ABKM 2012 :: I AM STUDENT by ABKM

20 i am student 12

www.abkmaastricht.nl

Niek Bisscheroux dean, abkm

When I graduated, I held a lecture about the paintings of Markus Lüpertz (his Zwischenraum Gespenster series of paintings) and a painting by Max Ernst called L’interieur de l’oeuf, which both deal with identity, ambiguity and space. I liked Lüpertz’ work very much in particular. In a recent interview, resulting from his exhibition, he said, “As long as I live, art will be fine.” Wonderful! The age that we are living in now has considerable consequences for the cultural, art and design sector. The ministry believes that too many artists stay unemployed too long or depend too heavily on “subsidy infusions”. That is why substantial subsidy cuts are being made in the cultural, art and design sector. In addition, the national academies for the visual arts, design institutes and academies of music are being obliged to reduce the number of new students. This means that not only that we can train fewer students, but also that the students must receive a better and broader education, with an emphasis on being able to cope and stand on your own two feet. This means that you – as an artist – need a lot more cultural entrepreneurship. You have to develop your own profession. Developments over recent years show that an increasing number of artists and designers have hybrid jobs. In addition to their independent jobs, they also work as teachers, perform commercially paid work or are employed in another discipline. From your very first day at the academy, it is important for you to

‘‘In addition to my architecture studies, I have always been interested in the art of painting. I thought it was fantastic!’’

discover what cultural, art and design area or what discipline you want to operate in. And that you get to understand how you have become the person that you are now. You were born in a certain place. That is why you speak a particular language, follow specific rules of behaviour and have specific ideas of what freedom means. This determines how you express yourself in art, what your expression is. If you want to make your own contribution to your discipline, you will have to develop your critical thinking and self-reflective abilities. This is crucially important to making sure you can adopt your own standpoint. But what does being a critical pupil mean? And how do you become one? It starts by making the students the designers of their own study processes. Initially with help, and more and more independently later on. The support that we offer starts with the student: his or her affinities and sensitivities. Affinity means feeling attracted to something that is familiar to you. You cannot love something or have a passion for something, if you are not familiar with it. Sensitivity means in this case becoming aware of your own talents and your own capabilities, for instance. You have to be self-aware for that. You have to get to know yourself: discover your affinities and develop your

sensitivity strongly. That is the best way to make positive choices that will make you stronger and stronger. You will gain authority through what you know and what you can do. It requires a study environment that a student can grow in. Not only for the intellectual stimulation, but also for social binding, a community and (in our case) a professional community. The abkm offers students a very broad spectrum of opportunities in the first year. You will deal with all kinds of disciplines. A solid package of practical and theoretical lessons. About 25% of your study consists of theoretical education. The theoretical education plus the introduction to the possibilities will keep you working continuously on your capacity for self-awareness. And that will be developed further throughout your entire study. The lessons are given by experienced experts, professionals. More mature professionals, who are thoroughly familiar with and have mastered the old techniques and then right up to the latest techniques and developments in the ever-growing digital culture. The right learning community is also important in this regard. Cheerful and committed people with a broad orientation: students and teachers. Good relationships are very important too. We also encourage this, for instance with the excursion at the beginning of the first year. This consists of a trip abroad, which we make by bus. That bus trip is the most important part. You will be sitting in a bus with people you do not know. A relation-

ship will be formed with the person sitting next to you in the bus, someone who you will remember the longest after your time at the academy. In the first year, you often do not know what you are going to specialise in or what direction you want to develop in further. This will ensure that you will always still be in contact with other disciplines at later stages in your study, disciplines that might be important for your study route. The student is the

driving force in this. The students determine their own study paths, based on affinities and sensitivities. You make positive choices independently that determine your study. But the heart, the core of the study is determined beforehand. You have to have a command of certain subjects. In the future, we will be aiming for portfoliobased exams. You will only take exams for the subjects that you have chosen and collected in your portfolio over the years.

You will be get a diploma that is tailored to fit. A portfolio made up of compulsory subjects (the core), optional subjects and subjects that only you have determined will ensure that you will be an independent, professional person by the time you graduate, someone who is able to solve their own problems and who has something to say to the world... and who will look back with pleasure on a fascinating course of studies.

The Academy of Fine Arts Maastricht offers a general foundation course (Propedeuse/Propedeutic). This means that in their first semester, students follow a common study programme, but are able to determine their own courses as their studies progress. Sound study advice and supervision allow students to gain a valuable insight in their own talents and capabilities.

Propedeutic Year One big advantage of studying at the abkm is its small-scale character which means that students are given a lot of individual attention. The study programme offers a wide range of courses, in which an understanding of the specifics of several professions is deemed essential. Choices in the second semester are made according to personal affinities and sensitivity. In the second semester there are interdisciplinary projects in which two departments take responsibility for a project. The project provides the student with

an increased insight into his or her own qualities and possibilities for further study. At the end of the academic year, a panel of tutors grades the studentâ&#x20AC;&#x2122;s portfolio and progress individually; in these meetings, decisions are made with regards to continuation of studies in one of the available bachelors. The study also includes a great deal of scope for theory which should enable the student to determine his or her own artistic position. Qualities such as boldness, curiosity and ambition are important assets to studying successfully at an art academy.

Martijn van Erven First year student

Why have you chosen the abkm? A lot of my friends and acquaintances study at the abkm or have graduated from it. So they could tell me a lot about how things are done here, from the first year through to graduation, and about finding a job after the academy. A teacher at my previous school (Fashion & Design secondary vocational education at King Willem I College) knows a teacher from the abkm. So I was told about the academy by students and teachers. And I liked that very much! I particularly fancied the first year I wasn’t sure yet if I wanted to continue studying fashion. During the first year, you learn about all the study courses that the academy has to offer. It let me find out what study course would suit me best. Did the first year let you find the right course of study for you? Yes, it did. For a while, I was torn between Theatre & Costume Design and Visual Communication. Theatre and Costume fitted in better with my previous education, but the various projects in my first year let me discover that I was really very interested in photography and graphic design too and that I’d like to study them too. The options there are infinite – certainly for photography. Fashion and theatre and costume can be combined with photography very well. Maybe I’ll become a fashion photographer or a fashion magazine designer. Fortunately, I still have six months to make up my mind.

Would you recommend the first-year course to others? Absolutely. Particularly if you don’t know which study course you want to choose. That’s particularly true when I look back on the year so far. Because you’ve done and created so many things, you have a very good picture of your progress over the period, in terms of both your personal and your creative development. And the various projects let you meet a lot of people. It’s really nice!

What did you think of the switch from secondary vocational education to higher vocational education? Initially, I really had to get used to it. I feel that secondary vocational education was mainly about your final output: it had to be good. Here, it’s the process that is much more important. Studies about content and materials are very important. It’s got much more depth. If you’ve done a lot during the process, but your final product is not what you actually originally had in

mind, that’s not disastrous. It’s not only about how wonderful your final output is, but also about what you have learned during the entire process.

Jesse Colin Future student Jesse will start the new academic year in the foundation year at the abkm. She hasnâ&#x20AC;&#x2122;t gone through the normal admissions procedure, but followed instead the preparatory course for the abkm. Her excellent marks have guaranteed her a place on the first year of the course. Why did you choose to do the preparatory course for the abkm first? I was indecisive about what academic course I wanted to take. The academy of art appealed to me enormously, but I first wanted to know what things were like at the school. For example, how did they go about things, what subjects were available and how much time self-study would take up. 12

What did you think of the preparatory course? Very informative. A number of different subjects from the various study programmes at the academy were covered. There was one main assignment per subject. This was given by the specialist tutor. This assignment consisted of a specific theme to which you were allowed to give your own interpretation. First of all this involved some research, both subject-related and in terms of materials.

The end-product is the outcome of this research. The tutor provided supervision at all stages. He gave us tips about how certain things might be approached in a different way or how you might look at things from a different perspective. It was good to see that the end-products of everyone were completely different. This is because you can work with a great deal of freedom.

Would you recommend the preparatory course? Most definitely. I found this exploratory course ideal in preparing me for the foundation year. I was also able to expand my portfolio with a lot of quality work.

The Fashion and Textile Design study programme at the abkm has gained a high profile on a national as well as international level. The programme is run by an ambitious team of lecturers and teachers. They are professionals in their respective fields who combine their own work with giving lessons in the department.

Fashion and Textile Design The unique cooperation between both specialisations, fashion and textile design, offers great advantages. The two subjects keep their own individual characters whilst strengthening and influencing each other and creating a productive atmosphere for the students and the lecturers. This combination produces a high level of depth in the studentsâ&#x20AC;&#x2122; work. Our department gives a lot of attention to the materials themselves and provides valuable advice to its students. We encourage them to follow their own

paths: they are certainly not clones of their teachers. They learn how to use their own strengths and weaknesses and develop their own visions. We encourage selfstudy and emphasise the importance of research, innovation and a modern outlook. To this end, we organize regular excursions to expand the studentsâ&#x20AC;&#x2122; perspectives beyond their chosen field, for example, by visiting a variety of museums. The development of professional expertise is our first priority, both on a technical level as in

terms of design. Students are provided with wellequipped working areas. They are taught there, and can use the areas for working on their projects independently and under supervision. All of our students are highly motivated and hard-working, which explains why the department has such a good vibe. Perhaps this is also the reason why employers know where to find us when they are looking for future employees and interns.

Fashion

Textile

This specialisation teaches students to become fashion designers. Design is a central part of the programme which provides students with a modern and â&#x20AC;&#x153;fashionableâ&#x20AC;? take on designing clothes. They are trained to communicate their work and ideas using sketches as well as presentation skills. Before graduating, students have to design their own clothing range. They then have to produce part of this collection. The students can choose to make anything from a collection of experimental designs to a practical, modern or consumer-based collection. At the end of the year, all of the collections are shown on the runway, in their very own fashion show. Students also have the opportunity to compile a portfolio with professional photography.

