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chElSEa haM M ERB E ck
l e t t er F r oM tH e e d it or
Dear Students, Since its first issue seven years ago, the student magazine has been on an amazing journey. It has gone from a pamphlet, to a newspaper, to a magazine dedicated to, “beautifully documenting the personal and professional growth of the people and organizations connected to our community of learning,â€? as our mission statement declares. Our primary goal is to publish quality student achievement in a beautiful way, and, of course, to learn a thing or two along the way. As we begin the spring quarter of 2012, so too we begin a new chapter in the history of the magazine moving to a bi quarterly magazine. At the start of the 2012 winter quarter, I was elected as Editor In Chief of C². It has truly been my privilege to work with such a creative and passionate team of people. As always, we are continuing to look for new ways to further increase our involvement with the student body and become an ever-present part of the community. It is my goal to one day have any student from any major open the magazine and feel represented. Many things need to happen before that goal can be realized, but we are continually taking steps to make Wthat goal a reality. While the magazine begins a new chapter in its life, I invite you to take that journey with us. There are many ways to get involved, and we are always encouraging students to submit their work and even become members. We welcome all students, regardless of level or program, to interview for a position on the magazine staff. If you are interested and would like more information please contact us at c2.create.connect@gmail.com. Sincerly, Chelsea Hammerbeck Editor In Chief
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K ry st al Ba rtlowe P HOTO G RAPH Y ( BFA) This photograph is from Josephine, a fictional essay book I wrote about a schizophrenic classical musician. This image depicts one of the character’s fanciful hallucinations.
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1 . te a f or three 2. R ef lec ti ons 3. Fish erma n 4 . On the B a nks of Th ri ver 5. Fr osted Drea ms 6 . Doe in W inter Ashlee bennett PHOTOGRAPHY (BFA) My photographs are inspired by the way we interact as families, friends, and most importantly, strangers. As a young girl, I used my painful shyness to silently observe the world and discovered the power of imagery. My younger sister became my muse and my most trusted companion, creating within me the desire to capture the silent bonds between people. I became obsessed with the way the light hit my sister’s golden hair, the way my brother’s voice sounded in my ears and the intensity for which I experienced the world. The methodical nature in which most of us go through life directly mimics my desire to photograph with a 4X5 large format camera. The large format camera provides depth and details that are not inherently visible. I choose to print my images at a larger size, so that the details are overwhelming and not easily escaped. There is a process to my work that can’t be replicated using digital medium. The way the film feels in my fingers, the anticipation of seeing the image, the sound of the heartbeat in my chest as I wait for the camera to expose my film are all reflected in my final images. A majority of my work is centered on the fulcrum of childhood and the transition into adulthood. There is a beautiful inner turmoil inside children and this is the main reason they are the subjects of my images. I photograph for myself, to say all those things I couldn’t say as a child.
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STYL
Q&A
W ITh S uza NNE SIMMala v oNG PR IS EdENT of STyl aI’ S f a ShIoN GR ouP
Q: When was STYL created? A: STYL was created in January of 2011. Q: What is your vision for your group and how would you like people to get involved? A: My visions for STYL is for each team member to expand its skill set, turn weaknesses into strengths, and prepare each individual for future endeavors. STYL is an organization that is precise, professional, and task-focused. Q: Who can get involved with STYL? What kind of people are you looking for? A: Currently, STYL are only looking for volunteers and anyone who is interested in helping with events and/or photo shoots. We are open to meeting with anyone who has a strong passion for achieving their dreams, organized, task-focused, and cohesive. We are open to working with photographers, advertising students/professionals, graphic designers, etc. Let’s collaborate! Q: What are some current events that you have coming up? What events have you participated in lately? A: STYL is grateful for all of the events we participated in. So far, we’ve accomplished to set a fashion show in less than 3 hours! We coproduced “A Walk to Remember : LOVE 4Japan Project: Fashion Show Benefit”, to raise money for Japan. We presented a segment as “style experts” for The Art of Beauty TV presents Life, Lipstick and Laughter. Collaborated with Photographer Kevin Kamin, and Independent Multimedia Professional Nina Bouphasavanh. In September of 2011, we were stylist assistants at the Envision Artopia: Fall 2011 Fashion Show. Recently, we partnered with Alice Sydow from I’ve Got Your Style and Wilhelmina Minneapolis to produce a fashion show at The Twin Cities Women’s Expo. We have been busy working closely with our clients, as well within the local community. Keep checking our Facebook fan page and blog for more news! Facebook: facebook.com/justSTYL Twitter: @STYLpr Blog: stylbloggers.blogspot.com Q: Tell us about Made in America: What was it, how did you get involved, and how many people were there? A: Made in America was hosted by the Alliance for American Manufacturing and Tricom Associates. The event was held at the Minneapolis Convention Center during the Netroots Nation Convention. Our hosts wanted to create a fashion show, and it was last minute. So, STYL had only 3 hours to coordinate the fashion show and style. It was a great experience! There were over 2,000 people and we were also on the web (live stream). It was all worth it at the end. Q: Do you have any future goals for STYL? A: I can’t predict the future, but whatever it is, we’ll be ready for it! Q: Is there anything you would like to add or say to people who are interested? A: “What is style? It is an effortless confidence in being yourself...” DVF Let’s collaborate; email us at stylpr@gmail.com
F al co n Heigh ts , Janu ary 2 1, 2 0 12 Kevin kurbs Interior design (BS) This particular project was a piece of land that was going to be used for a bicycle pit stop for the cyclists using the greenway path that runs next to the light rail line. The building created was a throwback to roadside architecture of the 1950’s, such as gas stations and motels, and included a sandwich counter, shower, restrooms, and underground parking for the growing moped community in the Twin Cities area.
