The Current Spring 2021

CURRENT Exploring Creativity

Contents 04

06

08

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Creative Spaces

Student Filmmakers

Synesthesia

7,350 Letters and Counting

Therapy Through Art

Psychology of Creativity

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18

20

22

24

Empty Bowl

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28

30

31

Left Brain Vs. Right Brain

Visual Effects

Bailie Myers Interview

Artists Interviews

Letter from the Editor

Composing Music

Austin Ulen Interview

Meet the Staff

s e c a p e S v i t a e r C

By Lexi Smith

or many creative people, the greatest challenge is finding inspiration. Travel, time alone and choosing the ideal work space are some of the many ways Amarillo College students and faculty said they discover their creative spark. Many students said they get inspiration from others.

“Watching other people perform gets me worked up to see their techniques,” Jordan Bohannon, a theatre major, said.

Taevy Nammathao, a psychology major, also draws inspiration from other people. “I would say what inspires me the most are my friends and just the relationships that I have with people. I see what makes others happy and what affects them the most and that really changes the way I do things,” Nammathao said.

Others turn to nature for inspiration. “I have found that with the technical age that we live in, just sitting in nature — that this is actually God’s beauty; animals, trees, colors, everything — I love to sit in it and find that inspiration to draw what I love,” Lilly Keesee, an art major, said.

Dreams, especially those with recurring or puzzling themes or images, offer inspiration for Stephanie Jung, an art professor. She also said good conversation and exchanging ideas boosts her creative spark. Jung said she uses specific drawing exercises that inspire her. “Just starting with random marks and then trying to figure out what they want to become,” she said. For some people, being in the right place boosts creativity.

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Nammathao said her favorite creative space is her car. “It’s the only place I really have where I can be alone without anyone bothering me and I can sing as loud as I want,” she said.

Raygan Lopez, a mass media major, has a special corner of her room where she goes for inspiration. “My creative space is something I hold very close to me. I’m a writer so it’s very important that I have a place where I can sit and flow. A place that is filled with peace, a place where I remain unbothered, a place where I’m always comfortable. My creative space is filled with natural light and personal paintings from my friends.”

Steve Cost, an art professor, said he finds inspiration through travel. “Five years ago, I took a trip to France. Now that I know what the scenery looks like, smells like and even what the food tastes like, I am able to accurately create a painting that will embody the true feeling of being there,” Cost said.

Waiting for inspiration can be challenging.

Rene`West, a photography professor, said her approach is “showing up regardless of whether I’m inspired or not and trusting the muse.” For Jung, sometimes necessity is the best way to find that creative spark. “Also inspiring: a looming deadline,” she said with a laugh.

Arine Garin, a nursing major and videographer, agreed saying, “I am inspired by a deadline. As the day gets closer, I find the tiny coincidences make sense and find inspiration from it. From another day at the park or seeing someone sip their coffee, as the deadline nears I find it heightens my sense of creativity.”

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Illustration by Eden Roberts

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s e h t s e n Sy

By Sidney West

W

hat color is the letter “A”? What do you taste when you listen to jazz music?

For some people, these questions don’t seem crazy. Instead, they reflect the normal daily experiences of people with synesthesia.

Synesthesia is a neurological phenomenon where information meant to stimulate one of the senses triggers other senses as well. For example, someone who experiences this condition may touch the surface of a page from a newspaper and see the color gray, or to them, the smell of a flower would sound like a low hum. There are also people who associate things with distinct sensations. A synesthetic person could feel the letter “B” is the color red.

According to “Psychology Today,” approximately 3 to 5% of the population has some form of synesthesia. Research also shows that synesthetes tend to have more vivid mental imagery than non-synesthetes. Aaron Jet, an Amarillo College art major, said he has had prior experiences with synesthesia, but finds the condition difficult to explain.

“Clapping is a really specific sound I guess.

Clapping is yellow, and the sound of coughing has always been blood red,” he said. Jet said he has a visual reaction to hearing music. “Almost every time I hear any song I see pictures and images in my head as well as movement and all

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types of colors that always fit the vibe of the song. It’s like I can see the emotion in the music and whatever the artist is putting into it. I can have a classical song and a rap song and experience the same type of energy,” Jett said.