This specialisation trains students to become professional textile designers, preparing them for jobs in interior design and fashion. We tend to work with semi-manufactured products: patterns, fabrics and wallpapers etc, for the students to adapt. The students are expected to be able to work on set projects as well as their own individual ideas. They are encouraged to translate these into a range of products: materials, images, designs, fabrics and patterns. Before graduating, the students need to develop a feel for contemporary culture and contemporary trends and will be expected to implement this in their own collection of either interior or fashion design.

Joelle Boers. Graduated in Textile Design What are you doing at the moment? I’m currently a print designer at ixx, parttime sales assistant at Loft, exclusive designer for Kiboots, and hard at work trying to set up my own label! (Joelle Boers Textiles & Illustration) How do you look back on your time at the abkm? My time at the abkm was highly informative and good, but sometimes hard. It was a struggle with myself during those years, trying to discover who I was and what I wanted. I’m a big perfectionist and that sometimes works against me. It was only then that I became less afraid of making

mistakes and not doing everything to perfection. I was able to find the things I wanted and allow myself to show through in my designs. How did you find the transition from the abkm to working life? Very strange indeed! I still felt like a student and was now faced with the prospect of finding work. This wasn’t easy as a textile designer! So, I started working part-time in a new fashion/interior design business so that I could network, design and set up my own label in my free time Fortunately, fee Conceptstore wanted to include my graduation collection in their store and I got the chance to make a design for ixx Creates for the DutchDesignWeek! That really helped me on my way in my working life! Did you expect to be doing this kind of work? Not immediately. I’m busy doing a lot of things at the same time because in addition to my part-time job, I’m busy full-time with other things! That keeps me enthusiastic! Do you have any tips for (future) students? Think long and hard about what you want to do after graduating and strive towards that goal, no matter how long it takes!

Manon Rademaekers 4th year Textile Design student What is the most valuable lesson that you have learned during the 4th year at the academy? That you have to use your own strength and specialisms to create something new. You may think that the things that others do or create are fantastic, but you’ll often perform better by staying true to yourself and exploring that. Is there one particular piece of work that you’re really proud of? A high point in your study? It’s not so much a single object as the process itself, I think. If I think about what I started with and what I’m graduating from the academy with now, that certainly is a difference that I’m proud of. Seeing the end results now makes me extremely happy.

Where do you get your inspiration from? Often from little things. Or sometimes not even from anything clearly definable. Sometimes when I work, something is created from within the material. An aspect that I can use in terms of colours, techniques and material. So much so that it becomes my source of inspiration. What had the most significant impact on your personal life during your study? I’ve built up friendships with people in my class and I’ve already gone through so much already with them that these friendships have become more or less indestructible. And that’s really fantastic!

Matthieu de Jong 4th year Fashion Design student What is the most valuable lesson that you have learned during the 4th year at the academy? Over the four years I’ve attended the academy, I can honestly say that I learned how to be patient. My patience was tested on a daily basis and I feel that to be patient really is a virtue. In life, things aren’t always going to play out in the way in which you intended them to. And that’s ok, because there’s always more than one solution to a problem.

What is the most important thing for you about creating your work? I think the most important thing for me when creating my work is to be – and to remain – inspired. Without inspiration, you can’t create anything! It’s vital for me

to be able to explore my environment and draw from the people, places and moments that make up my life experience. I also fully believe that you should never “grow up” completely; personally, it’s this inner child that brings a sense of adventure to the things I create. Is there one particular piece of work that you’re really proud of? A high point in your study? Without any doubt in the world I am most proud of myself (and my classmates) for completing my knitwear project in the third year. I was really pleased with the final product, but I’m more fulfilled about the fact that I was able to endure the process that is “knitting”! It was one of the most challenging tasks I’ve faced in my entire time at abkm! It was after this assignment that I realised why people charge so much money for knitwear. Where do you get your inspiration from? My beautiful country, South Africa, and the wonderful people who live there will always inspire me. The light is different there; it amplifies the colours in a uniquely saturated way. It has an amazing energy and has always made me feel alive. Although Africa is in my heart and soul, I’m not able to visit there often. So when I need to draw inspiration from European soil, I go treasure hunting. I find it so charming the way Europeans put their unwanted belongings on the street for others to claim or simply to be thrown away. I have found lots of wonderful

things on the side of the road and I quite like the idea of giving something a second chance. What had the most significant impact on your personal life during your study? The experience with the most impact that I’ve had – and am continuing to experience in my studies – has been that of friendship. I was fortunate enough to be blessed with the most wonderful class and group of people. I used predominantly to be a loner, always doing things the way I wanted to do them until I experi-

enced the overwhelmingly strong sense of community amongst my classmates. We are constantly helping one another and supporting each other and I firmly believe that it was this that made it all OK at the end of the day. So I’d like to thank you, Mode 4, for showing me that two heads are better than one; you helped me grow both personally and creatively.

Projects and prizes 2011 – 2012 Fashion Projects Start of project with Niek Pulles Moulage workshop with Gerrit Uittenbogaert Drawing week with Kate Harreveld abkm website send press release & photos to Knitting Holland and vnb Fashion and Petra Vonk (abkm). Exhibitions knitted jerseys on sale in Fashionclash Store New Talents event in Cologne Excursions London Fashion Week Visit to Textile Museum in Tilburg Visit to Mefil (spinning mill) Fashion Museum in Hasselt Competition Participation in Woolmark competition Events Presentation of work by final-year students in collaboration with Fashionclash Exhibition of work by final-year students with all other departments

Textile Projects Start of project with Niek Pulles Weaving in Textile Museum in Tilburg Exhibitions Milan 2012, together with the department of “Jewellery & Product Design” Spring accessories on sale in Modus design store in Winterswijk “Het tafelkleed vertelt”-Museum De Kantfabriek in Horst Knitted hockers on sale in Fashionclash store and Intermezzo Dordrecht Excursions London Fashion Week Visit to Textile Museum in Tilburg Visit to Mefil (spinning mill) Fashion Museum in Hasselt Events Presentation of work by final-year students in collaboration with Fashionclash

The starting point for every student should be their fantasy. They have the chance to explore and expand personal borders in order to develop a new visual language and their individuality.

Theater and Costume Design In this study programme, the design projects scenography and film stand central. Related subjects are taught at least three times a year with the help of changing drama performances, scripts etc. The execution of a project, an idea, or a concept for a drama performance, an opera, or a film script takes place step by step. First students conduct research and analysis of texts and music, gather material and sketch the stage design, including a storyboard and provisional models; all under supervision of respective professionals. Finally, a definite model is designed, sometimes followed by an actual realization of project. Attention is given to the final presentation of the design, as it is a moment when student and teacher team can examine whether the student has come up with a proposal that matches the plot and

style of the drama, which entails a responsible dramaturgic concept and which accounts for directorial consequences, practicality and budget. In the last year of the programme, the department of theatre design cooperates with students from the programme Technology & Theatre as well as Production and Stage Art which are offered at the Theatre Academy from the Arts Academy Amsterdam. Under lecturersâ&#x20AC;&#x2122; supervision, students exchange their knowledge and experiences about technical realisation, budget and production of the theatre designs. During the programme, students are also assigned to work on the construction, execution and production plan of their designs and ideas. The specialization theatre design includes a set of subjects next to

the main subject of design. These are dramaturgy, textual and visual research, painting (dĂŠcor and perception), drawing (anatomy, model, perspective, technical), theatre, history of music and opera and general art history, as well as theatre techniques, light and projection techniques, computer-based applications, model forming etc. Further, more specific subjects that deal with the development of new media are being worked on. In order to introduce students to the reality of the working market and to give an added value to the specializations within the department, guest lecturers offer an insight into their work and expertise. Doing this, the programme continues to follow most recent developments in the international scene. However, the overall goal of the programme is to educate creative thea-

tre designers and similar autonomous art disciplines for the future. The specialization Theatre Costume Design focalizes on design projects within the study, which take place at least three times a year. Visualization of their fantasy and ideas is always important. During the course of their studies, students have the possibility to

develop and explore their capabilities to reach a new level of personal visual solutions and their individuality. The actual execution of a costume concept for theatre, opera, ballet etc mostly takes place in several steps. First, the student analyses the text and/ or the music of the piece with the help of a theatre expert or a musicologist, paying atten-

tion to the historical and contemporary setting, the zeitgeist and the characters. All these aspects are reflected in the costume. Next, students are supervised by professional costume designers when collecting material and producing first sketches, models, scale drawings etc. They take into account material research and technical aspects of execu-

tion. Finally, the actual costume is realized, which means that either all or one particular costume is carried out. This is the moment when it becomes clear whether the student has established a good connection with the piece and the characters and knows how to account for an responsible dramaturgic concept, directorial consequences, functionality for the actors, material and technical practicality and budget. The bachelor Theatre Costume Design consists of several subjects next to the main subject design and includes dramaturgy, text and image analysis, painting and drawing (anatomy and model), history of theatre, music and

opera, general theories of arts, and history of costumes. Technical subjects on software-applications, light and projection technology are complementing this set, while subjects concerning the new media are under development. Guest lectures add value to the programme by bringing in their professional and practical expertise, in order to keep the department on track with modern developments and innovations on national and international level. The programme aims to educate future professional theatre costume designers and other related disciplines such as dance, opera, film and television.

