda Brown, SCAD professor of Asian art history, and SCAD alumni mentor Paula Fogarty (M.A., art history, 2013). Following a Q&A, the magnetic Kandell remained in the museum lobby, surrounded by SCAD students whose creative horizons she had just widened, eager for more.

Learn more about the Kandell collection, and the free Sacred Spaces app, here.

Learn more about SCAD art history and stay up-to-date with SCAD events.

Veins in a wrist flow into the ribbing of a sweater. A hand is angled across a freckled clavicle.  An arched eyebrow suggests wisdom and wonder. Unembellished yet elegant, these images of women are the substance of "Sabi."

"Sabi," titled after the Japanese concept of transient beauty, was created by Matthew Sgambati (B.F.A., photography, 2019) for The Photographic Book (PHOT 405), a ten-week class taught by SCAD photography professor Jaclyn Cori Norman. Over the course of the quarter, each student conceptualized, shot, and laid out two complementary, physical versions of their own book of photographs: one handmade, the other produced via an on-line publishing platform.

In a class whose work encompassed diverse aesthetic and thematic visions, Sgambati's "Sabi" represents a remarkable standard of excellence.

Matthew Sgambati:

I'm from Raleigh, North Carolina. I attended Broughton High School, and played saxophone in marching band, but it wasn't until I picked up my first camera, a Nikon D50, that I realized creativity is something I really have to offer the world.

I've always appreciated craftsmanship, whether that's ceramics, sculpture, bookmaking, or any traditional process of making something with your hands. Going into The Photographic Book, professor Norman said, "You're going to shoot more for this class than you ever have." I thought, She means business—good.

My concept for "Sabi" was to photograph women of a certain age, and have the images be fashion-based. Professor Norman made me question what direction I wanted the book to go in. Did I want to depict the vulnerable side of aging? My idea was to emphasize beauty, and for the viewer to perceive the images as being beautiful. I didn't want to hide who these women are.

I had not heard of "the male gaze" before this class. It's something I think every male photographer should be aware of: Be mindful of objectification. To focus on elegance, rather than sensuality, was important for me. Those are two different things. But where is the line?

I always try and make the subject aware of what I'm trying to do. Photographing someone involves an equal distribution of effort. When the person you're photographing understands your intent, it means more emotional engagement and visual insight.

Little details make a pose successful: position of the chin, looking towards or away from the light, hand in pocket without thumb, hand slightly out of pocket with thumb in pocket…these are the sort of details we experimented with. I directed every pose with Lian Najarian (B.F.A., fashion marketing and management), my stylist and collaborator. It was a team effort.

One focus of the class was how to lay out a spread so images interact with each another. Are you looking at photos that relate and flow in a certain way? In "Sabi" certain colors mimic each other from spread to spread. Noticing a monochromatic color scheme in an image, or a pop of red, I realized I could play on that while laying out the book. A woman leans in a certain direction, leading you across the page. Sequencing makes all the difference.

Everyone in the class went through the process of learning to communicate with each other respectfully about our work. That began with professor Norman, her intentional connection with the students, and how emotive she was as a professor. That helped build stronger connections within the class. I'm really proud of what we all accomplished.

Photograph of Matthew Sgambati by Eva Verbeeck (B.F.A., photography).

"Sabi" styled and assisted by Lian Najarian, with clothing from Thread+Onion.

"Sabi" now available for purchase.

"Anthropocene" is an art exhibition addressing how humans are profoundly affecting Planet Earth. The term "Anthropocene" describes the epoch in geological history beginning with the Industrial Revolution. It is the name applied by global change activists to the ongoing period of formidable alterations made by human beings to our planet's ecosystems and geology.

“Anthropocene” is a call to action. The art work in "Anthropocene" aims to reflect artists' observations and responses to our climate crisis. Curated by Kathleen Varadi (B.F.A., painting, 2018; M.F.A., painting), “Anthropocene" opens May 10, 2019, Alexander Hall, SCAD Savannah. SCAD students from all academic degree programs, as well as SCAD alumni, faculty and staff are invited to submit work for consideration.