Steve Cost, an AC art professor, is a synesthete and member of the Synesthesia Association. For the past 25 years he has been aware of this condition and has used it to drive his abstract work. Painting to music, he allows the songs to influence his use of colors and shapes.

In his piece “Dreamsville,” a painting inspired by the song of the same name, Cost said he added various hues to reflect the piano keys being played. Viewing this piece while listening to the song that inspired it reveals similarities between the music and the image. The song itself is calm and quiet with piano playing sprinkled throughout, much like the blotches of color on the canvas with vast sections of gray surrounding them.

Most synesthetes say they are born with the condition or develop it during early childhood, according to “Psychology Today.” While it is not believed that synesthesia is something people can learn to experience, Cost encourages his students to try to paint with this perspective in mind. In Cost’s painting class, students work on abstract paintings while

trying to let their senses intertwine. Each of their pieces has a mood that reflects the music they were listening to while painting, which was primarily jazz and hip-hop.

Synesthesia is not always a positive experience though. It can make people's lives more difficult, as Marc-Jacques Mächler, a biologist, explains in his synesthesia blog, Synesthesia.com. Some people associate stimuli with unpleasant sounds or imagery. Some closely connect letters and numbers with colors. This is known as grapheme synesthesia. They can feel confused as colors and noises that are commonly associated with one thing can be associated with something else to them. If they see text written in the wrong color, it can be bothersome and confusing. There are even people who, when witnessing someone else being touched or hurt, can feel it in the same spot on their body.

This is known as mirror touch and mirror pain synesthesia respectively, Mächler said.

Cost said the synesthesia experience is different for everyone and is generally something most people enjoy having. “It’s essentially a sensory crossover. People who are particularly sensitive find themselves looking at images and smelling odors or experiencing tastes. They may read a word that comes up as a color in their mind. It’s all quite strange, ” Cost said.

sia “Clapping is a really specific sound I guess. Clapping is yellow, and the sound of coughing has always been blood red.”

“Dreamsville” by Steve Cost

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Therapy Throu

By Alejandra Garcia and Taylor Burton

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nxiety, trauma and pain have been a source of creative expression for artists over the centuries. Using art as a form of therapy has been considered effective by both teachers and doctors alike. “It’s kind of a transfer of energy,” Matt McUne, an Amarillo College art instructor, said. “When you’re feeling emotional or physical pain, there’s time spent keeping yourself together and keeping in control. It takes a certain amount of energy for you to take and create something, and essentially ignoring the pain or trauma by redirecting it to the act of creating.”

McUne explained that being creative sends signals back and forth to both sides of the brain as a form of exercise. Overall, this activity improves the brain’s ability to handle struggles. He said the best way to handle tough emotions is to engage in creative activity. The pandemic is an example of why this is important.

“Being able to create during this time has been an outlet that keeps one focused on something other than the current events,” McUne said. “It makes it easier to handle anxiety, mostly because it strengthens the mechanism to deal with anxiety and trauma. It builds up your mental muscles.” It is common for artists to express their emotions with art, and McUne said that creativity may be the way artists can describe what they can’t put into words.

Many artists use their work to express their feelings. “My paintings are very emotional,” Josh Hogge, a professional artist, sculptor and painter, said. “It’s easier to make art based on trauma because it’s a strong feeling.” Hogge described artists as generally emotional. “It is a way to express yourself without having to go through the pain, without having to speak it. You see it pop up in their work.” “Throughout the ages, artists have expressed their inner issues through their creations.” Hogge said.

“There are many artists who have used their art as a way to work with difficult mental and emotional states. The ones mentioned most often are Vincent van Gogh, Edvard Munch, and Frida Kahlo, but there are many others.” Stephanie Jung, an art instrutor at Amarillo College, said.

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“I remember when British conceptual artist Tracey Emin’s “My Bed” was one of the finalists for the Turner Prize from the Tate Museum in 1999, and how controversial that was. The work was an installation of her actual bed, covered in trash and personal effects. She had gone through a period of staying in bed for four days during a suicidal depression, and “My Bed” was a way of both expressing and inviting the viewer to contemplate that, or maybe relate to a really difficult time in their own lives. But it was also criticised from a technical/craft perspective.

