"The desire is to drive a different color interaction," said Gretchen Wagner during the exhibition-closing gallery talk for Patterned Fields. "The intention is to make it look like the embroidered layer is shifting in front of you."


Desires and intentions were being gratified. Wagner's glass bead embroidered monoprints on paper seem kinetic and sentient, like they enjoyed being at Gutstein Gallery just like everyone else.

On a Thursday afternoon, Gutstein bustled with gallery-goers, both SCAD students and members of the art-loving public. The occasion was literally two-fold: to hear two alumni artists talk about their work, and to give their work a more enlightened look.

Wagner (M.F.A., painting, 2023; B.F.A., fibers, 2011) and Jeremiah Jossim (B.F.A., photography, 2010) were conjoined in conversation by SCAD Museum of Art assistant curator Haley Clouser. The discussion focused on the neat conceit of Patterned Fields: that the two artists share an interest in how pattern can transform the picture plane.

"Your works or styles seem very different," said Clouser. "The lynchpin is pattern and the way you're approaching dimensionality."

Jossim explained that his approach to refining his patterns is to leave no trace, or to do so as a form of commentary. "I do intensive pencil drawings underneath before I begin painting that no one will ever know. The work I've made now, sometimes you can see screw holes on the side [of the frames]."

Jossim's admiring paintings of the American landscape question the nature of recreation. His psychedelic oils (particularly the circular works he calls Portals) are evocative of nature, yet hardly naturalistic.

Wagner, currently a professor of foundation studies at SCAD Atlanta, remarked upon the influence of Josef and Anni Albers, Bridget Riley, and her own family. "I come from a family of engineers and architects who draw on graph paper, and that's what I do too. I love that level of precision." Of her bead-embroidered prints, she said: "The way the embroidery happens, you start to get this undulation and this hand manipulation of the surface of the work, and that disrupts the near-perfection you see in the print."

Haley Clouser nudged the artists to talk about their respective beginnings as students at SCAD.

Jossim said: "At SCAD I felt a level of care applied throughout my classes. Savannah is really special. It was a nice cocooning place for me as an artist. I was able to make a lot of art. Some of it was bad." The crowd hooted.

Wagner: "I came to SCAD because I wanted to be a shoe designer. I was going to go into fashion, then I heard about fibers and thought, 'Wouldn't it be good to make some of my own textiles for my fashion classes?' I took a fibers class and changed my major to fibers immediately."

After graduation Wagner went to work in the commercial textile industry for a decade. "That design work influenced my art practice and vice versa. We often separate the words art and design. I actually think the best scenario is when they're tangled up with each other."

As the talk concluded, Clouser sounded a final note of encourageent: "Enjoy the space, look more closely, and think more deeply about the work."

Julian Robaire (B.F.A., fashion, 2013), assistant head of the tailoring workshop in CHANEL's haute couture division, has worked for some of the biggest names in fashion since graduating from SCAD a decade ago. His preternatural gift for draping and design leading to commissions for everyone from Catherine Deneuve to Kirsten Dunst. Like so many SCAD alumni, Julian comes back to campus often to share his wit and wisdom with our students. I was honored to sit with him recently for an all-around delightful conversation about his career and the made-to-measure magic of couture.

President Paula S. Wallace: Julian, SCAD is so proud of you! Tell us about your first steps toward SCAD and your rockstar career in luxury fashion.

Julian Robaire: I was always interested in luxury. My great-aunt spent her whole career working for Hermès, and I remember, as a young child, always seeing her wearing Hermès shoes and scarves, even at home! She helped me discover luxury fashion and why it's so important. With SCAD's reputation in fashion, I knew where I wanted to study— and SCAD is where I fell in love with draping. After graduation, I moved to Paris to attend L'Ecole de la Chambre Syndicale de la Couture Parisienne, and then I went on to work at Christian Dior and John Galliano before moving on to Jean Paul Gaultier and CELINE, and now CHANEL.

PSW: Right to the top! Of course, you were no stranger to Paris, growing up in a Francophile household.

JR: I have grandparents from North Africa, and I've always had French influences around me. My parents took me to meet family in France for the first time when I was eight years old, and I fell in love with Paris—the most magical, most beautiful, most amazing city. It was the luxury so specific to Paris, I think, that made me want to move there after SCAD.