Climate change and global warming have far reaching-consequences for the world. The issue is especially pertinent for the current generation of students. This exhibit is informed by Greta Thunberg and her speech to the United Nations calling for immediate change to the current situation. If a 16-year-old student can speak out, why not artists?

Artists are keen and skilled observers of the world, and throughout history have called attention to important crises and events of the human race. Artists have been called "canaries in the coal mine" because they sound the warning of impending dangers in society. Artists have always been the activists and the megaphones for change in civilizations.

The global environmental crisis can feel overwhelming to the individual. Change has to be accomplished collectively. This spirit of collaboration is reflected in this exhibition's inclusion of artists from many diverse degree programs throughout Savannah College of Art and Design. All levels of experience from students to alumni to professors and staff are represented. 

"Anthropocene" will address local as well as global environmental issues, including recovery and preservation of the Savannah River and Coastal Georgia. This exhibition strives to present solutions and demand change now. Ideas and artworks are presented in many formats and styles. Events surrounding "Anthropocene” include guest speakers, artist talks, artist tours, readings, screenings and workshops. All events are free and open to the public.

The spirit of the "Anthropocene" exhibition of 2019 can be summed up in the words of Nobel Peace Prize nominee Greta Thunberg, speaking to the United Nations Climate Change Conference in Katowice, Poland: "You are never too small to make a difference."

To submit work for "Anthropocene" visit SCAD Fine Arts Submittable.

Submissions accepted through April 18. Notification of acceptance date April 22.

"Anthropocene" opening reception: Friday, May 10, 2019, 5-9 p.m., Alexander Hall.

www.anthropocene2019.com

Matt Smith (B.F.A., graphic design, 2017) holds the SCAD record in the marathon (2:34:56 in Albany, Georgia, 2017) and in the 8000 meters (24:43 at Sand Shark Invitational, 2016). In February of this year, Smith returned to Savannah for a runners' reunion on Tybee Island, where SCAD men's and women's track team, along with alumni, swept the podium places at Critz Tybee Run Fest.

Smith currently lives in Bushwick, Brooklyn and works as a type designer at Louise Fili Ltd. Esteemed in the design world for the type foundry directory hosted on his website, Smith is also a keenly contemplative writer. Were he to devote himself to a career as an essayist, he could be Chesterton in track shoes. But for Matt, the font's the thing.

Matt Smith:

I grew up in Florida and attended New Smyrna Beach High School. My father is an airbrush artist and muralist. I have a brother and two sisters, all older than me, all artists. It's like I've always been interested in art and design.

I got a late start with running, my junior year of high school. I wasn't sure if I had a chance to run collegiately. Since I had an interest in art and design, SCAD seemed like the right place for me. I ended up walking onto the team. They were open to me giving it a shot.

Coach Patrick Reagan played a pivotal role in my running career and my focus as a student. When I arrived in the fall of 2012, Patrick wasn't running that much. He started to jump into workouts, and I witnessed his transformation into an elite ultrarunner who's made a mark on the world stage.

Smith, in black cap, running for SCAD, 2016.

Running helped me become the self-disciplined person I am today. In New York, I've been doing more work recently with the Brooklyn Track Club, who are in the process of starting an elite team, BKTC Elite. I'm traveling to Berlin in the fall. One of my former teammates Emanuel Krieg (B.A., advertising, 2016) is in Germany, so I'll see him, get acclimated, then run the Berlin Marathon.

Studying graphic design at SCAD, I spent a lot of time reading and learning about type and lettering. Lettering is the drawing of letters, while calligraphy is the writing of them. Professor Jane Zash helped me explore hand-lettering in my Studio II class. My senior year, professor Patrick Hogan taught a type design class that helped me understand how letter forms are constructed.

Matt Smith, exhibition concept, "Yours Truly, Albert" 2017.

From drawing by hand with pen and paper, to drawing on the screen, to coding in Python, as soon as I've figured out something, there's something else to learn. As new technology arises, there are new ways to build fonts. People say we're in a contemporary renaissance of font and type design, because of how accessible it is and how many people are creating fonts. It'll be interesting to look back in twenty years and see which cultural artefacts have survived.