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B I c yc lE P Ro M o T I o N Po STERS
dani elle HoP G raP Hi c desi G n (B s) Posters created for a bicycle cause, promoting biking over driving, while also promoting self improvement, environmentally friendly activities, pollution limitation, and traffic control. The goal was to utilize type, use a limited color palette, and include illustrated or vector images.
AN Interview with Grandpa George DESIGN COMPENDIUM By Chelsea Hammerbeck
“GG will continue to grow into its snazzy, old-school digs”
GRANDPA-GEORGE DESIGN COMPENDIUM
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tepping into the GRANDPA GEORGE (GG) studio is like walking straight into a throwback. Going up the creaky stairs of the rugged building off 10th and Marquette, I could already tell that GG has a penchant for doing things the old fashioned way.
Creative knickknacks are decoratively scattered about the loft among the vast amount of greenery placed around the room. Each plant stands out against the sand-colored brick walls of their newly refurbished studio. An old-fashioned Rolodex sits on a desk prominently setting itself apart from the newer forms of technology surrounding it. Colorful Gs hang from a white wall in the upper half of the studio adding an extra splash of color to the atmosphere. The end result is a combination of retro and whimsy: an ode to a playful past, and in its very essence, that’s what GG is: a design firm dedicated to the way things were done in the past when, “People had more of a skill set and not so many tools,” says GG principal and Ai Minnesota Graphic Design Instructor Douglas Brull. This aspect shows up not only in their design style, but also in their work ethic as well as how they want their work to portrayed. GRANDPA GEORGE DESIGN COMPENDIUM is composed of three members, Douglas Brull, Matthew Luken, and Emmet Byrne. Being a very small team, this gives them the luxury of playing around with ideas without the conversation being bogged down and cluttered by too many voices. And while that means there is often a greater
“The end result is a combination of retro and whimsy: an ode to a playful past, and in its very essence…” amount of work for each of them to accomplish, they see no other downside to the size of the group. Each has their own important role to play with a specific position. Brull is currently the Director of Productivity; and Luken is the Office Manager/Project Manager, mainly focusing on quality testing; while Byrne, who is the newest member of the team, is the Creative Director. Originally begun in 2007 as GRANDPA GEORGE DESIGN AND INTERACTIVE, the firm was conceived out of a need to break away from the everyday grind of working with a larger design company and getting back to working with a smaller creative team focusing on web design. Since then, a lot has changed, but the core of who they are is still very much the same. As we continued discussing the history of the business, I began to grow more curious about how the small company got its name. What was it that made them want to become GRANDPA GEORGE? When asked, Brull began to paint a picture of two coworkers sitting back-to-back, cubical-to-cubical in the large corporation they worked for. These two colleagues Douglas Brull and Darrin Evers (also an Ai Minnesota Instructor at one point), would soon decide to break out of the mold of their day jobs and pursue the creation of their own small business. But what to call it? They did some research and found that most web and interactive companies in the area had names that were either quite techie, or outright dorky. They knew what type of feeling they had in mind for the name, and how they wanted it to be representative of the type of design they would want to display in their
business. One morning when Brull was walking down the street, the name GRANDPA GEORGE popped into his head. He kept saying it repeatedly to himself to keep it in his mind. When he got to the cubicle and told Evers the name, Evers stopped, looked up, and said, “That’s it.” Right away they knew it was the name they were going to keep. Thus the name was born, and it has stuck with them ever since, even now during the switch in the direction of the company.