PSW: If I recall, you got your start at Christian Dior after a conversation with someone at a café?

JR: SCAD always taught me to have my business card with me and a killer portfolio ready because you never know who you might meet, whether you're sitting next to them on the Metro or introduced in a restaurant. I started talking to a guy at a café who turned out to be the technical director at Dior ready-to-wear. The number two person there! I gave him my business card, and he said, "Well, show me your work!" I pulled up my website with my SCAD portfolio on my phone. The class critiques at SCAD taught me how to discuss my work with an intelligent vocabulary, and I explained to him what I wanted to do in my career. Two weeks later, I had an interview and was hired on the spot.

PSW: Preparation meets opportunity. Since you mention critiques—your interview process with Jean Paul Gaultier was quite a different process than at Dior. What was that like?

JR: My first meeting at Gaultier was also an interview, but from there, it got interesting. My second interview was with JPG himself, who challenged me to create a garment in the aesthetic of the house of Gaultier that still stayed true to my design philosophy. A week later, I presented to him a half-draped, half-structured, tailored bustier jacket. He loved it and asked for a few alterations and adjustments. Over four weeks, each time we met, Mr. Gaultier reviewed my work and suggested more changes. This is precisely what SCAD prepared me for—learning to listen to what a client wants. Anything I created would have Mr. Gaultier's name on the label, so that interview process was about demonstrating I could adapt my ideas for his brand. Ultimately, he said oui and I was hired.

PSW: After proving yourself indispensable in haute couture for years, CHANEL came calling.

JR: CHANEL found its way to me, yes. I had three different people reach out to me within a three-month span: a recruiter, a freelance headhunter, and someone from within CHANEL. There were several serendipitous circumstances that accumulated to one outcome. I'm extremely happy to have found a home with CHANEL.

PSW: Okay, so let's back up a second. How exactly did you find out about SCAD?

JR: My high school English teacher had a SCAD poster in her classroom, and I started researching. I knew I wanted to study fashion, but SCAD wasn't just a fashion school: it had the most well-rounded education on the market, with foundations classes in sketching and 3D design and opportunities for collaboration across majors.

PSW: Accessory design, fibers and textiles design, filmmaking, we have it all.

JR: Plus, SCAD understands that all design is also business, so every class not only teaches you craft but also how to market and innovate within the industry. I wanted that knowledge.

PSW: Do you remember a favorite collab with your SCAD classmates?

JR: I worked with students from film, graphic design, and sound design on a fashion film featuring my work. It wasn't even for a class—we just loved working together and wanted to create something beautiful for our portfolios! The project really gave life to everything we had learned during our years at SCAD.

PSW: Which SCAD classes set you up most for the success you have today?

JR: I'm always going back to the principles I learned in foundations. I'm not a designer: I work after the designer sketches. I drape fabric on the mannequin and develop the garment's proportions and lines, the movement, the volumes. My foundations and structural design background set me up to look at sketches from a different perspective and really bring them to life.

PSW: I'm so honored that you come back to SCAD to share your experiences! A few years ago, you spoke at the launch of SCADamp, our in-house studio that teaches the fine art of communicating your work to any audience.

JR: SCAD is always ahead of its time. Recently, someone I know professionally asked what I was proud of having done in the last couple of years, and I brought up my keynote talk to SCAD faculty—that was really a big deal for me. I mean, that's a lot of people for me to speak in front of, and they all are experts in their fields! Having been trained to tell my story like that by SCADamp was such a rewarding experience. That type of coaching is something other universities don't give their students and alumni.

PSW: What does a normal workday at CHANEL look like for you?

JR: There really isn't a typical workday in my world! When we're developing a collection, I work with the fabric manager to choose all the ornaments and notions we need to make a garment. I'm also draping garments and taking them down to the studio for model fittings. Some days, clients come to view the collection and order pieces. I'll take their measurements, since haute couture is made-to-measure, before creating a mannequin that fits the client's proportions. There, I'll drape the garment before the workshop prepares the pieces for subsequent fittings. My work really depends on what part of the season we're in.

PSW: Your work involves fine hand tailoring—truly an ancient craft.

