Are you ready, Atlanta? This Sept 27-29, SCADFILM presents SCAD AnimationFest, a three-day gathering of working professionals, industry luminaries and next generation talent examining the evolving world of animation. Expand your knowledge during panel discussions, enjoy exclusive sneak peeks and screenings, and network with top talent.

The festival features over a dozen events, including a very special screening of masterfully curated Saturday morning cartoons on – you guessed it – Saturday morning. (Sept. 29, 10 a.m., SCADshow mainstage; pajamas encouraged; children under 16 must be accompanied by an adult; breakfast provided by Chick-fil-A).

AnimationFest kicks off with "The Best Saturdays of Our Lives" (11:15 am, Thurs. Sept.27, SCADshow, Stage 2), an exploration of the animated history of Saturday morning cartoons and the inner workings of the cartoon and television industries, hosted by Mark McCray, author, "The Best Saturdays of Our Lives" (iUniverse, 2015).

Spread across three days, AnimationFest screenings include Warner Bros. animated feature "Smallfoot" (just ahead of its nationwide release), Disney’s "Mulan" (presented by director Tony Bancroft), Adultswim’s hit comedy "Your Pretty Face Is Going To Hell" (appearances by co-creators Dave Willis and Casper Kelly), SCAD Animation Showcase (featuring exceptional SCAD student work) and the 20th Annual Animation Show of Shows (presenting animated shorts from around the world).  

SCAD AnimationFest is proud to feature topical and timely programming including "In the Moment: Exploring Inclusion and Diversity in Animation" (Fri. Sept. 28, 12:30 p.m., SCADshow, stage 2). The panel discussion – featuring female executives, designers and coordinators from Twentieth Century Fox Animation, TED-Ed, Sesame Workshop, and Aweseome, Inc. – will explore how cultural shifts are impacting industry hiring practices, career growth and content choices.

For ticket info and a complete listing of events, visit the SCAD AnimationFest website.

SCAD School of Digital Media

The SCAD School of Digital Media combines artistry and technology within a framework that reflects the highest standards of entertainment production. Digital media students earn degrees in animation, interactive design and game development, motion media design, television producing and visual effects, and gain the technical mastery to launch their careers. Through the production-ready SCAD Digital Media Center, state-of-the-art resources, hands-on opportunities and career-building connections, SCAD students are prepared to rise to the pinnacle of their professions.

SCAD School of Entertainment Arts

The SCAD School of Entertainment Arts incorporates a diverse array of degree programs designed to guide students as they master the art forms and industries that amuse, entertain and inspire. Cutting-edge resources and equipment in every department, coupled with an experienced, acclaimed faculty, facilitate student development in these highly relevant fields. Programs feature curricula that bolster students' creative visions while providing a sound basis in both theory and practice, creating the entertainment industry leaders of tomorrow.

Ellie Gilchrist (M.A., fibers, 2018) grew up engrossed while watching her parents and grandparents hand-tailoring fine clothing. “I knew it was my calling just from it being in my family,” she says.

Her senior thesis, “An Exploration from Tradition to Modern Transformation,” consists of fabric swatches intended for use in luxury womenswear. Drawn to using bright and intense colors in her pieces, the Dallas, Texas native implements techniques including hand painting, laser cutting, weaving, digital print and heat press to create her swatches. Gilchrist also utilizes an array of objects in her work, including chain mail, acrylics, vinyl and cellophane. Her textures, colors and prints create effects that mimic movement in her work.

This summer, Ellie completed her master’s degree while working with fibers and fashion students in Pepe Hall as a work study lab monitor. She currently resides in New York City pursuing opportunities in product development and textile design within luxury womenswear.

SCAD: Did you always want a career in fashion?

Ellie Gilchrist: My family background is in tailoring and fine apparel, so I’ve grown up around textiles and fashion. It was natural. It’s my legacy and I knew I wanted to pursue it as a career.