are many limitations to designing for the web... I still like it a lot and the problem solving aspect that comes with it, I just don’t want to do it all the time. Two years from now, who knows?” Yet it seems despite the rebranding and refocusing of their company, they are still maintaining the aesthetic and charm attached to the GRANDPA GEORGE name. During this transitional period, GG will continue to grow into its snazzy, old-school digs at 10th and Marquette, as well as to chart its new direction. While many changes have occurred since the beginning, it seems clear the soul of the business is still very much intact. For GRANDPA GEORGE DESIGN COMPENDIUM, the future is retro, and that’s pretty bright.
“I’m amazingly tired of designing for the web right now…For a while that’s all I got to do and I really love print design so much more.”
What was it that had made them decide to shift from web and interactive work to print? After a brief period of time not quite knowing how to answer the question, Brull bluntly stated, “I’m amazingly tired of designing for the web right now… For a while that’s all I got to do and I really love print design so much more. Overall, I really want to focus on the things you can’t doing web design because there
Ste ve A.K.A. The W rea th Ma n Brandon Lepasti PHOTOGRAPHY Steve lives in this cozy shack out in the woods of Northern Wisconsin. Steve is known for making beautiful wreaths out of branches that he finds in his surrounding area, hence his nickname, �The Wreath Man.�
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T ripl e R o c k P o ster S eries Sara Bennett Graphic Design (BS) Quarter A three poster series for my job at The Triple Rock Social Club depicting the three major weekly events they have. Triple Rock 241 Tuesdays, Free Bacon Wednesday, and Blingo Thursdays!
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Upon his graduation in 1900, Einstein began searching for a post teaching mathematics and physics, but he was unsuccessful in his efforts. He eventually took a job with the Swiss Patent Office, where he evaluated patent applications for various electromagnetic devices. During this time, he also quietly worked on
Einstein was born in Ulm, Germany on March 14, 1879. Despite urban myths to the contrary, he was never a “slow” or “mediocre” student, rather, he showed exceptional mathematical aptitude at an early age. In fact, his college career began at the age of seventeen at the prestigious Zurich Polytechnic in Switzerland where he had relocated from Germany in order to avoid military service. It was here that he met Mileva Maric, also a physicist, who would soon become his wife and the mother of his three children.
This equation represents one of the many significant accomplishments made by a man whose fingerprints can be found on virtually every aspect of modern physics, a man whose name today is synonymous with genius, and a man who is the subject of this issue’s column: Albert Einstein.
E = mc². This innocuous looking algebraic relationship is undoubtedly the most instantly and universally recognized equation of all time. It is both simple and profound. It is simple in its elegant relation of three fundamental quantities: energy, mass, and the speed of light. Its profundity lies in its meaning, and the deep truths carried within that meaning. It says that matter can be converted into energy and vice versa. It is a statement of unity. The universe and everything within it, our bodies, the earth, and the distant stars are all made of one fundamental substance: pure energy.
Late in his career, Einstein published many additional scientific works covering everything from
Einstein was visiting the United States when Hitler came to power in 1933. Fearing persecution based on his Jewish heritage, he never returned to Germany. Eventually, he became a U.S. citizen and accepted a professorship at the Institute for Advanced Study at Princeton. Despite his previous adherence to pacifism, he understood the threat posed by a Nazi Germany in possession of an atomic weapon. The United States’ effort to produce a nuclear weapon, the Manhattan Project, was launched largely due to his urgent letter to President Roosevelt. Although Einstein himself had no part in actually designing the atomic bomb, he would later come to regret his recommendation to do so and became an outspoken critic of the use of such weaponry.
Over the next decade, Einstein held numerous academic positions throughout Europe and quickly acquired the kind of fame normally reserved for actors and rock stars. All was not well in Einstein’s private life, however, and in 1919, after years of squabbling, he and Mileva were divorced. Strangely, he agreed to give her the money from any Noble Prize he might one day receive, which led to a great deal of speculation about possible unacknowledged contributions to relativity and other work credited to Einstein. Others have suggested he effectively bought her off because just a few months later he married his cousin, Elsa Lowenthal. In any case, Mileva never made any statements to substantiate or deny these rumors, but when Einstein won the Noble Prize in Physics in 1921 for demonstrating the wave-particle duality of light, she did receive the money.