JR: My work is very traditional—the same traditions have existed since the time of Coco Chanel and Christian Dior. We still drape simple cotton fabric on a mannequin to make patterns. When I take measurements, I notice body structure and how garments will drape because the life drawing and anatomy classes at SCAD developed my ability to visually analyze the morphology of a client's body. A measurement of a hundred centimeters doesn't tell the whole story. The client can be more developed on one side of the body or have one shoulder lower than the other. No single body is perfectly symmetrical. You can have a hundred centimeters a billion different ways. Those morphological details are really specific, which is why we create every pattern by hand.

PSW: That's what's so special about haute couture—no two pieces are ever the same. Can you remind readers what defines haute couture?

JR: The term haute couture is actually protected by French law—there are only sixteen official haute couture houses in the world. It's not a designation taken lightly. When it comes down to it, haute couture is high fashion made to measure and made to order by an atelier. There are no sizes. We create patterns and garments to perfectly fit the models who walk down the catwalk. Everything is precise, because each piece is completely custom to each client.

PSW: What inspires you most in your work?

JR: I've always been drawn to the post-war liberation of female silhouettes—that point in time really fascinates me. During the Second World War, so many people naturally forgot about luxury and the fun of living. All of that came back in such a big way in the post-war period, and that's really similar to what we're seeing happen today in the post-Covid era. That big boom of relearning and embracing enjoyment again is seen in the music, the art, the fashion, and the films of that time.

PSW: Films like Gilda, An American in Paris, Sunset Boulevard, Roman Holiday.

JR: Exactly!

PSW: The silhouettes from that era are timeless. Moving from the classic to the current, what's a contemporary design trend you especially love?

JR: I spend so much time speaking French I sometimes have difficulty finding the English word, but...lightness, overall not too serious, not too heavy.

PSW: Maybe ethereal?

JR: Yes! Just in general, light fabrics, light colors, fun, easy-going, I think, are all keywords that the industry is looking to moving forward. The embodiment of joy.

PSW: Julian, I'm so happy to see you thriving in your dream career. SCAD loves you!

JR: Merci, Paula! I'm always so thrilled to buzz back to the SCAD hive!

Connect with Julian Robaire!

Eunseo "Bella" So (M.F.A., sound design, 2023) is making a racket intentionally. The Foley artist, mixer and editor has been named a finalist for the Student Recognition Award by the Cinema Audio Society (CAS). On March 2, she will attend the 60th CAS Awards in Los Angeles at the Beverly Hilton, where the winner will receive a check for $5000. Her nuanced noises are getting noticed.

"Foley is a very cool and creative job, and it means being part of a sound design team that collaborates with other artists in the filmmaking process," So says. Currently based in Fort Lee, New Jersey, she works at C5 Sound, one of the top Foley studios in the industry.

Bella first found her way to sound design while a film major at Yong-In University in Yongin, South Korea. She began learning the unique discipline of Foley, creating original sounds to sync with moving images as a hands-on process, often utilizing odd props.

After graduating from Yong-In, she began working as a Foley mixer in Korea and "felt I was hitting a wall. I desired more knowledge. I wanted to become a master's student at the best university in America, to advance my career. Yet I could only speak English a little bit, so I was hesitant."

Her colleague Hyoenzi "Alex" Wang (B.F.A., sound design, 2022) suggested SCAD, for both its superior sound design program and the support services SCAD offers international students.

"Before I came to SCAD, I'd never gone to another country," So says. Taking ESL classes at SCAD, focusing on speaking, essay-writing, and presentation, Bella found her English improving quickly. "I met a lot of international students with different backgrounds from different countries. It really relieved my concern."

An emboldened So continued to demonstrate her Foley skills in Hamilton Hall. Soon sound design professor Jamie Baker invited her to become her teaching assistant for the course Foley Production Techniques (SNDS 322).

"Bella was a natural mentor to the students, sharing her tips and techniques on both sides of the glass in the studio," Baker says. "She is a versatile, enthusiastic, and creative sound mixer who collaborates well with the entire post sound crew as she exhibits her impressive technical chops. I am extremely proud of her nomination for the esteemed Cinema Audio Society Student Recognition Award. She is an amazing candidate."