SCAD: How has SCAD uniquely influenced your career path?

Gilchrist: SCAD provided me with new perspectives on what’s happening in the industry, and offered me the perfect angle to acquire and use that information as a student. Being at SCAD also gave me the exposure and motivation to enter different design competitions.

Sara Rabinowitz was my studio professor and she inspired me more than anyone. She is so intelligent, so mindful. She was a wonderful person to bounce ideas off of because she challenged me in all the right ways. She produced a creative drive in me that really stood out.

SCAD: Were you introduced to new technology while studying fibers in Pepe Hall?

Gilchrist: Definitely! One of the main reasons why I wanted to study fibers was to try out the Jacquard loom and to learn Jacquard weaving. I ended up taking two classes in it. The primary portion of my thesis work was Jacquard. I learned laser cutting and digital printing. Most of the techniques that SCAD offers were incentives for me to go there.

SCAD: What was your thesis project?

Gilchrist: I created a thesis collection of fabric swatches for women’s apparel. The inspiration came from my background in suiting and tailoring and exploring techniques on the loom. I put those together and made geometric, colorful, bright fabrics that can be incorporated into womenswear suiting.

Some of the pieces currently are in the Dorothy Waxman Textile Design Prize showcase. They have the finalists’ work displayed at the Mohawk Group showroom in Chelsea, New York. The rest of my designs are being photographed for promotional work for future collaborations and freelance work.

SCAD: What was your experience like working as a work study lab monitor at Pepe Hall this summer?

Gilchrist: I loved being able to work in Pepe Hall. I got to know the ins and outs of the building and its resources. It helped my machine learning. I was able to assist students with technical issues of any kind and help with inspiration. As a grad student, I had a lot of experience and perspective to offer.

Ellie’s most recent awards and recognitions include:

Dorothy Waxman Textile Design Prize Finalist, 2018
Council of Fashion Designer of America (CFDA) Fashion Future Graduate Showcase, 2018
CFDA+ Design Graduate spotlight, 2018

See more of Ellie Gilchrist’s work at her website.

"Being a student filmmaker can be challenging because you're navigating how you fit into a very competitive marketplace, while trying to tell the story that you're passionate about," says Quinn Orear, associate chair, film and television; associate chair, film producing, SCAD Atlanta. "Part of the challenge is telling your story the way only you can."

Formerly a producer at New York production and post services house Sixteen19, Orear led the finishing process on feature films "A Walk in the Woods" and "Bleed for This" and television projects including HBO's "Becoming Mike Nichols." As a freelance director and producer, Orear has created branded content for Airbnb, Chase Bank and Fisher-Price. In 2017, his film "Seeking: Jack Tripper" won the Audience Award for Best Narrative Short at Newport Beach Film Festival and was accepted into the Atlanta Film Festival.

It was that visit to Atlanta that won Quinn over: "I fell in love with the city, the people, the energy, the culture." In January 2018, he and his husband relocated to the A, where Orear joined SCAD during an ongoing statewide boom: film and television productions generated $9.5 billion in economic impact in Georgia in fiscal 2017. This summer Quinn completed his new short film "Passerby," shot in Atlanta using all-local talent.

Quinn Orear:

As a professor, I have a syllabus to teach, while I also bring my own expertise to form the classroom experience. I've worked professionally as a producer, director, writer, and editor. Building out a course curriculum is exciting because of those perspectives. I can speak with authority on how the post-production process connects to the script-writing process, and how those iterations connect to directing on-set. Expertise means thinking in terms of fulfilling the learning outcomes of a class.

This summer the screenwriter Karen McCullah ("Legally Blonde"; "10 Things I Hate About You") came to my FILM 704 Producing for Film and Television class and conducted a master class. She spoke about screenwriters working with producers – it was really helpful. I always take my classes to SCAD FILM events, and work with program and outreach manager Brantly Watts on the programming. This past May at SCAD FASH Museum of Fashion + Film, I introduced Jean Cocteau's 1946 film "La Belle et la Bête" in conjunction with their Pierre Cardin: Pursuit of the Future exhibition. The caliber of events here at SCAD is incredible.