Einstein’s breakthrough came in 1905 when he not only completed his doctoral dissertation but also published four major papers concerning the photoelectric effect, Brownian motion, special relativity, and matter-energy equivalence. The paper concerning Brownian motion provided some of the first empirical evidence for the existence of the atom, but it was the relativity paper that transformed the science of physics almost overnight. Quantities long thought to be absolute such as length, mass, and even time itself were subject to change based on an object’s motion.
several projects of his own including equations that would eventually lead to his Theory of Relativity.
Photograph taken by Kate Engelmann
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BY JEFF BERKETT
In his final days, Einstein faced death calmly, unafraid, and with a touch of humor. He refused surgery, insisting that it was his time and that he did not want to preserve his life artificially. By his own request, he was cremated and his ashes disposed of in secret, so that no shrine or memorial would be erected in his name. Humble to the end, he referred to death as, “the last great adventure.” Perhaps he understood that because E = mc², he would, in one form or another, live on as part of the energy of the universe.
unified field theory to worm holes. He was renowned for his wisdom and intellect and was often called upon by state officials, scientists, colleagues, and friends to give advice or settle disputes.
W ater S til l #3 ( Above) Courtney FriE Photography (BFA)
Water Sti ll #1 (R ight) Courtney FriE Photography (BFA)
The way light and water and nature play with one another is truly fascinating. When the sun is setting or even rising across a lake or a river something magical happens. Something that I had never even thought about looking at before. These are a series of images from my Water Stills collection that I did in Specialization.
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Courtney Frie Photography (BFA) District 742 With my images I take a moment to breathe as a both a viewer and a photographer; I stop and study the landscape that is in front of me and capture it’s story for others to read. When I photograph these structures I feel a stillness and I am calmed by them. At the same time the landscapes I see have a haunted feeling to them because so many souls have passed through them, in turn giving them a soul.
An Interview with Jatten Heinen BY CHELSEA HAMMERBECK wwJH: School is a great time to experiment in different areas of photography, and I like to dabble in food photography every now and then, just to mix things up a bit. C2: What about it interests you? JH: Working with food has its pros and cons. My favorite part is being able to work on my own terms, and be the perfectionist that I am. The hardest part is styling, and making sure you get the shot before the food begins to melt, wilt, or just look less than appetizing. C2: Prior to this body of work, had you experimented with anything like this before? JH: This was the first time I had ever tried anything like this before. It took a few test shoots to work out the kinks but as soon as I got a workflow down things seemed to go pretty smooth. C2: This is a really interesting take on Food Photography. How did you come up with the concept? JH: Whenever you get a new camera, computer or any electronic with multiple functions there is usually a parts list included that shows details each part, and what it does. I took that concept of exploded parts lists, and applied it to common foods. I wanted to take the food apart and show each individual ingredient as though it was on a parts list. C2: What is the process for photographing one of these images? JH: Photographing theses images came only after a lot of testing. Once I got the workflow down though, things went pretty quickly. Each layer of an image was stylized, and photographed separately on a white background. Then, after individually photographing each layer at various angles, I chose the best shots, compiled them in Photoshop, added shadows for depth, and then chose a colored background. C2: From beginning to end, how long does one image take you? JH: The time to put together a single image was subject to the complexity of the foods. The hot dog for instance only took about 30minutes to shoot, while the banana split took almost two hours. Once everything was shot and the best angles were chosen, I had to mask everything out of the background in Photoshop and then compile them. This was the most pain staking part
of the process and took between 2 and 3 hours per image. Choosing a color for the background took roughly 30 minutes of trying out different color shades with each item. In all, the process took roughly 4 to 5 hours per image. C2: Overall, how many hours do you think you spent on this series? JH: I worked on the series as a whole over a 3-week period, and there are 15 images in the series. On the low end I would estimate 60+ hours of work went into the creation of the series. C2: What were some of your difficulties with the technical aspect of this series? JH: The most difficult part of this process was styling the food. Each ingredient needed to be stylized in a slightly different way. Not to mention, I had to prepare and cook the foods first. C2: What did you most enjoy about working on the project? JH: The most enjoyable part about this project is the outcome. It’s really rewarding that people can see and appreciate the work I put into the series, and it’s interesting to see their reactions towards the series. C2: What sorts of things do you like experimenting with in your work? JH: I really like experimenting with light, and how that can alter the reality of a photo. With the food series, I used a specific light setup in order to achieve a plastic, shiny look to the ingredients. C2: How are you continuing to grow and learn as an artist? JH: School is the perfect time to experiment with whatever comes to mind. I try not to focus too hard on photographing a specific subject matter or on a certain genre of photos. Instead, I photograph whatever I am interested in and can be passionate about, whether it’s fashion one week or food the next. This allows me to try different things and grow as I experience new challenges. C2: As an artist, what sort of things do you like to do to get your mind out of a creative slump? JH: “Creative slumps” are inevitable for any artist or student. To help my imagination running I look at a ton of blogs, read artist statements, and Google random words. Possibly the best way to get out of a slump though, is to revisit concepts I attempted in the past and apply newly learned
“BE PASSIONATE ABOUT YOUR WORK AND DISPLAY WORK YOU ARE PROUD OF AND CAN BE CONFIDENT ABOUT IT.”