For the Cinema Audio Society award, Bella submitted a reel of her noteworthy Foley work including live action, animation, and video game projects. This includes Pirate Lesson, an animated short film directed by Sofia Azpe (B.F.A., animation, 2021). Mixed in stereo/5.1 surround sound, the rollicking high seas adventure follows a father showing his son how to drive the ship...right into battle. "I really enjoyed working on Pirate Lesson, and I tried to deliver the characters' actions and emotions to feel as fun as possible, rather than obsessing about realism," So says. "I've learned a lot about how Foley is different in animation than for live action."

As she prepares to travel to California for the Cinema Audio Society Awards, Bella reflects on what her journey represents for herself and others. "I want other people to see what is possible. You can do this as a woman, as an Asian, and as someone with a master's degree from SCAD."

Connect with Eunseo "Bella" So.

In December, Paola Maldonado (B.F.A., fibers, 2018) traveled from her home in Quito, Ecuador to SCAD AT MIAMI. Her distinctive, large-scale textile installation adorned the booth at Design Miami, the prestigious art fair and global forum where SCAD is the official university partner.

Maldonado's work honors the legacy of textile craftsmanship with a contemporary edge. Produced in her own textile studio in Quito, her installation for SCAD AT MIAMI created sublime context for the work on display by Seth Carlson (B.F.A., jewelry, 2007), Xinia Guan (M.F.A., jewelry, 2020), Miao He (M.F.A., jewelry, 2019), Xun Liu (M.F.A., jewelry, 2020), and Andrea Ortiz (M.F.A., jewelry, 2023).

After returning to Quito, Paola reflected upon the experience.

Paola Maldonado:

"When SCAD contacted me to create an installation for Miami, I was so excited. The commission involved a textile technique I was already working in. Before this project for SCAD AT MIAMI, I created two commissioned pieces for residential clients here in Ecuador. I knew the technique I would use, how to calculate materials. Still, there were challenges, including time. How could I make the work in Quito, and get it shipped to Miami?

SCAD sent me the dimensions of the booth. The left and right walls were mirror images of each other. I usually choose bright colors and more rustic yarn, but they wanted metallic finishes because the work in the booth was going to be jewelry. There's gold, there's silver—we chose the yarn because of the jewelry.

I always like to be involved in every part of the process: yarn wrapping, buying yarn, going to the supplier, packaging the work. That's what I love about the work—it means being in touch with materials. I'm an artisan. With an installation, if I'm doing it here in Ecuador, I can cut off a yarn that is not in place. For Miami, I didn't have the space at my studio in Quito to hang both walls. So, for me to see the booth in person meant looking at a huge project I had done in parts. Seeing it installed, I was like, oh, wow! This is how it looks! I was just as surprised as any other person.

At the fair, people would look at it from a distance, then they would come up close and touch it. Everyone had questions on the method of production, the design process, how it was made, was it paint or yarn, and how we shipped it there. I loved meeting people interested in the work.

I opened my studio three years ago when I came back to Quito. I'm an entrepreneur. Starting from scratch, having my own studio, getting clients through my Instagram, it's all been very organic. The objective for me is doing my art and transmitting it to people with love. It's one of the few careers that you're really working with your hands. It's super emotional work that creates sensitivity and love.

Design Miami was…how do you say “high point in your career”? La cima. I don't feel like I've reached my highest point yet. Thanks to SCAD commissioning me for Design Miami, it has made this year a huge step. It's awesome."

[As told to Peter Relic.]

Connect with Paola Maldonado.

"Every architect and interior designer will tell you the same thing: it is a unique feeling when you step into the space you designed," said Nanyan "Vincent" Chen (M.F.A., interior design, 2022), interior designer, Lissoni & Partners. "You know everything about it, every detail, every flaw, and the backstory. It is your child."

For Chen, a native of Nantong, China, the choice to pursue a career in interior design was clear. He had long nurtured his passion and worked in China on suburban renovation projects with S5 Design Co. Ltd., where he found inspiration in natural elements and absorbed insights from industry leaders who influenced him as a designer in his own right. SCAD Atlanta was the perfect place to make the next step happen.

"SCAD provided a friendly environment that allowed me to build on my past experiences and merge them into my design language," Chen said.

Interior design drawings by Vincent Chen from his SCAD project "Journey & Space," 2022.