The ongoing digitisation and use of media means that a great deal of changes have been taking place with respect to the professional image, the fields of application and the interrelationship between these. Professional profiles are developing apace and changing constantly in line with the needs of users, the available technology and the requirements of the market. Where previously there were clear dividing lines, these have now been blurred, bringing about new interpretations of such terms as photographer, filmmaker, graphic designer and illustrator.

Visual Communication The current trend is for the integrated use of the diversity of media which have a communicative goal. In the meantime, it has become apparent that online and offline media can exist perfectly well alongside each other, the one medium supporting and strengthening the other. Nevertheless, we must not lose sight of the fact that the specific requirements of the medium a professional works with, and the context in which it is used, has to be mastered. In addition, basic knowhow and skills must be possessed so that these can be used within a wider media palette.

We train professionals in a number of specific communication-related media. This is based on an assumption that the specialisation must develop, meaning that choices must always be made in relation to the specialisation, the context of the application and current social trends. These specialisms are: the applied photography image, the applied graphic design image, the applied illustrative design image and the applied film image, and their (possible) strategic cross-media applications. With the aid of applied research, these professionals are capable of analysing,

developing, designing and effectuating innovative and new visual communication solutions and professional know-how with the aid of research, conceptual development and use of media. They are able to grow simultaneously with the very latest developments, insights and technical possibilities. They are aware of the social context and development, the changing culture in image and media and the economic circumstances in which the medium has to operate, seen from the authenticity of the professional. The future professional develops his or her

‘‘Communication is a process through which a specific concept, a message, an idea, a vision, an emotion, etc, is transferred.’’

specialisation after having acquired a broader general knowledge and skills in the various media and having applied these in practice. By constantly being provided with the opportunity to make choices, to set accents and ultimately, to put together his or her chosen (customised) study programme, helped in part by their careers advisor, he or she will discover where their specialism lies. He or she will shape his or her own specialism, the student being the actor. Of course, the creativity which acquires form through personal imagination (on the basis of authenticity and authorship) is key to this. Tied in with this own vision vis-à-vis professional, technical and social developments, and carried by a personal ambition and mentality, the

future professional is given the scope to excel. Communication is a process through which a specific concept, a message, an idea, a vision, an emotion, etc, is transferred. Recent developments in communication have shown that it has become increasingly interactive, interdisciplinary and cross-medial. These are the consequences of ever more advanced digital developments and easeof-use. It has a major impact on the way we communicate. In so doing, we are increasingly seeing that the diverse media are being deployed with their specific imagery in relation to each other. To this end, use is made of various output media, such as print, triple play (television, internet and telephony), the web, mobile devices, apps, etc. What’s more, the importance of communication for “social networking” is on the increase. This development will have a significant effect on how communication – and with it, visual communication –

is deployed. The Visual Communication / abkm profile is based on the fact that diverse media – whether in relation to each other or not – assume a preconceived communication goal. This can be determined by external factors, or by a goal which has been set oneself. The combination of theory and practice are of vital importance in the course of study. In so doing, applied research and an imagination in relation to a problem and/ or theme come up for discussion. Indispensible is a knowledge of what the effect of images and media has on our culture; contemplating and reflecting on specific social and cultural developments. Choices must be made and contexts created. Visual is all to do with the “image”, the visual object which with communication is made. At viscom you will create communication though images, text, sound, time and interaction and this

will be disseminated by image carriers, for example, paper, the internet, etc. The ultimate objective is application. When, how, within what context and via which distribution channel must the image be sent to the recipient? What is the effect of this interplay of images, text, sound, context, time and distribution channel on those who look at it, what does it conjure up? What is the role of the designer, the client and the user? The relationship between “text and image” has become essential today. Not only in art, but in communication too. It is important to develop this talent. Education must climb down from its ivory tower and respond to the needs of the marketplace. For that reason, it is vital to keep (constant) track of developments and trends in the market. Of course, we should not renounce our academic and social responsibility here, and ensure that we do not simply become an inter-

mediary for the field. What is important is to continue working together on the basis of common objectives. Specialisations in the applied image. The course of study makes a clear-cut choice in the study profile based on the application, professional expertise and communication objectives. In view of the increasingly cross-medial context in which the image is going to have to communicate, it is vital to acquire a basic know-how and skills in the photographic image, the illustrative image, the film image and the graphic image, motion graphics, text in relation to image, new media and web applications in an ever changing context. The professional is able to link up his or her intentions with interested parties by means of image, technology, image strategies and to deploy the contextual coherence for communication purposes. To do this, he or

she is required to carry out applied research in respect of the themes he or she wishes to visualise, so that an image and communication concept can be arrived at. He or she will have to set out an adequate image strategy and publicise this by means of a presentation and by means of a preferred channel of presentation. The area of application might include editorial, documentary, illustrative and commercial domains. An investigative mind and a non-aversion to experimentation in content, professional technology and application, is all part of his or her professional outlook. Social involvement, an affinity with issues of the day, vision, authenticity, ambition and deployability in various realms are also part and parcel of this. The applied photographic image.

It is important for the contemporary photographer to use a variety of modern-day output media and resources. In order to achieve this, he or she, as a professional in photography and digital techniques, has a subject-related know-how of photographic image strategies, imagery and the applications. He or she can apply their theoretical know-how of image and media culture, visual art, communication strategies, history of photography, media theory, image analysis, narratology and semiotics. Furthermore, he or she also has a knowledge of communication and image strategies, applied research and presentation techniques. Of course, this must be with the aim of applying

these skills with and in his or her photographic image. He or she must be able to make his or her contribution as part of a team effort in order to attain the communication objectives. Social developments, the issues of the day and the reality form the starting point. The creation of an image with oneâ&#x20AC;&#x2122;s own signature, whereby authenticity, image strategy and communication are at the forefront. The applied graphic image. The contemporary graphic designer exerts a control over the visual elements which he or she deems necessary for communication. He or she organises and collects both image and text elements, as well as the necessary specialists around them.

He or she has become a ‘‘director’’ whereby he or she is no longer constrained to print and the two-dimensional media. This dimensional limitation has sharpened him or her in the hardhitting composition and visualisation of thoughts and stories with limited means. For this reason, the basis of the profession will always be a training in the two-dimensional. This attitudinal change brings responsibilities with it; a know-how of his or her core business, working with text and image, whereby he or she is able to show an affinity for both; knowledge of communication and communication strategies; knowledge of target groups and markets; knowledge of media and cultures; knowledge of production and organisation; knowledge and/or awareness of other visual disciplines; knowledge of history, current affairs, society and

other contexts. Within this context, he or she will have to seek out or create the inherent tensions between his or her personal story preferences and conveying the stories of third parties, between his or her autonomous artistic urge and his or her task as intermediary between the client and the target group. The way in which he or she deals with these responsibilities and opportunities will determine his or her identity as a designer. Showing awareness and taking responsibilities is a sign of the professional. The applied film image. The video director is responsible for the artistic and strategic design of a camera production.

He or she generates stories, gives shape to these in a timeline for a predefined communication goal. To do this, he or she draws together knowledge and expertise to create a product which can be effectuated at a high level in a subject-related, technical and production-related context. The director is involved throughout the process, from conceptualisation to final production, and is fully aware that his or her product serves as an independent means of communication, or forms part of a strategic media mix. The crossovers with other visual disciplines, such as photography, graphic and illustrative

design are of intrinsic importance both for the video product as well as for the total communication process. The video director has control of the entire team (crew, actors, designers). The ability to function in a team and to provide leadership within this context is part of the professional profile. The contemporary director will not only possess a knowledge of the professionally intrinsic aspects, but also those of other closely associated disciplines. Camera work and technique, montage, audio-techniques, narratology, production organisation, communication strategies, market-orientation and the financing of it all, are parts of the total package of skills which the future director must possess. In addition, his or her product can provide a reflection on the social relevance and on the evolving technical possibilities. With respect to all of the above, the video director will continue to seek out his or her own artistic and technical boundaries, in order to accentuate his or her visual identity in his

or her own productions, as well as in a team. The applied illustrative image. The contemporary illustrator has a wide palette of techniques and instruments at his or her disposal, which range from conventional techniques to those from other disciplines (e.g. photography, visual art, animation and typography). Despite the overlaps with other media, illustrative design is characterised by an almost omnipresent subjectivity on the part of the designer. It is his or her vision, interpretation and style which characterise the finished work. In addition, illustration invariably takes place in a concrete or open context which is essential for it to be an illustrative image. A relevance which relates to the issues of the day and social trends often forms the starting point, but the finishing point is heavily dependent on its creator’s profile. The illustrator is constantly in search of his or her own imagery, because he or she thinks in pictures, and is therefore

aware of both the narrative quality and the visual impact of the image. In doing so, he or she can easily go beyond the bounds of reality, a quality of the profession which can be deployed to special effect within visual communication and strategy. The illustration – when it is not used autonomously – forms part of the communication strategy. As such, the illustrator often supplies part of the final product and which will be deployed within the various media. A prerequisite is conceptually strategic thinking in a team or project-related context. In order to achieve this, in addition to, technical and subject-related skills, a theoretical knowledge is required of: image and media culture, history of art and images, media theory, image analysis, narratology, graphic and illustrative communication and image strategies, applied research and presentation techniques.

Jana Esser 3rd year, Graphic Design Student Jana is one of the many German students in the Netherlands. She lives in Aachen and travels back and forth every day from Germany to Maastricht. How did you get to know the abkm? Our school gave us a flyer from the ‘‘Arbeitsagentur Aachen’’ that contained information about the abkm. It also contained an offer to come and visit the academy for a day. After I graduated from secondary school, I got a work placement at a graphic design agency. That let me get a good picture of what work as a graphic designer meant and let me see if it fitted in with what I really want. It just so happened that my work placement supervisor had also studied at the abkm. 46

Why did you choose to study in the Netherlands? Dutch academies are known in Germany as more open-minded and freer than the German ones. I liked the sound of that very much. I also took the admission exam for a fine arts academy in Germany, but I decided later that I preferred the one in the Netherlands. Because I wasn’t sure yet if I really wanted to study graphic design, I chose the abkm as this particular academy has a more general first year. The first year let me explore the various courses of study.