Bringing casting directors and production designers into my classes is part of how I work to connect SCAD students with industry professionals. I've brought local line producer Will Greenfield into my class a couple times, and he hired four of my students as interns on his most recent film.

This fall I'm teaching FILM 240: Postproduction: Cutting the Story, which is fun because I get to go back to my professional roots in post-production. I'm also teaching my graduate level class on producing for film and television, another favorite of mine.

I'm invested in the collaborative process of filmmaking. All the cogs in the machine are valuable. My most successful creative endeavors have been when I've looked at myself as a catalyst of collaboration. Being at SCAD has reinvigorated my own professional passions, while serving the utilitarian purpose of sharing my expertise with students. I'm enjoying it immensely.

Learn more about SCADFILM events, festivals and memberships here.

Jeremy Fischer (B.F.A., historic preservation, 1994) is founder and principal of Ivan Stanley Fine Home Builders of Breckenridge, Colorado, a firm renowned for its impeccable craftsmanship and unique home designs across the central Rockies. In the two-plus decades since the founding of Ivan Stanley, Jeremy and his wife Karen (M.F.A., art history, 1996) have combined highly personalized attention to clients with exceptional quality on every project. Peruse the Ivan Stanley portfolio to see their exemplary work.

Jeremy Fischer:

I came to SCAD in the fall of 1991 as a sophomore transfer student. I applied to the school of building arts and majored in historic preservation. I wanted to get into building development. My friends were historic preservation majors too; we shared strong interests in building and development, and liked to talk about real estate in and around downtown Savannah. One of them, Capers Martin (B.F.A., historic preservation, 1994), is still in Savannah, working as a partner in Martin & Zittrouer Construction.

At the time, Bob Dickensheets was head of the SCAD school of building arts. He taught hands-on historic preservation classes that I really enjoyed. I also worked for a local architect on weekends, and in the summer for a local contractor named Anthony Antonucci. My education was an interesting combination of classroom and work experiences.

It was while I was at SCAD that I came up with the name Ivan Stanley for my company – it combines my two grandfathers' names. It wasn't until I moved to Breckenridge after graduation that I registered the name with the state of Colorado. A buddy had a cabin out there and wanted it remodeled, and I traded labor for rent. Breckenridge was sort of in its infancy at the time. There were buildings downtown falling into the ground. There was one traffic light. It was exactly why I decided to stay, the fantastic opportunities. It reminded me of Savannah in a sense.

In 1998, Ivan Stanley landed our first couple jobs. My firm does what's called high alpine construction. Which is funny, because at SCAD my introduction was building in the Lowcountry, and now I'm 10,000 feet above sea level. In terms of climate, material and aesthetics, it's the polar opposite. That said, essential aspects remained unchanged. SCAD taught me attention to detail, listening skills, observation skills, and how to take what the client wants and make it a reality.

Ivan Stanley has been a partnership in every way, every day, with my wife Karen. Karen and I met at SCAD, and married in 1997. Her salesmanship and presentation skills are better than mine. I always felt I was deserving of opportunities based on merit. She helped me understand that it was going to take more, right on down to perfecting a cover letter. Over the years we've built houses around Breckenridge, and interior design is Karen's specialty. Her design sense is fantastic.

I've been successful in doing what I wanted to do. My SCAD experience enabled me to achieve a career that I love. My dreams came true.

Visit the Ivan Stanley site to learn more.

What do the following books have in common?