To be honest, I know a few artists who probably wouldn’t like it if they were asked if their work was ‘therapy,’ in part for this reason — it seems to somehow make their skills as an artist less important.

Therapy is about healing, and the therapeutic value of art is in part about the questions you’re asking yourself as both artist and viewer and looking at art through that lens shifts the focus from the product to the process, and to the action and experience of making things. It’s not mostly about ‘is it skillful?’ but ‘is it soulful?’ (the best stuff is both!)

One of my favorite books is “The Reenchantment of Art” by Suzi Gablik, and she says we missed the boat when we decided art was about pretty or expensive objects, mostly owned by rich people that art was always about something more. One of the artists she writes about is Mierle Laderman Ukeles, who has worked with sanitation crews in New York City since 1978.

One of her projects was called “Touch Sanitation,” in which she went to every sanitation worker in NYC and shook their hand, and said, ‘thank you for helping to keep this city alive.’ Some of the workers even cried, because being called a ‘garbage man‘ had meant some people had seen them as inferior, and ‘untouchable.’ So the therapeutic value of that project wasn’t just about the artist - she was healing others too.” said Jung. “Art really can be a door through which transformation and magic can enter the world.”

gh Art “Art really can be a door through which transformation and magic can enter the world.”

g n u J e i S tephan Photo by Taylor Burton

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s r e k a m m l i F t n e d u t S

By Daniel Pineda or a filmmaker, being creative and having a team of dedicated people can be one of the most helpful tools when having little to no budget. Being able to build up a network of people is key according to Devenie Graham, chief creative officer at Sharpened Iron Studios.

“My recommendation is when you work with an ultra-low budget, don’t be afraid to go out and ask people and tell them what you’re doing. Most of the time, people who want to help you, have a passion for art and really want to do it,” said Graham.

CJ Scott, a mass media major and student filmmaker, knows this firsthand. When working on one of her student films, “A Family Affair,” which is a mini horror film about a woman who seeks revenge on her sister, the cast and crew consisted of about six people who were all willing to help her finish the project.

“The cast and crew stuck around with me to make an amateur short film until 5:30 a.m.

No complaints.” Scott said. They really inspired me that night. They ran down hallways, soaked their clothes in blood and stuck around for every ‘Let’s shoot that one more time.’ Experiencing that kind of energy makes me emotional just thinking about it,” She said.

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AC Digital Content Specialist Bryan Arvello, who helped with videography on Scott’s film, said creativity can make up for the lack of people and expensive equipment.

He said once he filmed a scene while being pushed in a wheelchair because they didn’t have a dolly. “It was all just handmade stuff and the outcome still looked pretty clean,” Arvello said.

Arvello also explained that even when working with low budget cameras, footage can be manipulated in post-production with video editing software, such as Adobe Premiere Pro. Moreover, Graham said that knowing and understanding these certain film techniques can help improve a film’s quality. “Camera angles, what each camera angle means, like a Dutch angle and how it can really strengthen a person's stature and make them seem powerful, versus the height awareness of making someone feel inferior. So I would say just make sure in each and everything you do, you do your research,” she said.

Graham added that technical details make a huge difference in the final product. “My big thing is lighting. Lighting is

huge when it comes to film. Then also sound. Make sure your sound is of quality and those two things can help the way film works,” Graham said.

In one scene of her film “A Family Affair,” Scott used flashing red lights. “I came up with that only a few hours before shooting. I was so stressed trying to make everything perfect to my vision that I became obsessed. And stopped focusing on having fun with it. I took it too seriously.

Turns out, everyone who has watched ‘A Family Affair’' said their favorite part was that one scene,” Scott said.

So far, Scott has made two short films, “A Family Affair” and “Hope,” which is about domestic violence and a woman leaving her situation for the safety of her unborn child. Scott plans to eventually make a full-length feature film.

“I don't think there will ever come a time where I stop making films. Once you start getting a taste of what you've always wanted, even something as small as a low budget short film, you crave more. I am currently finishing writing three short films I hope to make soon. I am itching to make something again,” Scott said.