What did you think about starting a course of study in a different language? Initially I found it very difficult. I’ve only taken a short course in Dutch. That was only for one week. You were really only taught the basic elements of the language. It was very difficult for me to speak in Dutch in the class or during a presentation. Luckily, almost all the teachers understand German. Some even speak it very well. That helped me enormously. If I didn’t understand something in Dutch, the teachers could explain it to me again in German. Even so, I’d advise any German student to take a proper Dutch language course before starting a study. It certainly makes everything much easier.

Why haven’t you come to live in Maastricht? For me, it’s very important to continue living in Aachen. I love the town and I like staying close to my friends and relatives. Fortunately, it’s only half an hour by car. I don’t have a car of my own, so I try to travel as much as possible with other people who are commuting. Organising these things sometimes is very chaotic and stressful. Of course, everyone has classes or appointments at different times. If it’s not possible at all, I take the bus. That takes an hour. The downside of taking the bus is that it’s rather expensive. If I want to travel by bus before nine in the morning, I have to pay ten euros. A Dutch student’s public transport smartcard can’t be used in Germany. So I have to pay a lot of money to keep living in Aachen, but I certainly think it’s worth it! I also have a job in Aachen. I work independently for a graphic agency at one of the institutions at rwth Aachen, a German university. It’s letting me gain a lot of experience in this field of work. After all, working with customers is quite different from performing a task for teachers. I can use everything that I learn at the academy in my work. That means I can put everything into practice immediately.

Kay Schröder Degree in Visual Communications

What are you currently working on? I’m self-employed in the interactive media sector. I have my own company that develops online applications and games. Our goal is to convey information in an attractive, fun and interactive manner. For example, we’ve created an action-adventure game for young people who are about to graduate from secondary school and don’t yet know what they want to study afterwards. You play through the game in 3D. You carry out assignments, find objects, score points and win battles. At the same time, the players are informed about various career choices and, in doing so, can learn whether these options are right for them. This makes it possible to convey dry, boring material interactively in a fun and exciting way. What subject did you study at the abkm? I got my degree in Visual Communications, with Interactive Media as my specialisation. We learned to programme html, JavaScript, ActionScript and had classes on interactive theory, business administration and semiotics. I also took as many classes as possible on graphic design, photography, illustration and video. I pretty much took every subject offered by the department.

When you look back on your time at the abkm, what are the highlights? I had a great time! An exciting time, too! You’re given lots of independence in carrying out assignments and there’s always someone to help you look for possible solutions. This was a tremendous help in dealing with things after graduation. I’m still doing things much the same way. How did you experience the switch from the abkm to the working world? While studying, I also did lots of work and projects outside of school. The only difference is that, since graduating, I’ve had much more time for my own work. After graduating, I was immediately offered a job at a large advertising firm. I had several options and had to turn down offers from companies. But the work didn’t really excite me. I found it too limiting. So I started working in the guerrilla marketing sector in Berlin. We sought out new ways to communicate, new media and new strategies. This is something I’d like to continue pursuing. I began my own company with my own clients and staff. Now that was exciting! I wanted to develop my own ideas. But how do you make that happen? How do you market the results? How do you get clients? I had to figures all of these things out as I went along.

Do you have any tips for (future) students? Lots of things are cheaper when you’re a student. You can attend lectures, conferences, workshops, etc for very little compared to what you get. The average workshop costs around €500, while students pay only €80. Take advantage of these opportunities! Try out as many things as possible. Experiment. Work together with people in other disciplines. Broaden your horizons! Dare to confront and take a good long look at yourself. Think like a child. Imagine a child who wants to be an astronaut, so he builds a rocket. Think of your future in much the same way. This is what I want to do, so this is what I’m going to do. Along the way, you may learn that your interests lie elsewhere. This way, you get to know yourself better. Don’t be afraid of new things or of making mistakes. If you don’t try something, you’ll never know if it’s for you. If you don’t look at the world through the eyes of a child and don’t do what you like, what’s the point? The key is to enjoy what you’re doing.

Niels Hermans 3rd year Video student

What kind of assignments are you given for Video? The assignments are varied. We start with small assignments to get used to the camera. You have to learn how to work using a moving image. All other aspects associated with video are dealt with, such as audio, production, composition, arranging actors, image editing, and making and maintaining contacts with those involved in the audio/video industry. The latter is really important, as you never know when you might need someone. You make acquaintance with the many possibilities within the video profession, from reporting to experimental film, from documentaries to feature films, from animation to motion graphics. In the 3rd year students can specialise in their own chosen subject. How do you decide on a subject? When we are given an assignment, for example, a documentary, we have to decide on the subject of the documentary ourselves. We have lengthy discussions on the matter in class. For example, what are your interests and passions? What do you want to convey? What message do you want to send? I seek out subjects which are close to my heart. It’s about me, my life and my vision on things that happen to me in life. The best thing about video is that it allows me to express my vision on things without anyone ever knowing that they are my opinions. It’s the actors who tell the story. For me it’s a terrific escape valve.

For example, my documentary was about friendship. At that particular moment things with my ‘‘old’’ group of friends weren’t going that well. We used to see each other every weekend, until everyone went off to study and started doing their own thing. That was quite difficult for me and I asked myself what friendship really entailed.

What programmes do you use? For the editing of images we learn to work with Aved Media Composer and Final Cut Pro at the academy. But I work with another editor: Adobe Premiere. This programme allows you to work with any kind of video file. This is more difficult using the other programmes. As my tutor always says: “Premiere is the whore of video packages, it swallows everything!” In addition, we are also taught to work with Adobe After Effects. This is more of an animation programme, ideal for making moving texts, animation films and graphics. In the other programmes, these functions are too limited.

What camera do you use? I film using a Canon 60D. This is actually a stills camera but the filming function on it is ideal. In this way you can create a moving image in a photographic way. The biggest advantage is that it’s just so easy to change lenses. These are the latest developments in the field of film and photography.

What typifies your work? I edit everything to music. For me, it’s important for editing to be done as smoothly as possible and music, which its fixed pattern, in terms of speed and rhythm, is able to do. It was not a conscious choice to do edit everything to music, that’s just what evolved. I’ve always done it this way, so for me, it’s just a matter of course. Even for videos where there’s no music, I stick to the same rhythm, I have it all in my mind. I have a thing about music and I’m always looking for music to collect, it’s a kind of obsession. I simply have to have music. When I’m editing, I have a predilection for electronic music. But really, any sort of music will do!

Sanne Willemsen 3rd year Photography student

What was the most important impact of your education on your personal life? I can’t come up with any one thing that was most important. My entire education has had an important impact on my life. On the very first introductory day, our mentor told us newcomers that we should keep our families and friends well informed about everything we do in the time to come. He promised that we would soon enough discover how quickly we were developing. Stubborn as I am, I didn’t believe a word of it, of course. I already had an intermediate vocational degree and that programme didn’t have much of an impact on my life. But, looking back to the very beginning, you get so much new information, learn so many new things. Topics are discussed that I had never given thought to before and you immediately embark on a quest for your own voice, your passions and motivations. I was dumbfounded by it all! I was quite insecure about my work for the academy. I felt it was never good enough. I also learned during the propaedeutic year that I had chosen the totally wrong discipline. I started by studying product design and I’m now a 3rd year photography student. All of that selfdiscovery, self-reflection and looking at yourself and your work with a critical eye has given me a great deal of self-confidence.

What do you feel is most important about your work? I can really put my soul into my photography. I can make an impact on other people. That is very satisfying. And it gives me endless possibilities. I can build sets for shoots, paint a backdrop, even be in charge of cosmetology and styling. If I want to incorporate sculptures into a shoot, I can make them myself, and so on. Conveying my message is what I find most important. I hope to make people think through my work. Most of my work revolves around behavioural problems, psychotic disorders, people’s prejudices about these things, the sadness and loneliness that result. Everything has a reason. And that is what I hope to show people.

Is there any one project you are particularly proud of, a high point in your studies? Not really. I’m always proud, though, when I’m truly satisfied with something I’ve created. But, after a few months, I often find it no longer good enough. I always want to keep improving. As far as development is concerned, I do have a project of which I’m extremely proud. We were assigned to communicate the body, whether abstractly or realistically. For the first time, I used myself as the model for a photo shoot. This was truly a tremendous victory for me and for my self-confidence. And I’ve made lots of self-portraits ever since!

Where do you find your inspiration? It is often a combination of events in my life, poetry and song lyrics that speak to me, and my interest in the human psyche. Or I write my own texts and then express them in photographs. How do you picture your future? Right now, I’m focusing on my work placement and graduating. But I’ve already got big plans for my final project. Until now, I’ve made portraits of my family, friends and myself. Now I want to see if I can inject the same emotion into portraits of people I don’t know. I want to come into contact with people off the street. I want to follow them, tag along with them, win their trust and tell their story. And then to combine these stories in both text and pictures in a book. I’m really looking forward to it!

Communication and Multimedia Design (cmd) is more than ever a field of expertise that walks the fine line between technology and (creative) design. The transition from an information society into a complex communication society evokes a strong demand for professionals who can pick up the signals of societyâ&#x20AC;&#x2122;s demands and transform them into interactive media solutions! cmd graduates are creative problem solvers in Interactive Media.