Chen's professors encouraged and supported his creative journey toward a career in a sophisticated design studio. Interior design professor Peili Wang, who taught Chen in the course Graduate Interior Design Studio III: Inclusive Design for Special Populations (INDS 751), said: "He is gifted, diligent, quick-minded, and serious in his design study."

For Chen, whose job search presented challenges including a language barrier, the comprehensive resources at SCAD were crucial touchstones. Workshops, industry connections, and the SCAD Job Portal provided Chen with clarity and professional focus. As an international student, he gained valuable insight into how the interior design industry operates in the U.S., all of which led to his internship with Lissoni & Partners in New York in March 2022.

Interior design renderings by Vincent Chen from his SCAD project "Journey & Space," 2022.

Chen's excellent performance during his internship led to a full-time position with Lissoni & Partners. The transition brought more responsibility, including projects with the Ritz-Carlton and Waldorf Astoria. Working on high-end projects allowed Chen to apply his understanding of design processes learned at SCAD.

Lissoni co-founder and CEO Stefano Giussani said: "Chen is a reliable designer, creative, and professional with any task, able to meet deadlines, is well organized, and follows the design process being a detail-oriented member of our firm."

"SCAD taught me how to use design thinking throughout the design process ,which allows me to keep the creativity and open-mindedness to embrace what Lissoni offers," Chen said.

At this moment in his career, Chen favors renovation projects for their sustainable approach. He notes the importance of environmentally friendly materials and is passionate about minimalist design.

Chen's advice to aspiring interior designers includes staying passionate, nurturing curiosity, and having a clear vision.

"For me, it is not only a profession about design but also lifestyle. It is important to check different designs, visit different spaces, travel, and meet people with an eye for interior design. All of your experience and knowledge will be reflected in your design."

Learn more about SCAD's award-winning interior design degree programs.

Connect with Chen in LinkedIn.

Portrait photo: Wenyi "Bebe " Li (M.F.A., photography, 2022)

The punctuation stroke is part of the look.

Design Miami/, the prestigious fair and forum featuring SCAD AT MIAMI, returns to celebrate design innovation, contemporary art, and creative education, December 6-10. This marks the fifth year SCAD has represented as the flagship design fair's official university partner. Design Miami/ takes place at Meridian Avenue and 19th Street, Miami Beach, Florida.

This year's SCAD showcase will include work by student and alumni artists from top-ranked degree programs including jewelry and fibers. In addition to the booth activation, SCAD President Paula Wallace will feature in Design Miami/'s highly anticipated Design Talks series in conversation with global lifestyle designer Kelly Wearstler, founder and CEO of Kelly Wearstler. The university will also host an alumni celebration at the fair in honor of SCAD's 45th anniversary.

"This December, SCAD once again showcases extraordinary SCAD alumni work under the dreamiest of design fair tents," said President Wallace. "From organic whimsy and delicate floral beauty to ultra-modern geometry and evocations of wildlife and adaptive reuse, the many wonders of the SCAD booth are not to be missed. See you in South Beach!"

SCAD's activation at booth X/07 features designs by alumni from its leading jewelry program—the largest degree-granting program in the U.S.—including Shuoyuan Bai (M.F.A., jewelry, 2020), Seth Carlson (B.F.A., jewelry, 2007), Xinia Guan (M.F.A., jewelry, 2020), Miao He (M.F.A., jewelry, 2019), Xun Liu (M.F.A., jewelry, 2020), and Andrea Ortiz (M.F.A., jewelry, 2023). These artists pair extensive knowledge of materials and techniques in wearable innovations that embrace jewelry's relationship to the human body and self-expression, exploring themes and motifs from the natural world, illusionary geometric patterning, and whimsical object appropriation.

"These jewelry works are a testament to the university's degree program and its emphasis on fostering creativity in traditional jewelry techniques while encouraging a broader exploration of materials and narratives," said SCAD chair of jewelry Jay Song. "Through this diverse array of alumni accomplishments, we proudly showcase how SCAD equips its graduates with the skills and mindset needed to thrive in the dynamic landscape of the creative industry."

Paola Maldonado, "Otoño," natural fibers, 2m x 1.25m, 2022.