In July I'll have been a designer with Louise Fili for two years. Louise has a long history of creating custom typography and custom lettering. Our clients are often specialty food packaging and restaurants; we've done work for American Spoon and Sarabeth's. We're developing a mini-site for an upcoming release of a family of fonts we're developing. We're a small enough studio where I can take everything I've learned and put it to the test and learn new things while I'm doing it.

When I look at my life as a runner and designer, I’m thankful SCAD was the perfect match.

(Image courtesy Louise Fili Ltd)

See more of Matt Smith's work here.

This quarter, sixteen students from SCAD Hong Kong fashion marketing and management, luxury and fashion management, and interior design programs traveled to Sri Lanka under the supervision of professors Robert Meeder and Laura Cavanna. The four-day trip was an extended learning opportunity for Supply Chain Management in the Global Marketplace (LXFM 720) and Global Sourcing and Import Buying for Fashion (FASM 420) classes, focusing on sustainable practices within the garment supply chain.

Our first day began with a bus for a tour of Colombo, Sri Lanka’s capital. We visited the showroom of Selyn, a Fair Trade Certified handloom company, where we were able to observe and purchase traditional Sri Lankan woven textiles and goods. At a garden café called Barefoot, we had lunch on the open veranda and spoke with local stylist Jude Gayantha Perera and designer Kasun Gunawardana, who shared their experiences working within the manufacturing hub. We visited the Urban Island retail space, which works in collaboration with the Academy of Design (AOD) school of fashion design to showcase local student designers. We then visited AOD itself to see student work. We had a short break at the Galle Face Hotel before our meeting with Robert Hilton, Deputy Chief of Mission, U.S. Embassy, who spoke on trade relations. Nike apparel innovation director Michael Steen also joined us, speaking about textile development in Sri Lanka and creating products for the market.

Our second day in Sri Lanka we visited the Selyn factory. Selyn uses traditional handlooms to ensure the sustainability of local crafts. Cotton threads are imported from India are dyed, and when the threads are finished, they are sent to weaving houses where workers weave the fabrics used to make the products. The Selyn neighborhood factories were set up to empower women and ensure that these skilled artisans can work as sole proprietors, providing for their families in a safe environment, managing their own time and workload. The women are paid per piece of fabric that they weave. When the fabrics reach a significant amount, they are sent to the production hub, where orders are put in for a wide range of products, from toys to clothing.

On our third day, we traveled to Sigiriya Rock, a fortress overlooking the Central Province. This ancient wonder was selected in the fifth century by King Kashyapa as his new capital. Inside the cave area, beautiful frescoes adorn the walls. Halfway up, a large lion is carved into the side of the rock, which serves a gateway to the top. It was incredible to see the preservation efforts on an ancient example of urban planning and culture. After descending, we bussed to the Kandalama Hotel in Dambulla, designed by Sri Lankan architect Geoffrey Bawa. Built on natural rock, the hotel incorporates natural elements into its living spaces. Built to minimize environmental impact, the hotel provided us with insights on different aspects of sustainable design.

We started our final day by visiting the Mihila factory of the apparel manufacturer Hirdaramani. We were given a full tour of the carbon neutral factory, from the raw materials to the garments being produced. The scarves the workers wore on their heads were color-coded, so people would be more considerate when giving work to, for example, pregnant women. We were given a presentation on the values and goals of the factory, such as employee satisfaction and sustainability development goals. Afterwards, we made our way to Cinnamon Lakeside Colombo hotel, where Nikhil Hirdaramani, director of the Hirdaramani Group, spoke to us about sustainability and ethics.

The four days we spent in Sri Lanka were eye-opening and inspiring. The trip changed the way we view the fashion industry, and provided us with first-hand knowledge and experiences. Between speaking to industry professionals, visiting cultural landmarks and exploring sustainable factories, we left feeling enriched. We are thankful to SCAD Hong Kong for providing us with an incredible experience.

Learn more about SCAD Hong Kong.

Special thanks for writing this piece to Guin Joyce Ballard (B.F.A., fashion marketing and management), Tori Penaherrera (B.F.A., fashion marketing and management), Soemaya Anand (B.F.A., fashion marketing and management) and Shreya Lunawat (B.F.A., fashion marketing and management).