Communication and Multimedia Design Our view on the profession Graduates from the Maastricht educational program of cmd develop communication solutions for the global knowledge-based economy, with a specific focus on services, experiences and creativity. To that end they use an innovative approach towards multimedia. They integrate creativity, empathy and rationality, in order to effectively meet the needs of future users as well as the requirements of organizations. They use a variety of research

and design methods and technologies. cmd graduates are what we like to call â&#x20AC;&#x153;Tshaped peopleâ&#x20AC;?: they have a deep understanding of the field of Interaction design and Multimedia design, but also possess general knowledge in the broad fields of communication and media, marketing, multimedia technology and project management. This broad knowledge enables them to interact and work together in multidisciplinary teams, where they

add value by bringing their own specific expertise to enrich the end result. Most graduated cmd professionals work in the dynamic world of the creative industry in various jobs. Think of jobs like interaction designer, user experience designer, multimedia designer, web designer, multimedia developer, front-end developer, project manager, or art director. An increasing percentage of them start their own company or work as a freelancer.

cmd specializations Human-centered design is an important principle when developing interactive media solutions for communication purposes. Peopleâ&#x20AC;&#x2122;s experience comes first. During the creative design process the cmd professional thinks and works from peopleâ&#x20AC;&#x2122;s behavior, their needs and requirements. According to this set of requirements he/she determines to a design solutions by linking multimedia (text, photo, video, audio, animation) with interactive devices enabled by available technology. During the main course of the cmd program, students have been able to specialize themselves in a specific field of interest

within the extended body of knowledge of communication and multimedia design. It depends on their own ambitions, talents and skills, whether they profile themselves in the field of interaction design or experience design, or within the field of multimedia design. Interaction Design deals with the design and

development of interactive media for the publicâ&#x20AC;&#x2122;s daily usage with focus on functionality. This is closely related to Experience design, in which the focus is placed on the quality of the experience while using new media and technology. It is important that users appreciate the use of interactive media as meaningful, useful, instructive,

easy and sensible in their daily life. The ultimate goal is to provide them with an ‘‘optimal user experience’’. Multimedia Design deals with creating, designing and developing multimedia applications that make sense. Applications that tell interactive stories or messages with which the user can interact or play in order to

immerse him. These may be dynamic websites, but also animations, serious games, film or audio-video products. As a multimedia designer you will be challenged to be creative in designing meaningful content and to tell an interesting story using the strength of text, image, audio and video.

The bachelor Lecturer of Fine Arts and Design offers, next to a thorough expressive and cultural training, a preparation for modern teaching and lecturing. It is important that students are educated in several different fields as this is what modern lecturing requires, due to a growing diversity in educational methods and tasks. Practical training at the department is designed from the angle of how to best approach “arts”.

Lecturer of Fine Arts and Design Characteristic to the study program is the interdisciplinary cooperation with other faculties such as the Conservatorium and the Theatre Academy. Graduates are allowed to use the title of Bachelor in Education (of fine arts and design) and have acquired full competence in teaching on several levels, but are also able to work outside the school environment, in Arts and Museum education. The Academy also offers a fast-track program

for art graduates in order to achieve the teaching certificates. During the studies, students can take part in several projects that are offered from year two onwards. They include minors in Youth culture, Nature and Environment (Cradle to Cradle), Utopia and several other projects in cooperation with regional municipalities and institutions of higher education. Excursions to museums in the “Randstad” and Berlin, organized by students

themselves (cultural entrepreneurship), are only examples of the fascinating annual cultural trips that took place in the last year. Students of the bachelors Lecturer Music and Education (Conservatorium) and Lecturer Drama (Theatre Academy) and those following the program at the abkm - dbkv follow a (partly) common curriculum, which creates a very interdisciplinary atmosphere and adds value to all respective programs.

Angela Lambriex Graduated as Bachelor of Education

Who are you and what do you do? I am an energetic young girl with endless ambitions, even though I’m 30 next year, so maybe ‘‘woman’’ would be a more fitting description. Since 2010, I have been the owner of the fee conceptstore in Sittard. fee is a dynamic company with a diverse range of products. Since the end of 2011, fee has also been selling online: feeshop.nl. I sell brand labels for men and women, vintage clothing and secondhand design furniture, but I also offer a platform for young designers. My work varies from advising customers to visiting fashion shows, supervising trainees and lots of boring paperwork: never a dull day at fee! In addition to my full diary with fee, I like to sit behind the sewing machine, visit the gym or leaf through the fashion magazines with a glass of wine on my balcony.

What degree programme did you follow at the abkm? I qualified as a teaching graduate in 2009. My specialisations in the final year were 4D (photography), 3D (product) and 2D (graphics). Fashion and interior design were the leitmotif throughout my studies and likewise afterwards. How do you look back on your time at the abkm? With one big smile. I was really fed up when I graduated, I’d go back now if I could! After studying at the Grafisch Lyceum in Eindhoven and a year working in fashion, it’s the best decision I could have made. I have become a lot more (self-) confident and have developed in so many creative and personal areas, not least thanks to the involvement and support of the teacher trainers at the abkm. How did you find the transition from the abkm to working life? Compared to a lot of fellow students, I was really lucky. After graduating I had the luxury of being able to choose between two different jobs. In my fourth year I had already started working at the Dacapo College, a secondary school in Sittard. After a long period of indecision, I eventually decided to work at my last training workplace, t+huis. After 5 months’ internal training there, I felt at ease working as trainee coordinator and project coordinator. And because I can be a busy little bee, it was not difficult for me to start working there full-time after graduating.

Did you expect to be doing this kind of work? I’ve always had an entrepreneurial streak in me and many women have had a childhood dream to start their own clothes store/collection! As a small child I loved sketching my own designs, feeling fabrics and organising fancy-dress parties with schoolfriends. But I’d never dreamed that a year and a half after graduating I’d have my own store! I would have laughed out loud if someone had said that to me 5 years ago. Now, in addition to having my own store, I’m about to launch the fee label, together with a good friend of mine. Everything can change so quickly I now realise.

Do you have any tips for (future) students? Know what you want to do and strive for perfection without overstretching yourself. Believe in yourself and don’t let people put you off: be yourself. You should realise that once you have set your sights on a goal it will be hard graft and that achieving that goal will be largely up to you, nothing will fall into your lap ... you make your own luck in this life. With optimism and a big dose of discipline you can go a long way! Sometimes you have nothing to lose in life than being able to bluff your way through and jumping in at the deep end.

Debby Peeters Post-graduate degree in dbkv (Art and Design Instruction)

What is the most valuable lesson you learned during your four years at the academy? I took the one-year post-graduate programme to become an Instructor of Fine Arts and Design. At first, I found standing in front of a class to be quite difficult, but also very exciting. When things were not going very smoothly in the classroom a while back, I noticed that teaching had lost its pleasure for me. Then my work placement advisor gave me a tip: “Make it fun!” As simple as that may sound, it was something I needed to consider. What part of teaching do I enjoy most? Inspiring students, stimulating creativity and carrying out effective evaluations; in other words, focusing on the students’ work. I had started doing less and less of this, as a result of which my students saw me more as a police officer than as a coach. This did not sit well with me – or with the students. And it made clear to me that, if you make it enjoyable for yourself, the students will notice and this will have a positive effect on the atmosphere in the classroom.

What do you feel is most important about your work? I had studied at the art academy in Breda before this and graduated with a degree in Graphic Design in 2005. I now mostly use the graphic techniques I learned for my illustrative work. I’m focusing more now on (children’s book) illustrations. What I find important in my illustrative work is that it has its own style. This took me quite a long time to develop. I also find it interesting if it’s not immediately clear what kind of techniques have been used. You see, I often use different techniques simultaneously. In my graphic work, I find the concept to be most important. The research that leads to the concept is often more interesting than the ultimate end product.

As a teacher, I believe that assignments should inspire, that students should look beyond what they are used to, that they develop ‘guts’ and ‘nerve’. I’ve had students who were afraid to sketch because they wanted the perfect drawing on paper the first time. I also feel strongly about perseverance. If a drawing is not successful the first time, simply start again. There’s plenty of paper. Where do you find your inspiration? By looking around me, whether very close by in my immediate surroundings or far away in the media. I often use animals as subject matter in my work. I’ve created two pieces, for example, that were inspired by news reports. One is about the horses of Marrum and the other about foot-and-mouth disease. Both are in black

ink and black pencil. But not all of my work is so emotionally charged. My pets are my greatest source of inspiration. What was the most important impact of your education on your personal life? It was a difficult year. I put lots of (spare) time into my studies and a lot of thought into the decision to study to become a teacher. I had to put aside my work as a graphic designer due to rsi. But I didn’t want to completely waste my graphics degree from Breda. I wanted to use my creativity in some way or another. I’m proud of myself for doing this programme. I learned a great deal and I’m still learning. 69

Veronika Deinzel Degree in Art and Cultural Education Instruction What are you currently working on? I am currently studying for my Master’s degree in Art History at the Freie Universität Berlin. In addition to studying, I work at the Staatlichen Museen zu Berlin, mostly in the Neue Nationalgalerie, Sammlung Scharf-Gerstenberg and Hamburger Bahnhof, Museum für Gegenwart, Berlin. I give guided tours and workshops to children and young adults. I am also working together with a colleague on a youth competition called wünsch dir was!, in which young people get to decide what they’d like to see in a museum. We are going to carry out their ideas this year together with the Hamburger Bahnhof. 70

When you look back on your time at the abkm, what are the highlights? For me it was first and foremost a time to find myself and to discover what I want in life. I really enjoyed the practical aspects (painting, drawing, etc). I also learned a great deal from the work placements. And I have lots of good memories from the study trips to Berlin, Florence and Istanbul. How did you experience the switch from the abkm to the working world? While doing research for my thesis into the Joseph Beuys exhibition at the Hamburger Bahnhof, Museum für Gegenwart,

Berlin, I came into contact with the curator of the exhibition in Berlin. It was through him that I was able to arrange a work placement with the museum. During my fourth year of study, I did an internship with Daniela Bystron in the museum education section. This is the section where I now work. So the switch from the abkm to the working world was not a difficult one. I was already acquainted with the people, the museum and the work. Is this the kind of work you expected to be doing right now? Yes, I’d wanted to work in the museum education section for some time. If you want to work in a museum, first you need to be able to work in a scholarly capacity, but you also need to have good knowledge of art history. I don’t mind reading, researching and writing; these are my passions. And I’m often in contact with different people and target groups, so it’s always exciting. Do you have any tips for (future) students? I think that work placements are very important. Firstly, in order to learn what you really want and, secondly, to get to know people in the working field.