Embodying a dedication to multidisciplinary collaboration, the alumni designs are exhibited within an intricate installation by fibers graduate Paola Maldonado (B.F.A., fibers, 2018). For Maldonado, textile design transcends tradition. With every thread, she expands conventional boundaries of texture, color, and form, challenging her audience through unexpected treatments and compositions. Produced in her own textile studio in Quito, Ecuador, her work engages relevant issues related to the origins of materials and methods of production.

Extending SCAD's 45th anniversary celebrations to Design Miami/, President Wallace will join global lifestyle designer Kelly Wearstler, Thursday, Dec. 7, at 5:30 p.m. as part of the fair's Design Talks series. Wearstler's design philosophy is driven by a deep passion to articulate a unique story and formidable point of view, typified by a singular, synchronized experience emerging from an alchemy of disciplines, from interior design and architecture to creative direction and brand identity. Given SCAD's own preeminence in these disciplines, this convergence of two powerhouse creative entrepreneurs will offer invaluable insight and inspiration. Following the conversation, copies of Wearstler's newest book Synchronicity (Rizzoli, 2023) will be available for purchase.

Additional SCAD AT MIAMI events scheduled throughout the week include a VIP press preview and admission information sessions for prospective students and families.

For more information, visit scad.edu/scadatmiami.

"I lucked out with this project: I was prepared, and then opportunity came," said Jey Odin (B.F.A., sequential art, 2010) of his work on the new book Rick and Morty: The Manga Vol. 1—Get in the Robot, Morty! (Oni Press, 2023).

Based on the smash hit Cartoon Network TV show, the 175-page book—written by Alissa M. Sallah, with art by Odin—delivers the multiversed misadventures of mad scientist Rick and his squeamish grandson Morty in the dynamic style of Japanese manga. First impression: it's awesome.

"I've always liked Rick and Morty, it's very funny and very dark," said Odin during a recent weeknight appearance at Neighborhood Comics in Savannah. Sporting a tight fade haircut and canary-yellow-framed eyeglasses, the artist stood at the shop's front counter beneath a gigantic hanging replica of the Millennium Falcon. "I knew that my style could not only duplicate Rick and Morty, but also look like manga. The more I drew, the more I got used to it. This was a very fun book to draw."

Odin (the nom de plume of Louisiana native Jonathan Mullins) has been called a "graphic novel demigod" and "a true legend." During his in-store artist talk hosted by Neighborhood managing partner Lee Heidel, he also came across as naturally friendly—and more than willing to divulge the inner workings of his art and career.

"When I was in sixth grade, I turned on the TV one day. It was Toonami, with Vegeta rising out of the water, screaming! I didn't know what it was, but I needed to find out." Inspired by his initial encounter with Japanese television anime Dragon Ball Z and the bubbly renderings of artist Akira Toriyama, young Jey began drawing in a similar "cartoony" style.

"Jey is one of my earliest students who I've known since he was about 10 years old," says sequential arts professor (and fellow Louisianan) Rashad Doucet. "I'm always so proud of his success, and it's been amazing watching him grow into the awesome creator he is today."

After Odin came to SCAD, he developed his own comic book, and received encouragement from Doucet to pitch it for publication. Antarctic Press picked up and printed Chicken Fighter in 2011.

A slew of other titles featured Odin's art followed, including his hit Hammer books, published by Saturday AM, known as the force behind "the world's most diverse manga anthology." His work on Rick and Morty: The Manga Vol. 1 began after he completed Lemonade Code (Oni Press, 2021). "I said to my editor, ‘Hey, let me know if any Rick and Morty covers come along. She said, ‘We have an entire book that needs to be drawn.'"

"If you look at my Hammer series, the way I draw teeth is completely different to the way I drew teeth for Rick and Morty. The way I drew eyes was also something I had to get used to." Odin said he examined various panels and decided that "I should push this pose, add speed lines here, the sound effect should be big and in-your-face, things that manga does more so than other comics."

Heidel referred to Odin as a "natural educator" and recommended checking out his free mini-tutorials on Instagram as well as his new ebook 4 Step Guide to Creating Comics.

"If you can make it fun, drawing is going to be a breeze," Odin said. "If everything seems tedious, then you're not going to enjoy yourself. In that case, why draw comics at all?"