• "The Radium Girls: The Dark Story of America's Shining Women," by Kate Moore (Sourcebooks)
• "Zahav: A World of Israeli Cooking" by Michael Solomonov and Steven Cook (Rux Martin/Houghton Mifflin)
• "Pachinko," by Min Jin Lee (Grand Central Publishing)
• "Olio," by Tyehimba Jess (Wave Books)
• "Made in North Korea: Graphics from Everyday Life in the DPRK," by Nicholas Bonner (Phaidon Press)
• "Ingenious Patents," by Ben Ikenson and Jay Bennett (Black Dog & Leventhal)

The answer, of course, is that they (along with a couple dozen other diverse titles) have been assembled on a snazzy silver cart by SCAD collection strategy librarian Jackie Dunn, to demonstrate the depth and breadth of recent acquisitions by the SCAD Jen Library.

"The Jen Library houses approximately 175,000 volumes," says Dunn. "We acquired approximately 5,000 new titles in the last academic year, and will likely acquire at least as many this upcoming year.

"I select items for the library to acquire, and we have four other SCAD librarians called 'selectors.' They are primarily reference librarians who ensure we have balanced and diverse collections."

The Jen also acquires specific titles at the behest of students, faculty and staff. As Dunn emphasizes: "If you would like the library to acquire a certain book, use our 'Suggest a Purchase' form on-line. It's two easy steps. 'Suggest a Purchase' has been getting more and more activity and I hope that continues to trend upwards."

Dunn, who holds a master's degree in library science from Queens College, possesses the affable intelligence of the professional bibliophile. She also fosters kittens through Coastal Pet Rescue.

Jackie Dunn:

We don't offer an entomology degree at SCAD, so why would the library have "The Book of Beetles: A Life-Size Guide to Six Hundred of Nature's Gems" by Patrice Bouchard (University of Chicago Press)? I noticed a lot of artworks being done by students and faculty had a naturalism theme involving animals and plants, so it makes sense to have reference titles on insects and different types of animals.

The awesome thing about "The Book of Beetles" is that it is relevant to many degree programs here at SCAD: jewelry, industrial design, animation, illustration…. There is so much inspiration in this book on beetles. It's a science book that's also an art book. I could sit here and read this cover to cover. If you gave me the time.

Before acquiring a book, I ask: "Do we already have a lot of items on this particular subject?" And I check for duplication, to see if we already have the title. It's a good thing if our other locations also have copies; we try to be consistent with our holdings in Savannah, Atlanta, and Hong Kong. SCAD users in Savannah can also request a book from Atlanta and vice versa, if the title is not held at one SCAD Georgia location.

We have a number of recent titles written by SCAD faculty, including "Buildings of Savannah," by Robin B. Williams (University of Virginia Press), chair of architectural history; "Rome's Female Saints: A Poetic Pilgrimage to the Eternal City," by Nicol Nixon Augusté (WestBow Press), liberal arts professor;  "Color a love story: a color theory course companion," by Deborah Cherry Mosch (Lulu Publishing), foundations professor; and President Wallace's book "SCAD: The Architecture of a University,” by Paula Wallace, Margaret Russell and Chuck Chewning (Assouline Publishing).

We mirror what's going on at SCAD with upcoming events and exhibitions. Every year before deFINE ART, I make sure we have all the relevant titles, including exhibition catalogs.

This fall SCAD is introducing a new degree program in business of beauty and fragrance. We have acquired chemistry texts, and purchased a whole range of perfume and scent related titles. They will be on the shelf in circulation before fall quarter starts Sept. 10. When SCAD introduces a new degree program, we make sure the library holdings reflect and support that new degree program.

Some students come into the library looking for information on a particular artist or subject area. Then there are students who come in to browse, to get ideas to spark the process. Browsing is just as important as knowing what you're looking for specifically when you come in. Both are valid and valuable ways of using the library. The Jen is here for you!

Search the SCAD libraries' holdings and use on-line resources here.

The raised foot suggests the submerged body. Colors are refracted by light in water. Shifting turquoise and desaturated red comingle beside frothing white and swathes of black. This tour de force of aquatic gesturalism is "Swimmer #2," a painting by Pedro Covo (M.F.A. painting), part of "FIGURE/GROUND," the current group exhibition at Gutstein Gallery featuring work by SCAD students, alumni, faculty and staff.