Illustration by Eden Roberts

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LETTERS

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COUNTING

An interview with Type Aficionado Derek Weathersbee

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By Taylor Burton

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Derek Weathersbee is a designer, instructor at Amarillo college and most passionately, a typographer. His fonts have been used all over the world, from Taco Bell to the NFL. During this interview, Weathersbee elaborated on his type designing endeavors and creative processes.

Q: When did you first gain interest in the idea of designing fonts?

A: “After moving back to Amarillo in 2009, I was working remotely for a company called El Creative. As long as I got my work done I could work on what I wanted to. One project required a particular type of font and I couldn't find one like it so I started modifying the letters of something close. The thought came to me: ‘I wonder if I could make a font.’ I started searching and found some really cheap font software, and I just made it! I did it in a week or so, which for somebody who's never made a font before, and has no one telling them what to do, was actually kinda crazy. I think the fact that I was able to produce something that quickly without having any formal training got me really pumped about it. And I felt like I could produce professional work, but I didn't realize exactly what that meant. That first one that I made was soon visible everywhere and was used in movies, sports brands, beer packaging, hospitals and (holy crap!) the Browns’ end-zones. That surprised me. And I thought, if I can make work that is so well liked and useful with zero experience, then if I spend some real time on it I could actually make some really good work.”

Q: When designing a new font, where do you usually find your inspiration?

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A: “Generally speaking, it’s not really so much inspiration for fonts; it's more often the result of me working on a project, and trying to abide by some principles that I teach in design. If I make a logotype, I do, and advise other people to, at least customize it a bit so you're not just using Helvetica and the name for a logo. But more often I draw letters unique to that logo. When I’m making custom type for that logo, if I start to see other letters in those, or begin to see the DNA for a font, I just start compulsively making more letters to the point where I’m like, ‘Oh crap, I need to make this into a font.’ So most often I’ve been working on some custom type for a logo or project and I’ve gotten enough letters down that I get carried away and make all the letters for a new font.”

Q: Have you designed any fonts that have bigger meaning behind them?

A: “There’s a font I designed called Escape that doesn’t have any specific meaning but does speak to one huge part of my life. I didn’t seek to endow it with any sort of meaning, but it all kind of worked out in a way that it does have some meaning. I was really unhappy one day (I have severe anxiety and bouts of depression), and I was not so pleasant or friendly at home with my family, so I had to force myself to work on something; when I’m down, those things that people say to do, like play an instrument or do something fun, do not sound appealing to me. But I forced myself to do it, and I made it really fast. I made it in one day, it ended up making me feel better and I ended up being able to chill out and relax a little bit. I felt like the name Escape suited it really well. It got me outside of that really dark place I was in at the time. That's the emotional rollercoaster that is behind that font.

Another one that has a lot of meaning to me is a font called Excavate. It’s based on a book that I got from a guy named Chris Perez, one of my best friends. Chris was in a tough part of his life at the time that he found this book, I believe, in some bargain big. He gave me the book when I saw the interesting type on the cover.

The font Excavate was based on the hand-drawn type from that 1960s paperback. Chris and I used to talk hours after work about design and life, because we are both so passionate about our creative lives. Our discussions always go below the surface, and talking about a logo design leads to deep discussions about life, meaning and purpose. So that, and the fact that I can see a through line from Chris to much of my work, gives the font a lot of meaning that its design doesn't necessarily afford it. Its name addresses its form, but also is really about depth.”

Q: What would you tell someone who is interested in type design or making their own fonts? And if you could give any advice to today's art majors, what would it be?

A: “If you have any favorite fonts, or find yourself gravitating toward any specific types, take a closer look at them and see what similarities you find in them. Look up the story of the font — who built it, what it was made

for, when it was made — and it might reveal things about yourself you didn't know. You might find that you enjoy type that is very modular, for example, which has shown itself (to me) to reveal a person who likes tinkering and deconstructing things in life.

Read the bios of type designers whose work you respect. You will probably find similarities in how you think. Send them a thoughtful and respectful message. Most type designers are passionate enough about what they do that they will squeeze in the time to answer questions from a young person who appreciates the craft.

To art majors, there are three major things you need to know: first, understand that creating art for a living, not just as a hobby, is hard, blue-collar work if you do it well. Second, to be a professional creative, you need to be well-rounded and resourceful. Read books. History, fiction, news. Have a life outside of art — music, sports, electronics — that keep you grounded. This makes you a more interesting person, and leads to more interesting work. Third, get in the habit of figuring out how to do the things you don't know on your own. Only after you've tried to find what you need yourself, should you ask someone else.”