Diamond Kuts came clean, Saba dropped science, and Freddie Gibbs served "Ice Cream." When these hip-hop stars (and more) laced up for last year's Paramount+ reboot of Yo! MTV Raps, the pressure was on. Could HollandWest Productions take a beloved legacy property—the show that once bumped vibrant underground culture into the mainstream—and make it fresh?

"Going into that first meeting, I said, 'Let's stick to the essence of what Yo! MTV Raps represents,'" says HollandWest managing partner and executive producer Warren Oliver (B.F.A., computer art, 2000). "We don't want to change it, we want to enhance it."

The new Yo! clicked. Its success became a signpost for the MBE-certified development and production house Oliver and Kurt Williamson founded in 2012. From their early days "grinding to get clients," HollandWest has grown into "a company that can take on entire projects" for the likes of Walmart, History Channel, and Pepsi—with deep roots that track back to SCAD.

Warren Oliver lights up the set of Yo! MTV Raps. (Paramount+)

In 1996, Oliver was a high school senior enjoying a computer-aided drafting course at Hermitage High in Henrico Country, Virginia when he noticed a poster on the classroom wall for Savannah College of Art and Design. One visit to Savannah later, he says, "I fell in love with SCAD, and started taking graphic design classes that summer."

Professor Randy Akers has never forgotten his initial impression: "I remember Warren as soft-spoken and determined. He stood out in a group of exceptionally talented students that year. As his design skills developed, so did his technical acumen. Warren always delivered more than was asked for in a continuing quest for professionalism."

"Warren's contagious enthusiasm gave the entire class a sense of potential and possibility," recalls visual effects professor Joe Pasquale, who taught Oliver alongside "amazing, unforgettable" students including Chike Ozah (B.FA., computer art, 2000). "What especially distinguised Warren was his dedication to supporting his peers."

Under Akers' and Pasquale's instruction, Oliver built a demo reel of motion graphics title sequences. After graduation, his "continuing quest" led to New York City, where he worked with Telezign before landing a job at HBO. "I went from graphic designer/animator to art director kind of fast," Oliver says. Promotional graphics he created for the 2004 Alan Rickman/Mos Def film Something the Lord Made were so impressive that director Joseph Sargent made them the film's main titles.

Condensing two-plus decades of Oliver's excellence is impossible. One highlight is the Netflix Playlist film HollandWest delivered to promote the 2021 major motion picture The Harder They Fall. Its vibrant live action shots place the viewer inside musical performances. As Oliver explains: "I'm not a traditional DP or cinematographer. As a graphic designer turned director, I know composition. I apply graphic design techniques to finding shots."

It's this sensibility that Akers and Pasquale both feel will make Oliver a great professor—should he choose that path. "I am continuously proud of all that Warren has achieved, and I hope he passes on his wealth of knowledge to a new group of students someday," says Akers. Pasquale concurs: "I congratulate Warren on his outstanding achievements and look forward to him visiting our current students to share his expertise. What a great person."

Of course, Oliver's alma mater hasn't exactly been a stranger. In an industry enduring tumultuous times, Warren notes a key difference. "You can't go anywhere anymore without meeting someone from SCAD at a studio. We used to be few and far between." His smile widens. "Now, SCAD is everywhere, and I absolutely love it."

Connect with Warren Oliver on LinkedIn.

Susane Moua (B.F.A., architecture, 2018) keeps lighting it up.

As Visualization Specialist with ME Engineers, Moua has worked on some of the most significant design challenges for some of today's most impressive, tech-forward arenas. ME Engineers' scope includes mechanical, electrical, plumbing, architectural and sports lighting, energy modeling, and technology design, delivering state-of-the-art systems for venues including Sun Trust Park, US Bank Stadium, Miami Beach Convention Center, and Climate Pledge Arena in Seattle.

"For Climate Pledge Arena, I worked with our architectural lighting design studio, Illume, to verify the lighting design, and to help portray and relay that design to the clients and the architects," Moua says. Built on the site of the 1962 World's Fair, the home of the Seattle Kraken of the NHL and the WNBA's Seattle Storm "is a historical structure, which presented unique engineering challenges."

Image courtesy: ME Engineers.