"Movement is the thing that anchors my work," Covo says. The prodigal Cartagena, Colombia native published his first illustration in airline magazine Avianca at age 18. His work appeared in newspapers El Tiempo and El Espectador before his burgeoning commercial illustration career landed him jobs in Berlin and Rio de Janeiro. At age 30, he arrived at SCAD Savannah to earn his M.F.A. in painting.  

In his studio in Alexander Hall, an Atlanta Braves cap roosting atop his easel, Covo explains how his extraordinary "Swimmer" series finally surfaced.

SCAD: How do you combine abstract and figurative elements in a single "Swimmer" painting?

Pedro Covo: The swimmers are not posing. They're moving and I'm sketching live really fast, to capture that movement. When I make the sketch into a painting I like to focus on one detail, feet for example. I enjoy painting figuratively, but I don't like to over-render. I leave space for other things to happen, different textures and values and shapes where you can get lost.

Every time I go to the beach or a lake or the pool I find myself staring at the colors and situations, the transformation between the body and the water. The things that happen in terms of shapes, you don't see anywhere else.

My "Swimmer" paintings originated in Colombia, when I was not working on illustrations. I was making paintings of people I know at the beach on weekends. I started publishing this personal work on my social media. The overwhelming response motivated me to pursue a career as a painter. I had first heard about SCAD back when I was attending high school at Colegio Jorge Washington in Cartagena, and SCAD came to give a presentation. Ten years later this SCAD idea came back to me, and I accepted a scholarship to come here.

Gregory Eltringham has been an important professor for me at SCAD. I had been painting with oils. He said, "You want to produce a lot of work here in Savannah? Oil takes a while to dry. Use acrylics." It was outside my comfort zone but I decided to try. He has also recommended that I read "A Portrait of Giacometti" by the art critic James Lord. Fantastic book.

SCAD: Will this continue to be your designated studio space throughout your time at SCAD?

Covo: Yes. I'm here every day. It's the reason I'm here, and I'm grateful for it.

Actually, President Wallace was here in my studio a few weeks ago. She was in Alexander Hall, I had left my door open, and she walked by and came in. I had "Swimmer #18" on a stretcher. She asked me, "What's this big painting?" I said, "It's going to Gutstein Gallery for FIGURE/GROUND." She said, "How are you going to transport it?" I said, "Maybe put it on top of a friend's car." She said, "I think we can help." As soon as she said that, there were people here figuring out how to get the painting to Gutstein. What can I say? I love SCAD.

See Pedro Covo's "Swimmer" paintings in "FIGURE/GROUND" at Gutstein Gallery through Oct. 6, 2018.

Visit his homepage and shop for giclée prints at www.pedrocovo.org.

All work in "FIGURE/GROUND" available for purchase through SCAD Art Sales.

SCAD has created a home for everyone from the recent graduates to the industry veterans to come together and grow in their professions: SCADFILM.

Based in the heart of Midtown Atlanta, SCADFILM is the leading program for professional engagement in film, entertainment and the digital arts offering, industry professionals exclusive access to industry influencers.

On Monday, August 6, 2:30 p.m. SCADFILM explores the narrative music videos with "Story + Song: Creating Narrative Music Videos." The event is part of SCADFILM Storytellers, a series of special screenings, classes and discussions with top creatives in entertainment.

SCADFILM guests will delve into the artistry of the narrative music videos and learn why they are attracting top directors with their limitless potential for storytelling.

Featured guests will include MTV Video Music Award-winning director Andrew Donoho (Janelle Monáe's "Dirty Computer"), Kristian Zuniga, cinematographer (Trouble and Drake’s "Bring it Back"), fashion stylist Renaldo Nehemiah (Ludacris, DJ Khaled and Chingy), and other creative talent behind today's most-talked-about music videos and short films. 