Q: What is the best design advice you've ever been given?

A: “If it looks right, it's right. This really starts to become more applicable after you understand fundamentals. But there comes a point where there is either not a right answer, or the perfectly aligned layout doesn't feel right.

Go with what looks right.”

Q: What part of your creative process do you enjoy the most and why?

A: “I've always dismissed the idea of the ‘Aha!’ moment...it is always a process. But there is a phase of a project — occasionally a moment — when you figure out what it is you've been trying to do. This is exciting. You explode with progress and creation, because you've found your theme, you've nailed down the DNA of a typeface, you realize what you want to write about. The best example in my work is the first hour after I decide I've got a font developing. I usually knock out a majority of the work during really small and productive windows.”

“Only after you've tried to find what you need yourself, should you ask someone else.” e e b s r e th a e W k e Der 13

The Psychology of Creativity

By Summer Tessneer he thing that makes life so endurable is that it can be reinvented by the individuals who experience it. With creativity in their arsenal, they examine everyday situations from entirely new perspectives, improving upon the culture and quality of people’s lives.

Experts say that before someone can access their full potential for creativity, they must be encouraged to indulge in it. “When I teach drawing, the first skill I try to communicate is close observation, and I think that's the breakthrough skill of creativity,” Stephanie Jung, an Amarillo College art professor, said.

Taylor Burton, a graphic design major, said that Jung’s drawing 2 class has helped her explore her creative ability. “This class and Stephanie Jung are great at helping me tap into my creativity,” Burton said. “I’m introduced to new techniques, new mediums and thoughtful prompts. So far, I’ve really enjoyed the pareidolia project. This is where we start with a layer of something light like watercolor, add layers or use different mediums on top, and let the piece tell us what it’s going to be, based on what we see.”

In this class, students are responsible for cultivating their own ideas and allowed to make whatever they like. “I’ve grown in my creativity by being able to explore new materials, use the outdoors as inspiration, and be

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more imaginative with our assignments,” Burton said. “It hasn’t been just a ‘draw what’s in front of you’ class, but more of ‘choose what you feel like drawing’ class. And that helps me to be more creative as a whole.”

Dr. Deborah Harding, a psychology professor, said creatives have a willingness to struggle and stretch themselves, to think and imagine without limitations. This produces captivating ideas. “The biggest thing that a creative person has is they aren't afraid to fail,” she said. “Creative people are okay with making mistakes, with screwing up, with trying something new. They have the ability to think outside the box. They don't automatically reach for the easy thing. They will struggle with a problem and think of other ways to solve it than the most obvious thing.”

According to Alan Kee, a psychology professor, the essence of creativity is original, valuable ideas. Before these ideas can manifest, one must nurture their creativity. “A certain level of aptitude is necessary for creativity. It correlates somewhat with intelligence. In order to be creative, you need to have a foundational knowledge base. You have to have something there to work with. For example, an artist can be more creative once he or she has mastered the fundamentals of art,” he said.

Creative people need a healthy balance of the right atmosphere and stimulus to better their ability. “Creative people are interested and

motivated by the work itself and not so much by the extrinsic motivators. They also tend to have an environment of support and challenge by the people around them. They are mentored, challenged and supported,” he said.

Jung noted that creativity is often related to intelligence. “The most intelligent people I know are creatives. Creativity is also about looking for patterns. Something that I've noticed about my artist friends is that they are much more aware of patterns in society, patterns of behavior, and where things seem out of place,” Jung said.

“Also, it's important to remember there are multiple definitions of intelligence. Our education systems emphasize certain types above others. Tests and ‘assessments’ often have difficulty eliciting or tracking creative responses, and whenever we are ‘trained’ to respond by rote, creativity will suffer.”

Jung cautioned against making generalizations about creative people. Nevertheless, she said she sees common traits that most creatives have. “I know creatives that are very shy and reticent, and others that are bold and audacious, or both, depending on the day, but creative people tend to be obsessively observant, and see things other people miss. They think about things other people tend to pass over,” she said. Both psychologists and artists agree that creativity is like a plant.