knowledge and skills to make it better and more interesting. I also keep a journal with me almost all the time, so I can jot down idea when they come to me. Recently, you had this body of work featured in a gallery on February 2nd. What gallery was it held at and how did you get your work featured there? JH: I was asked to exhibit the series at the studio of Sarah Whiting in the Northrup King Building for their monthly event called First Thursdays. C2: How was the outcome of the show? JH: Having a public gallery show was an awesome experience. It was great to go through the process that is making an exhibit and to see others enjoying my work. C2: Was it what you expected it be, and how did it differ from your expectations? JH: It was more than I expected it to be in every way. It was much more work than I expected, but the outcome was better than expected as well. C2: Is there any way for other Ai students to feature their work there be it photography or otherwise? JH: I was asked to be a guest artist for the event and can’t speak to the possibility of others showing their work in that particular space. C2: What advice would you give to other artists who are looking to feature their art in a gallery? JH: Be passionate about your work and display work you are proud of and can be confident about. C2: Do you have any ideas in mind for the future? What would you like to do once you graduate? JH: After graduation I hope to return to Minneapolis and start assisting in the commercial industry, and work towards becoming a full time freelance photographer.
tiger ( AB OVE) amanda scholzen graphic design bs This is my favorite of the digital collages. It is one of the practice collages, the texture heavy one.
Dua l Hoa gies ( LEFT) Marc Nellessen Media Arts & Animation (BS) Pepperoni nipples.
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B ooGEyMa N Ben lodGe Media arts & aniMation (Bs) The monster that haunts a little girls closet. Created with Maya, ZBrush, and Photoshop.
ThE NEW, REvISEd aI MISSIoN STaTEMENT t H e a r t in s titutes in ter n a tional Minnes ot a PrePares s t udent s t Hro u GH Qu a l i ty c o l l eG ia te Pr oG r a M s i n t He des iGn, Media, aPPl ied ManaGeMent an d c ul in a r y a r ts to Pur sue a career in a Gl oBal environMent .
vISIoN The Art Institutes International Minnesota will be a recognized leader in higher learning, responding to evolving industry and community needs.
valuES t He a r t institutes i nt ernat ional Minnes ot a is a c r ea tiv e lea r n inG coMMunit y t Hat val ues :
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Integrity, in how we act and what we do.
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Innovation and creativity, by fostering new ideas through teaching and learning.
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Diversity, by appreciating and valuing each other’s needs and abilities.
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Quality, through assessment and improvement, which leads to the success of our graduates.
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Life-long learning, with a passion for continued inquiry.
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Social and civic responsibility, by being mindful of others, our communities and our world in all that we do.
Fi lm Noir 201 0 ( a bove) J enelle W olny Photography (BFA) Thanks to Rich Ryan’s Location class, I mastered my own version of film noir. Fi lm noir ( Lef t) jenelle wolney Photography (BFA) Thanks to Rich Ryan’s Location class, I mastered my own version of film noir.
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F ath er ’s On l y D a u ghter (prev i o u s l e f t p a ge) Kayla Russeau Interior Design (BS) I wrote this haiku in English I as part of a chapbook exercise.
The world ch
A father holds
Hazel eyes shif
hanges color
ds his daughter
ift like leaves
H o use ( bel o w ) Angela Baggett Photography This photograph was taken with a 4x5 Toyo view camera in Shakopee, Minnesota. This was part of an architecture project. I chose to shoot architecture that is abandoned and forgotten. I was interested in conveying the array of textures and the sense of a hidden past life of the architecture.
St aff C h e l se a H a mmerbe ck - Editor in chie f & L ayo u t a ssista nt Graphic design bs A d am v a l l e y - b u siness manager & L ayo u t a ssista nt Graphic design bs K ate E nge l m a nn- M anaging Edito r & S t af f p h o t o gr a pher Photography (?) E ri c W I n k e l m a nn - lay o u t edito r Graphic design bs S av anna E l m q u ist - co ntribu to r Graphic design bs
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