Andrew Donoho is an Atlanta and Los Angeles-based director and visual effects artist with a passion for unique perspectives. In 2017 Donoho won the VMA for best rock music video director for Twenty One Pilots' "Heathens." Donoho has directed and provided VFX work on music videos for Janelle Monae, Danger Mouse, Run the Jewels, Big Boi, Raury, Skrillex, Plan B, Jai Wolf, and more. This year, Donoho co-directed the 48-minute film, "Dirty Computer" for Janelle Monae based on her concept album by the same name. "Dirty Computer" premiered on BET to critical acclaim. Learn more at www.andrewdonoho.com.

Kristian Zuniga is an award-winning director of photography and UK VMA award nominee based in Atlanta, GA and Los Angeles, CA. Zuniga has worked with VMA winning directors and artists including Janelle Monae, Raury, 6lack, August Alsina, Run the Jewels, Lewis Del Mar, and Drake. Zuniga also directs photography for narrative and documentary films, and branded entertainment spots. His recent promotional pieces include Adidas, Puma, Verizon, Coachella and BET. Learn more at www.kristianzuniga.com.

Renaldo Nehemiah is hailed as one of the top fashion stylists in the industry, with clients including Ludacris, Chingy, Anthony Hamilton, Musiq Soulchild, Jagged Edge, Cheri Dennis, Shawnna, Shareefa, the DTP family, and Eva Pigford. His credentials include styling exclusive fashion events like the "Music, Fuse, and Fashion Show" and creating some of the hottest looks for Vibe Magazine, Macy’s, and The UPN network.  His work has been featured in chart topping videos for Janelle Monae, August Alsina and DJ Khaled.

The state of Georgia is now home to an estimated 25,000 people working in film and television. SCAD is proud to continue to advance excellence in visual mediums, offering Atlanta-based industry professionals exclusive access to industry influencers through exclusive screenings, workshops and private master classes.

"Story + Song: Creating Narrative Music Videos" is free to SCAD Card holders, and $10 for the general public. The event will be held Monday, August 6, 2:30 p.m., SCADShow, 173 14th St. NE, Atlanta, GA, 30309.

For more information, visit scadfilm.com.

This summer at SCAD Hong Kong, three generations of one family took part in SCAD summer programs. While grandmother Betty Chung and mother Princess Go participated in the SCAD Educator Forum, daughter Bianca Go took part in the SCAD Summer Seminars. Here, Bianca shares her special summer experience.

My name is Bianca Go. I am a 16-year-old student from Manila, Philippines. I applied to SCAD in hopes of honing my passion for art by attending their Summer Seminar program. The day SCAD delivered their decision regarding my application, I rushed home to check, and a surge of happiness and excitement came over me: I had been awarded a bronze scholarship to SCAD's summer program. As the start of my Summer Seminar approached, I was almost overcome with feelings of anticipation. I was looking forward to experiencing what SCAD had to offer: courses and excursions, as well as an international environment and friendly fellow students.

My Summer Seminar program consisted of two intensive classes per day. My graphic design class was taught by SCAD alumnus Adam Newbold (B.F.A., graphic design, 2015). His classes were insightful and thought provoking. My classmates and I were tasked to redesign packages utilizing Adobe Illustrator. Mr. Newbold guided me through every step of the way, providing detailed instructions and advice that best suited my needs, since I was initially unfamiliar with the software. In three days, I was able to create my first product design.

Additionally, I took a class in oil painting led by fine artist Thomas Dang Vu (B.F.A, painting, 1994). As a class, we were tasked with creating still life oil paintings. My peers and I painted several different arrangements of ceramics and fruit. Mr. Vu challenged us to incorporate several stylistic devices into our artwork, including underpainting, blending, and shadowing. Mr. Vu also took into consideration our own targeted areas that needed improvement. As a result of his keen mentorship, I was able to refine my painting skills and create a masterpiece within days.