Moua utilized visualization software Autodesk 3ds Max, Adobe Photoshop, and Enscape to provide more realistic and accurate representations of the proposed design, enabling "clients and architects to have a clearer understanding of expectations and how to work through these complexities." ME Engineers reworked building systems to take advantage of Seattle's hydro-powered electric grid and make Climate Pledge Arena the world's first certified net-zero sports complex of its kind. The firm received a National Recognition Award—the industry equivalent of an Academy Award—from the American Council of Engineering Companies (ACEC).

Climate Pledge Arena, Players Tunnel. Image courtesy: ME Engineers.

"I am very impressed and not at all surprised to see Susane doing particularly well in her career," says SCAD professor of architecture Huy Ngo. "When she was my student, we had rigorous discussions about critical thinking, and the process of delivering architecture design ideas in construction. She is a committed, passionate designer and I'm so pleased to see that our SCAD architecture program has helped her blossom in the field."

Now in her fifth year at ME Engineers, Moua works at the firm's flagship office in Denver, Colorado. ME pledges per its company credo to "empower our teams to work proactively with clients and collaboratively with all disciplines." Moua repeatedly keys in on how their work is "highly collaborative."

Drawn to architecture from childhood, Moua was a "very shy" kid of Hmong heritage who knew she "needed to break out." (The greater Denver native is the first member of her family to attend college.) Susane acknowledges her childhood friend Brittany Schellin (B.F.A., dramatic writing, 2018) for leading the way to Savannah, and says: "SCAD was the perfect place for me to experience the historical richness of architectural culture and to become immersed in a creative environment." 

Moua's skill set encompasses project documentation, architectural lighting coordination, cutting-edge software fluency, and a focused, good-natured professionalism. With her high-level aptitude for learning, teaching, and using advanced design software, she believes that real-time visualization tools like Unreal Engine and Twinmotion will transform what ME Engineers can accomplish.

"I love my workplace. We work on complex projects with big visions, and create unique solutions," she says. "It's very, very satisfying."

Connect with Susane Moua.

Banner image: Climate Pledge Arena, Lighting Study Render. Image courtesy: ME Engineers.

Inspiration has a new destination, and SCAD is proud to announce the new classroom building at 641 Indian St. in Savannah has a meaningful name: the Graham Scott. 

Named for dedicated, long-standing staff members James Graham and Trá Scott, the Graham Scott welcomed students this fall as home to the university's top-ranked photography degree program. The new facility has classrooms, studio spaces, and art galleries to enhance the learning experience. 

“James Graham and Trá Scott are deeply devoted and brilliantly talented individuals," announced President Paula Wallace. “Their indefatigable contributions and inspiring positivity have helped create life-changing experiences for generations of SCAD Bees. The entire built environment of SCAD bears the imprint of their expertise and care, and it is wholly fitting to recognize their decades of transformative work with a SCAD building named in their honor."

Graham and Scott have been a special part of the SCAD family for 34 and 35 years, respectively. They are both lifelong Savannahians. 

Graham grew up in the Brickyard community in West Savannah and attended Johnson High School. He joined SCAD in 1990 and is the university's Support Service Supervisor. Graham manages the setup for SCAD signature events including the SCAD Savannah Film Festival, Sidewalk Arts Festival, and SCAD Fashion Show. 

“I am grateful to President Wallace and everyone at SCAD for this honor," Graham said. “This shows how much they pay attention and care about the hard work we do. The thing I love most about working at SCAD is being part of the student experience and watching them grow. The students are the ones who encouraged me to get my degree." Graham graduated from SCAD in 2010 with a B.F.A. in film and television.

Trá Scott grew up in the Hudson Hill neighborhood and attended Groves High School. He joined the university in 1989 and serves as the Facilities Manager. 

“This just shows hard work and determination can get you places you never dreamed possible," said Scott. “SCAD is the only place I have ever worked. The faculty and staff are like my family and this university is my love story."

A formal dedication of the building took place on the morning of Saturday, October 14. SCAD friends and family celebrated James Graham and Trá Scott's enduring legacy of positivity, expertise, and care, and their nearly 70 years of combined stewardship at SCAD.

As President Wallace said: “Trá and James, my deepest appreciation goes to you for your many contributions to SCAD. Your love and loyalty are woven into the fabric of our university. You truly embody our student-centered mission and exemplify our SCAD values. May the Graham Scott long remind us all of your brilliant legacies."

Banner image: Trá Scott (left) and James Graham outside their namesake building.