Jeroen Wagemans 4th year Instructor programme, bee specialisation What is the most valuable lesson you learned during your four years at the academy? What enriched and motivated me most during my studies is the quest you undertake and the process you undergo to arrive at a thesis project. During this process, you are more like a teacher who determines which subject matter to cover. The most important thing I have learned, I think, is that you need to continue that process even when you reach an impasse. That is when it becomes exciting and you launch on an interesting path. And like a teacher once said to me, â&#x20AC;&#x153;A work of art does not have to be big to be grand.â&#x20AC;? 72

What do you feel is most important about your work? I need to feel a personal connection to the subject matter or philosophy behind a piece. I enjoy artwork with a double meaning and that balances on thin line. I want to remain critical at all times, both socially and in my artwork. I always try to mitigate my own work as much as possible by asking myself critical questions. Only in this way can the piece capture its true essence without superfluous details. In other words, a work of art needs to be well thought-out, with every detail carefully and sensibly chosen. In that sense, I aim to achieve a certain level of perfection.

Is there any one project you are particularly proud of, a high point in your studies? I made a series of installations for my final project that were interconnected, both

aesthetically and conceptually. When I saw the series arranged as a group during the presentation, I saw a visual reflection of my own personality. I was proud to have achieved such a powerful visual language after so much research involving numerous visual experiments. Every shape, position, colour, material, i.e. every aspect was in the right place in my eyes.

Where do you find your inspiration? I find much inspiration in literature, but also in current topics that get me thinking. A newspaper article can be reason enough for me to start on a follow-up project.

What was the most important impact of your education on your personal life? I really have no answer to this. I’d have to consider black-and-white situations. At any rate, my education has had a positive impact in that I can no longer look at my surroundings without thinking about art. I sometimes see random situations in daily life that I almost view as art. In a nutshell, not only have the processes I undertook while doing my work influenced me, but also art history. It makes you look at daily life from a different perspective and that only reinforces my passion for art.

Abstract rather than concrete topics challenge me to start working. My latest project was based on the theme of ‘‘change’’. This kind of timeless topic is also often found in philosophical literature in various hidden forms, which is another source of inspiration for me. Mystical or psychological topics have always interested me. I’m always looking for situations in life that never cease to amaze. My inspiration simply comes from personal experience, which can’t be forced.

Projects and prizes 2011 – 2012 Trash Tree Art education programme addressing the issue of waste. dbkv students Annick Vleugels and Nancy Janssen in combination with secondary school children at the Trevianum school in Sittard. eARTh Land art project and paintings using natural materials from nature. dbkv students Mark Salden and Mike Moonen in cooperation with schoolchildren at de Bundeling in Bunde

Festiafval Project dealing with artistic recycling of waste during festivals. dbkv students Alexandra Hoesen and Myriam Bruijne in cooperation with students at St. Maartens College in Maastricht. The Message Art project with cultural theme: Totem pole. dbkv students Emmelie Lindner, Patricia Stuivenberg and Daphne Wolda in cooperation with pupils at Karel de Grote College in Nijmegen. Pikant Drawing project as part of the Campaign for Drawing: The Big Draw. Carried out during the National Museum weekend if the de Kantfabriek museum in Horst. Jiska Stoot and Frances Theelen in cooperation with visitors and the museum’s education service.

Parel van een vrouw (Pearl of a woman) What actually makes a woman a woman, and how do you recognise a real woman? What kind of women exist? What do mothers, aunts, grandmothers, sisters, nieces, neighbouring women and (girl) friends all conceal? They are all women, but … Drawing project as part of the Campaign for Drawing: The Big Draw. Carried out during the National Museum Weekend in the Museum van de vrouw (Museum of the Woman) in Echt. dbkv students Sophie Schellekens, Lieke Lafleur and Eelkje Rijkers in combination with visitors and the museum’s education service. Follow and find in the land of Valkenburg

Drawing project which links together various locations in the Valkenburg region as part of the Campaign for Drawing: The Big Draw. Carried out during the National Museum Weekend in and around the Het land van Valkenburg Museum. Lizet Peeters, Noelle Vossen and Patricia Stuivenberg in cooperation with visitors and the museumâ&#x20AC;&#x2122;s education service. Shadows on the Wall Thematic drawing project around the subject of local myths and sagas as part of the Campaign for Drawing: The Big Draw. Carried out during the National Museum Weekend in Archeologiemuseum in Stein.

dbkv students David Douven and Jeroen Wagemans in cooperation with visitors and the museumâ&#x20AC;&#x2122;s education service. Public Space Sustainable Summer School. Project in which around 50 participants spent 7 days thinking about the ins and outs of sustainable design for various purposes. Participants of all disciplines came from all over the world. In this way, International Business students to Product Design students took part, as well as professionals such as architects, and specialists in the field of sustainability. Sander Claessen and Jiska Stoot participated on behalf of the dbkv.

Buurt en veiligheid (neighbourhood safety) dbkv students took part along with local residents and schoolchildren in Weert, Veilig Verkeer Limburg (traffic safety campaigners), the Police and the Welfare department of the municipality of Weert in a project to improve traffic safety and the quality of life in the neighbourhood. Together they worked on an art installation which included the ideas of everyone involved. The results went on display in a public space.

Kommetjekunst On 17 November, pupils at the Porta Mosana and St. Maartens secondary schools in Maastricht, under guidance of full-time students of the dbkv, organised drawing and design workshops as part of Kommetjekunst, under the title of ‘‘Met een korreltje zand’’ (With a grain of sand) and “Cradle-to-Cradle Design”. The Big Step Art education project as part of the Art Education minor: Youth Culture (1) – The big step! Zuyd students, Esther Dombrowski and Nina König set up and successfully carried out the art education project ‘‘The Big Step’’ with schoolchildren at the Aloysius primary school in Maastricht as part of their minors.

Museum to scale As part of an international exchange David Douven (dbkv-3 student) and RiJeanne Cuppens (Mixed Media tutor), in collaboration with the Dutch embassy in Skopje, Macedonia, took part in a project working on various projects with students from the fon University and High School, and Lazar Licenoski, with the aim of constructing a number of unique museums with exhibitions to scale. Lost Symphony / The four elements “As part of interfaculty education, students at Maastricht’s Academy of Music, Academy of Performing Arts and the Academy of Fine Arts and Design”, together with the “Limburg Symfonie Orkest”, developed teaching materials which helped prepare secondary school students for a concert given by the “Limburg Symfonie Orkest”, under the title of: “Lost Symphony / The four elements”. The accompanying booklet was designed by dbkv students, Will Muijrers and Jerôme Hendricks. LIOFYeah 2011 competition Sanne Schiks and Rinske van Erp took part in the preliminary rounds of the liofYeah 2011 competition with their business plan for the Naschoolse Kunsteducatie (post-academic art education) and Rived fashion. They missed out on the final by a whisker. Finalist and one of the winners of the liofYeah 2010, dbkv alumnus Angela Lambriex is currently decorating the cover of the Alumni Zuyd magazine and an interview with her can be found elsewhere in the magazine.

The department of Jewellery and Product offers two specializations and gives students an insight into the aspects of the independent and industrial design (Although this course does not train industrial designers). Designing products and collections for future users is going to be a primary aspect in this profession in the future. This is why the students are encouraged to embrace current and new developments in order to shape their artistic identities.

Jewellery and Product design In order to gain valuable insights into the depth and scope of the disciplines, and to guarantee a good affinity with the profession, the students are coached by a team of professionals working in the very same disciplines. In the 2nd and 3rd years, we encourage students to work within the various disciplines in order to develop their own artistic identity and vision. In this way, the students are given the opportunity to explore, methodically, a way of designing, learning self-reflection through practice.

They work on interrelated projects, external assignments and take part in competitions. Each discipline offers special practical and technical training and by experimenting in this way, the students can discover the respective fields and develop his or her own personal style and identity. This practical element to the course is supported by theoretical components such as concept development, design theory and art history.

Jewellery design “Body Related Products”; The specialization focuses on contemporary jewellery: unique pieces for which the student develops his or her own independent vision and researches the limits of wear ability and function. The design, the materials and its context are important aspects of this discipline. They are also challenging ones. We focus on fashion jewellery; jewellery that is manufactured in limited editions, and make sure the students keep contemporary trends, the human body and the social context in mind. The student are also expected to do research into the positioning of their creations.

Product design Product design at the abkm introduces students to independent as well as industrial design (Although we do not train industrial designers). An important part of this is how to handle new and innovative materials. Designing products and collections for future users is going to be a primary aspect in this profession in the future.