Not only was I able to fully experience what SCAD had to offer, but I found myself immersed in Hong Kong's culture. Every night, we went to different locations showcasing Hong Kong's beauty and wonders.

My favorite excursion was the trip to Sky100, located on the 100th floor of the International Commerce Center in West Kowloon. The observation deck provided beautiful 360-degree views of the Hong Kong skyline. Looking out onto the vast horizon, it dawned on me that my own opportunities in Hong Kong were, thanks to SCAD, as limitless as the scenery before me.

The diversity at SCAD gave me a wider global perspective, providing insight on other cultures around the world. I made new friends from different backgrounds with their own unique stories. Their thoughtfulness and support encouraged only the best from me. Our ability to share opinions and ideas in a classroom setting meant discussing topics from a global perspective, adding depth and broadening the conversation. Being in another country, I appreciated the hospitality and friendliness of everyone around me. SCAD made me feel right at home.

The blend of all these elements at SCAD provided a wholesome and holistic Summer Seminar experience. I am grateful for the opportunity SCAD contributed to my development in the arts. Within one week, I grew to become a global citizen, cognizant of the universal language of art. SCAD's Summer Seminar program proved to be a tremendously memorable and impactful one. It made me want to pursue a career in the arts. Thank you SCAD for an unforgettable week of my life.

Take a virtual reality tour of SCAD Hong Kong here!

"I want to show you about dancing with your pencil," says foundation studies professor Kristie Bruzenak to the half-dozen high school students assembled for her SCAD Summer Seminar in botanical illustration. "Make a visual connection with your botanical specimen, and remember your paper is flexible. Move it, turn it, find the energy and create!"

The students sit at individual drawing tables along the windowed western wall of Haymans Hall, communing with the single botanical specimen stood before them: hydrangea, peony, perennial sage, begonia, purple coneflower, black-eyed Susan. The room is quiet save for the occasional whir of the pencil sharpener, Satie's "Gymnopédie" stirring softly in the background.

Bruzenak moves around the room, sitting with each student, encouraging different ways of seeing: "When you look at the whole plant it's too complex. Break it down into simple elements, one characteristic at a time. Look at the plant from the top, stare at the tips, see how they're aligned in spirals. These are living things and will continue to move."

Professor Bruzenak's botanical illustration workshop is one of over forty classes offered during SCAD Summer Seminars, a series of weeklong immersive experiences for students who have completed their freshman, sophomore or junior years of high school. Students participate in two distinct workshops, one in the morning and one in the afternoon, taught by SCAD professors, alumni and select graduate students. Additional activities including silent discos, trips to Tybee Island, and a rain-delayed Savannah Bananas baseball game augment the experience. But first: plants.

"Botanical illustration is wonderful, soothing, and a lot of fun," Prof. Bruzenak explains. "It's also slow. Each day you'll probably only be able to get a little more done than you did the day before."

Incremental progress in pursuit of an ideal: Over the course of the week, Bruzenak's class gains heightened proficiency with colored pencils and graphite, and an understanding of botanical illustration as a branch of scientific illustration. Pollinators and herbariums; new vocabulary too. By end-of-day Friday, students depart having made new friends, and carrying one complete, full-color botanical illustration, mounted on stylish matte board.

Earlier this summer, Prof. Bruzenak spent a fortnight in England, researching arabesque patterns in the work of 19th century textile designer William Morris. A board member of the American Society of Botanical Artists, she is versed in the discipline's professional applications. She explains art licensing to students, showing them stationary, beverage labels, and tissue boxes that all utilize botanical illustration in packaging. "The company purchases the privilege of using the illustration for an arranged period of time; the artist retains their copyright."

By Friday afternoon, the students are all hyper-focused, finish line in sight. "You're working like professionals," Bruzenak tells them.

Abigail Hanlon, a rising high school senior from Williamsburg, Virginia, peers into the fuchsia bloom of her bromeliad. Negotiating between colored pencils to achieve verisimilitude, Hanlon puts the finishing touches on her illustration: "My grandparents have bromeliads at their house and they're massive. They've always been one of my favorite plants."

At home, Hanlon tends to create abstract works in acrylic paint. Working with colored pencils in pursuit of botanical realism has been a new, positive challenge, and her summer seminar experience has cemented her desire to pursue a creative career in art therapy. "I can't remember the last time I felt this happy. I can actually make something out of the career I want. SCAD is now my top choice."

SCAD Summer Seminar student Abigail Hanlon.

Additional reporting by Emily Burns.

This fall, alumna Palmer Hefferan (B.F.A., sound design, 2007) is making history on Broadway. The composer and sound designer is part of the all-female design team for "The Lifespan of a Fact," a new play about a contentious tête-à-tête between a writer and a fact-checker. Starring Daniel Radcliffe, Bobby Cannavale, and Cherry Jones, the play opens its 16-week limited engagement on September 20.

Assembled by director Leigh Silverman, the design team also features scenic designer Mimi Lien, costume designer Linda Cho, lighting designer Jen Schriever, and projection designer Lucy Mackinnon.

"It's amazing being part of the groundbreaking design team for 'The Lifespan of a Fact'," Hefferan enthuses. "I never imagined that this was going to be my Broadway debut as head sound designer. That the show is at the legendary Studio 54 makes it even more special."

Lest Hefferan's modesty suggest neophyte status, the four-time Helen Hayes nominee's credits prove otherwise. She has worked ceaselessly over the past decade as sound designer and composer on theater productions in Boston, Washington, D.C., San Francisco, Atlanta, and New York. "I've worked in a lot of female-dominated environments in the past couple years," Hefferan says. "It's a trend being led by the theater world, one I'm proud to be part of."

SCAD: How are you approaching "The Lifespan of a Fact"?

PALMER HEFFERAN: The play is about an editor, a writer and fact-checker going through the process of fact-checking a story. There's resistance by the writer to have his work fact-checked. The character development is quick, and that lends itself to comedy.

There are quick blackouts where nothing physically is changing on-stage, but hours have passed. I'm writing original music created to match the rhythm of the play and its tonal shifts.

The first question I ask myself when I start work is: What is the era of this play? What is the setting? With a contemporary score, based in pop music, I use a lot of electronic drums and samples that have pop rhythms. I work in Ableton Live to create and manipulate sounds. If it's a play that needs a string quartet, I'll write a string arrangement in Sibelius that I send to string players I hire individually who record it live before I mix it.

SCAD: Did you come to SCAD intending to study sound design?

PH: My SCAD story begins when I was a 15-year old high school student in Orlando. I was signing up for electives and they put me into television production. That piqued my interest in pursuing that for a career. Also, my family started coming up to Savannah since it's not too far from Orlando.

When I was a high school junior my mom booked a SCAD tour for us. One of the amazing things about SCAD and Savannah is the beauty of the city and how SCAD is nestled in there. SCAD knocked it out of the park with the tour! I really got a full idea of the SCAD experience.

My freshman year at SCAD I took an intro to sound design class with a professor named Lauren Weinger, a sound artist who'd created a piece called "Silo" recorded in a grain silo. She complimented me on my work and invited me to take a master sound design class. It was significant to identify with her as a female artist, and receive that encouragement.

Studying sound design at SCAD, my mind was expanded and my listening habits transformed. I took a class in experimental sound design taught by Dr. Andre Ruschkowski where we learned about John Cage and created our own musique concrète pieces. It felt divergent in a positive way. It's important to know professional techniques, but what's your perspective? SCAD taught me both of those things. It's still a big part of who I am.

Experience sound samples of Palmer Hefferan's work here.

Come hear Hefferan on Broadway this fall in "The Lifespan of a Fact"!