This is why the students are encouraged to embrace current and new developments in order to shape their artistic identities. We also encourage our students to strive for professional independence throughout this course. Every year, the Department presents the work of its Alumni during (inter) national exhibitions and presentations, such as our presentation this year at the Salone Internazionale del Mobile in Milan. This presentation focused on interaction between the designer and the user and presented Jewellery and Product design under the theme “we_you”. The exhibition explored the role of the designer beyond that of conceptual artist; that of creator and contractor, in single and interdisciplinary projects. During the International Trade Fair Schmuck, we presented “Do You Want A…?”, an exhibition in which 3rd year students presented their take on jewellery. With this presentation, we provided our opinions on the way we consume by presenting jewellery in an unconventional way. This gave the

new wearers an opportunity to have a piece of jewellery which is unique. Another project we presented there was “What’s in your pocket?”, which addressed the questions: what is jewellery? What is a multiple, and when is something a One off? For the past few years, we submitted annual contributions to Talente, an international design competition in Munich in which young and talented artists take part who have a strong affinity to crafts and more specifically, experimental design. This is also where the Jewellery and Product Design Department distinguishes itself from other art schools. The experimental use of materials and techniques and the hands-on nature of the course engages students and inspires the students in the craft of jewellery design and production. The course also focuses on developing an awareness of the needs of future users and the greater social context of design. We like to celebrate the stories that bind the maker and user.

Maartje de Kam 3rd year Jewellery and Product Design student Maartje de Kam has been very hard of hearing from birth. She has worn binaural hearing aids since she was a child. She hears virtually nothing without a hearing aid. Why did you choose the abkm? There are two reasons. I had set up the no shame jewellery line as a graduation project at my previous school (Helicon Hand & Design, secondary vocational education). It consists of nine jewellery items for hearing aids. Until now, hearing aids have mainly focused on hiding your ‘‘handicap’’. But there’s nothing to be ashamed of! There are loads of types of glasses on the 84

market for the visually impaired. Nowadays, wearing glasses is even very trendy. To me, it’s very logical that more fashionable hearing aids should be created, and it’s sometimes quite useful when people notice that you are a bit deaf. I wanted to go to an academy of arts to extend my skills and delve more deeply into my passion for creating jewellery. The reason I chose the abkm is that this academy has always promoted itself as a place where you can take a full-time course of study even if you are disabled or handicapped.

Does the academy come good on that claim in practice? Of course, there are always problem situations. The group theory lessons in particular were rather difficult for me. Certainly in the auditorium, a large space with room for 130 people. The entire building is made of concrete, so everything echoes round enormously. If people were talking there, it sent echoes round the entire room. I couldn’t understand what the teacher was saying any more. We solved this by giving the teacher a transmitter that was connected to my earphones. I could then crank the volume up so that I could no longer hear the sounds around me. It was absolutely ideal. And sometimes very funny too, particularly when lecturers forgot to turn off the transmitter during a break! I could overhear everything from complete conversations to visits to the toilet! For another group lesson, we had a Belgian teacher who always uses the entire classroom. He would always walk through the classroom while speaking. Which was actually great, because it makes the

lessons much more personal and pleasant. But it was rather awkward for me. If I’m talking to someone, I really have to see their face so that I can lip-read too. That’s impossible if someone is walking about the classroom. I couldn’t get used to the Belgian accent either. I really didn’t pick up much at those lessons. The teacher did put his lessons - both text and images on the Internet in quite some detail. He also posted links to videos for additional explanations. That did let me follow the lessons. We don’t have group lessons anymore in the 3rd year. Everything is discussed individually. I’m entirely used to my teachers’ voices now, so everything is going nicely. But I do sometimes miss the general announcements. The room we sit in is huge and made of concrete too, so everything echoes round a lot. Luckily, I have some great classmates who keep me informed of everything when I can’t understand what’s being said. I’m really very lucky to have them!

Projects and Prizes 2011 – 2012 Junior Lounger design competition Sustainability at School 2011 – 2012 Sustainability at School 2011 – 2012 is an extension of Sustainablity at School 2010 – 2011, when designers and design students tackled sustainable and economically viable real-life business cases and Sustainability at School 2009 – 2010, when the sustainable themes of “water”, “local 80 km” and “multi-functionality” were dealt with. For this academic year, REcentre challenges design students in the Meuse-Rhine Euregion to tackle the diversified themes of social innovation and social design. www.recentre.org

New Works 2011, Dutch Design Week Eindhoven, October 2011 Graduates 2011 www.dutchdesignweek.nl

I am Contemporary, Schmuck Munich 2011, Jewellery students http://iamcontemporary.blogspot.com

Bee Collective Bijenpaviljoen, Floriade 2012 Venlo Lian van Wanrooij, Irene Rothuizen, Sangji Yun, Anika Gwósdz, Maartje de Kam www.beecollective.eu

Tea Time, Ventura Lambrate, Salone Internazionale del Mobile April 2012, Milan, Italy A presentation of work by our students and alumni in collaboration with Kvadrat fabrics and fabrics for the Artifort chair ‘Orange Slice Design District 2012, June, Zaandam Works by our students and alumni www.designdistrict.nl

The Fine Arts study programme provides a training which covers a diversity of mentalities within the wider scope of visual art: public art, painting, graphic design, working with plastic, performance, video and sound, photography, mixed media, artistic research, philosophy and art theory.

Autonomous At the beginning of the study, during the key phase, the workshops provide the central focal point, later the studio and then working in various external locations (within an urban setting). Contemporary meanings to the concept of â&#x20AC;&#x2DC;autonomyâ&#x20AC;&#x2122; within fine arts are examined, based on the assumption that autonomy in artistic practice is, in essence, always interdisciplinary. The challenge is to tie these artistic practices in with the extremes of cultural and social realities in such a way that they acquire a unique added value. Interdisciplinary links, after

all, come about mainly at a conceptual level, that is, at a level of artistic exploration. The academy firmly believes that studying acquires added value if cooperation (learning community) is prioritised: having a common intuition for specific situations and experiencing and using these in a valuable and productive fashion. Against a backdrop of ever changing conditions, the student learns to deal with a diversity of issues relating to his or her future professional outlook, each time with the question arising: a) is there any point in cooperation

and b) if so, with whom? Finally, the academy considers every work of art as a phenomenon that embodies different pedagogic qualities. Artistic practices will have to start learning to do this increasingly, because a work of art not only needs to be thought of as a object to be sold, but also as a medium by which specific insights and/or knowledge can be understood by others. This also means that, in its current meaning, the practice of exhibiting is examined and that the meaning of the public domain is scrutinised with a critical eye.

Silvana Gerards 4th year Autonomous Fine Arts student

What was the most valuable lesson you learned in your 4 years at the academy? I learned a great deal, but the most valuable thing I learned was to adopt a critical attitude to studio work, but first and foremost in relation to my own way of thinking. This is inherent to achieving self-awareness. If you constantly ask yourself why you’re doing something and what you hope to contribute (your opinion, the criteria you use, the preferences you have and why, or whether you are competent enough, etc), an awareness in thought and deed comes about automatically. In order to adopt this critical outlook, you need an open mind: this is the key to artistic (and of course, general and personal) development. If you are not aware of your mental condition (your Ego), this will limit your development because you will not be able to change your old pattern of thinking. René Descartes formulated it thus: “In order to reach the truth, it is necessary at some point in one’s life, to rid oneself of all the opinions one has received, and to rebuild one’s entire system of knowledge from the very foundations.”

What do you feel is the most important thing in creating your work? The most important thing in producing my work is that when I make a work of art I am “Ameise der Kunst” (an ant of art), as artist Jonathan Meese puts it. Of course, I am Silvana, the maker, but what I know and what I have learned, serves as a vehicle for art, or – instead of “art” – this can be called “creative intelligence”. This creative intelligence, in my view, is not individual at all, it can speak for everyone, so anyone can be its mouthpiece. Everyone is an individual mouthpiece, an escape valve, but in my view creative intelligence is universal.

Is there a piece of work of which you are particularly proud, a high point in your studies? There are works which I believe have succeeded, but I do not feel pride, because I do not have the sense that they are my works. Indeed, I have been the instigator of the work and feel some kind of responsibility for it. But I no longer give myself a pat on the back when a work I have created has been successfully accomplished. In the most positive sense, I feel an obligation to paint. I have to paint in the same way a beaver has to build a dam. Does a beaver feel pride?

For me therefore, it’s extremely important that “my” work is not self-expression (i.e. ego-expression), but that it allows something of the truth to shine through, that is, that it allows something from nothing to shine through, the work of which (and in fact, everything) is a manifestation of this.

What fills you with inspiration? Inspiration comes to you when you have inner peace – I can choose not to focus my attention on my thoughts. If I don’t succeed in this, I put loud music on – that might easily be Death Metal for example. What was the most important impact on your personal life during your studies? The discovery that I am not my thoughts.

Amber Bus 4th year Autonomous Fine Arts student The “Wild monkeys of Autonomous” During one of the guest lectures organised by the Autonomous Fine Arts Department, an artist talked about choosing to get a degree in Autonomous Fine Arts. At the time, he was studying for a different degree, but this was not the right place for him. He knew he would be better off in the Autonomous department, but dreaded making the switch. To him, studying Autonomous Fine Arts was like studying with ‘‘those wild monkeys’’ - the wild monkeys of autonomy.

Fortunately, I didn’t have such an extreme opinion of Autonomous Fine Arts, but I did find it exciting in a nervous way. I was probably put off a bit by such clichés as ‘‘alternative’’, and ‘‘a little weird’’. But, like the guest lecturer, I also felt like the Autonomous Fine Arts programme was the one I should be doing. Now I’ve become one of those wild monkeys and I have to say it’s beastly exciting. I’ve learned a great deal and I’ve grown, not only as a beginning visual artist, but also as a person. I’ve learned a lot about myself by, first and foremost, doing things I didn’t really want to do but had to in order to find out that this was not what I wanted. Naturally, the department provided guidance in terms of developing my expressive abilities and skills. But I also worked on my independence, critical reflection and forming my own vision and concept.

What I enjoyed most was the open attitude, critical perspective and flexibility of the instructors. I learned to develop my visual process with ever-increasing selfconfidence. An evaluation of the entrance assignment for the Autonomous Fine Arts programme at the end of my propaedeutic year stated the following: “Don’t give

too much thought to what you want to do. What you create is your topic. And sometimes you suddenly discover where this creation originated.â&#x20AC;? Three years later, I can say with confidence that this is absolutely true. The most important lesson I learned during my studies was that you simply have to get to work. By creating things, trying things out, and, most importantly, by having an open mind, you ultimately discover why you make the things you make. This initiates the process of asking yourself the right questions. You think, act and reflect. I consider my time spent studying as a continuum in which everything is equally important. The present is only temporary. This point in time, the final exams, the completion of my studies, is also temporary. The work on the final exhibition is a summary, a moment in time in which things converge temporarily, a moment of reflection in which the fixed reality is breached in my work. Logic originates in apparent chaos. Action results in a structure in the making. A summary.

Chaim van Luit Degree in Autonomous Fine Arts What are you currently working on? Since graduating, I’ve been working as a visual artist. I live and work in Maastricht. When you look back on your time at the abkm, what are the highlights? Before studying at the abkm, I spent four years sailing under the Dutch flag with the Royal Navy. When you’re a sailor, you’re on a physical journey. My time at the abkm was the exact opposite; here the journey was primarily spiritual. Over the course of four years, you learn a great deal about yourself and develop new ‘‘senses’’.

How did you experience the switch from the abkm to the working world? People talk about the ‘‘black hole’’ at the end of their studies. But I’ve yet to experience that hole. Everything happened very quickly after graduation, with one project and exhibition after the other. This was due in part to the Studio Oneindigheid artist collective I’m a member of. I started working together with a few former classmates from day one. A year down the line, we’re still an active collective and our schedules are always booked. But this is not something that happened overnight, of course. Hard work and keeping your eyes and ears open can get you quite far.

Is this the kind of work you expected to be doing right now? I absolutely expected to be doing this kind of work right now. If I start something, I give it 100%. I think it’s not possible to do this ‘‘job’’ with less than 100% commitment. Do you have any tips for (future) students? I’d advise (future) students to work hard. Obviously, that’s not always easy in this political climate, which is far from ideal. Stay humble and think big.

Projects and Prizes 2011 – 2012 October 2011 Open Source Urban Campus, experimental project in the field of art education and its relationship with society and urban space, Kerkrade Bleijerheide, in collaboration with, among others, the HedaH Maastricht art initiative, Kunstencentrum Signe Heerlen (Signe Art Centre, Heerlen) and ‘‘Land van Rode’’ Housing Association, Kerkrade; Bodytalks symposium + public space project in Maastricht (video art and dance/ performing arts) in collaboration with Maastricht University (Ike Kamphof) and Stichting Viewmaster (Viewmaster Foundation) (Bart van den Boom); November 2011 Kunst & Mecenaat symposium, (Art & Patronage symposium) in collaboration with Lectoraat Autonomie en Openbaarheid in de Kunsten (Lectorate in Autonomy and the Public Domain in the Arts); January 2012 publication: See What Happens June 2012 Workshop at Klankwerkplaats Intro | In Situ, Maastricht.

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Architectural design or Interior Architecture is understood as transforming an architectural structure or an architectural space because of changing needs and requirements. The bachelor study programme focuses on understanding and communicating architectural spaces in order to capture the “basics” of this profession. In a project and problem-based curriculum, students are confronted with examples from the professional practice. The programme includes theoretical, technical and design oriented subjects, while knowledge of building-physics and construction is not forgotten.

Master of Interior Architecture The architectural space is a complex phenomenon that inhabits different aspects like materiality, light, time, scale and composition. These phenomena are not influencing the space in a chronological order but in a synchronized way. The master programme provides an explicit knowledge of these phenomena as well as what we call competence in perception and expression. These “aspects” anyhow forming chronologic topics for several projects in the first year of the second

year programme (analysis). Within this programme the theoretical research and analysis plays a key role. In the second year, students focus on their thesis and final workpiece (syntesis). The programme can be seen as a special ism within the context of the subject area, as it underlines the research and phenomenology of the architectural space. This specialization is challenging, which is why there are several entrance requirements. Master of Interior Archi-

tecture that makes sure that the students possess the necessary competences (for this master level). The entrance requirements are necessary in order to guarantee the desired quality of education and specialization in the short and long term. The Master Program is recognized by the Union of Dutch Interior Architects (bni) and students can register at the Foundation Architect Register (Stichting Bureau Architectenregister).

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Beau Colin (graphic design)

Samyon Jonas (graphic design)

Viscom, final exam publication project Viscom, final exam publication project Projects and working in a team are a large part of the third year of the visual communications course. Publication of the final exam work and everything that has to be designed and organised for the final exam exhibition are merged into a single project. During the two semesters with projects (you get more than one), we learned how to plan, how to cooperate and particularly how to communicate. During this project, the final exam publication, keeping people properly informed in good time is really important. It’s not only the communication within your own group that’s important, but the external communica-

tion too. In recent months it’s become clear to me just how dependent you are on third parties, not only for the supply of materials and texts but also in terms of what the consequences of miscommunication can be. Because so many people are involved in the final exam project (about 130 students who are graduating, plus 10 coordinators, printing shops, fellowstudents and heads), We’ve really learned how important organising and communicating are. Before you can start designing there’s all the brainstorming, discussions, brainstorming again, endless discussions, communication, miscommunication and quotation requests. Because it’s the first time for all of us

Contact Beau Colin www.beaucolin.com hello@beaucolin.com +31 6 41 61 24 15

Contact Samyon Jonas samyonjonas@gmail.com +31 6 16 54 17 57

Tim Wilders (graphic design)

that we’ve worked together on a project like this, it was a process of trial and error. Even so, working on a project in a team gives a good picture of what we can expect after our studies. We started with a lot of enthusiasm and loads of ideas, but – as is usually the case for projects – we also had to make concessions at various points. Not all ideas are useful; many ideas are nice but don’t tell what we want to express... and finally the cliché of “less is more”can apply. You have to realise that you can only start pruning some of the ideas about concepts and designs if you start working with a lot of blanks that are going nowhere. It’s important, particularly for this project, to investigate

Contact Tim Wilders tiim_wilders@hotmail.com +31 6 36 14 72 08

Alex Vent (illustration)

properly what has already been created. We agreed quickly enough what the publication should not be saying and what it should not look like, but the way we did want it to be was a long process of creation and working out the details. “Once you know what you want to express and the target group you want to reach, you can start on the design. As well as the format of the book or newspaper, it’s also important to take account of the typography, use of colours and type of paper. That final point, something we haven’t really looked at in detail yet, turns out to be the most interesting thing. Choosing the right type of paper is important, particularly if your final product is going to be a

Contact Alex Vent alex_vent@t-online.de

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Kiet Duong (photography)

Sanne Willemsen (photography)

book. We chose to use this type of paper for this publication because the previous publications were issued as a newspaper. Given that we thought that a newspaper wasnâ&#x20AC;&#x2122;t a suitable medium for the job, which is why we went for a book, we still expressed the fragile aspect of a newspaper in the paper type. This paper is thin enough to make you think of a newspaper, but the quality is still good enough that photos can be printed on it with hardly any effect on the quality of the pictures. That was one of our key points for the publication. As well as the final exam publication, we

thought there should also be a booklet with information for outsiders and/or future students. We asked all the coordinators of our various study courses for information for this. We also held interviews with future students, current students, alumni and student representatives. How they see our college and what they are doing is extremely interesting for people outside the academy.â&#x20AC;? So you could say that only a small part of the project is about the actual design process. First, you have to be clear what exactly it is that you want to express.

Contact Anh Kiet Duong www.dukeoting.com kiet@dukeoting.com +31 6 48 61 11 18

Contact Sanne Willemsen sannewillemsen87@gmail.com +31 6 21 59 65 95

“Those who can’t communicate something simple, don’t understand what communication is all about” Stefano Falco (project coordinator)

Since 2006 Stefano Falco is a part time teacher at the Maastricht Academy of Fine Arts and Design, department Visual Communication. Member of the mt team Department for Visual Communication. The courses he teaches are Typography, Graphic Design and Interactive Media Design and Technology. He is also a member of the Academy pr Team and participates in real-live projects.

Contact Stefano Falco S.Falco@Hszuyd.nl

Stefano Falco is a Master in Fine Arts. He graduated in 1995 at the “Stedelijk Hoger Instituut voor Visuele Communicatie & Vormgeving (shivkv)” Genk (Belgium) in Graphic Design (specialisation: Strategic Communication). Works national and international. This project was under his supervision as project manager, project coordinator and designer.

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Colophon published by abkm, Maastricht 2012 supervision Stefano Falco (project coordinator) student team Beau Colin (graphic design) Samyon Jonas (graphic design) Tim Wilders (graphic design) Alex Vent (illustration) Kiet Duong (photography) Sanne Willemsen (photography) special thanks Verena Lukas Roy Hoet Risk Hazenkamp Theo Derksen translator Michael Miethke, mm-translations printed by Drukkerij Haletra, Houthalen-Helchteren (Belgium)

No portion of this book, may be reproduced, stored in a retrieval system, or transmitted in any form or by any means electronic, mechanical, photocopying, recording, or otherwise without the written permission of the publisher.

Herdenkingsplein 12 / 6211 PW Maastricht / +31 43 346 66 70 / www.abkmaastricht.nl