When given enough water, sunlight and room to grow, it can evolve into something amazing.

“The biggest thing that a creative person has is they aren’t afraid to fail.”

g in d ar H ah or eb D r.

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Artwork by Stephanie Jung

Photo by Taylor Burton

Photo by Taylor Burton

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n i a r b t f le

By Eden Roberts

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re you a right brain or a left brain thinker? Do you think more logically and analytical like the left side of the brain?

Or do you tend to be more creative and abstract like the right side of the brain? “According to the theory of left brain or right brain dominance, each side of the brain controls different types of thinking and people are said to prefer one type of thinking over the other,” Kendra Cherry, an author and psychologist, said.

“For example, the theory suggests that the left side of the brain is considered to be adept at tasks that involve logic, language and analytical thinking. The left brain is described as being better at numbers, reasoning, critical thinking and overall intellectual abilities. The theory also suggests

“Language tends to be on the left, attention more on the right. But people do not tend to have a stronger left or right sided brain network.”

n o s r e d n A ff e Dr. J

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that the right side of the brain is best at expressive and creative tasks. Some of the abilities popularly associated with the right side of the brain include recognizing faces, expressing and reading emotions, creating music, appreciating color, using imagination and being intuitive,” Cherry said.

Many neuroscientists, however, are skeptical of this idea and claim that there isn’t enough evidence to support it. They say, instead of being left or right brain dominant, you’re probably neither. Dr. Jeff Anderson, an assistant professor at the University of Utah, said, “It’s absolutely true that some brain functions occur in one or the other side of the brain.

Language tends to be on the left, attention more on the right. But people do not tend to have a stronger left or right sided brain network."

Carl Zimmer, a science writer, agreed, saying, “The left hemisphere specializes in picking out the sounds that form words and working out the syntax of the phrase, for example, but it does not have a monopoly on language processing. The right hemisphere is more sensitive to the emotional features of language, tuning in to the slow rhythms of speech that carry intonation and stress.”

The right brain versus left brain theory doesn’t capture how intimate and detailed the different hemispheres are and how the two communicate with each other in order to work for both creative and analytic tasks alike.

n i a t r h b g ri e r o M n r a e L

According to Dina A. Lienhard, in her article from Arizona State University, during the 1950 and 60s, Roger W. Sperry studied the severing of the corpus callosum, a large structure that connects the two hemispheres of the brain, in patients who were treated for epilepsy. At the time, he knew that each hemisphere of the brain is responsible for the movement and vision on the opposite side of the body, so the right hemisphere was responsible for the left eye and vice versa.

Sperry designed an experiment in which he showed the patients one object to their right eye and another to their left eye. He asked them to draw what they saw using their left hand while closing their eyes. All the participants drew the object they saw with their left eye, controlled by the right side of the brain and described what they saw with their right eye, controlled by the left side of their brain. That supported Sperry´s hypothesis that the hemispheres functioned separately as two different brains and did not

acknowledge the existence of the other, as the description of the object did not match the drawing.

Next, Sperry divided a white screen with a dot in the middle to split the fields of view for the patients. He showed them a word on one side of the dot and asked them to tell him what they saw. When they saw the word with their right eye, they analyzed it and were able to say what they were seeing; however, if they saw it with their left eye, they couldn’t remember what the word was. Sperry concluded that the left side of the brain could recognize and articulate language while the right side had some language recognition ability, but no speech articulation, which meant that the right hemisphere could recognize or read a word, but it couldn’t pronounce it, so that person wouldn't be able to say it or know what it was.

Roger Sperry received the 1981 Nobel Prize for his splitbrain research. Many researchers repeated his experiments to study the split-brain patterns and lateralization of function.

Illustration by Taylor Burton and Eden Roberts

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s o g e  a G Tyla “Your skills will only grow if you continue to exercise them. ”

Interview by Taylor Burton Tyla Gallegos, a web designer in Waynesboro, Virginia, is an Amarillo College graduate with a big story to tell. In this interview, Gallegos elaborates on her time as an artist at Amarillo College.

Q: What year did you graduate from Amarillo College with your art degree?

A: “I technically graduated in 2013 with a general studies degree. I did not finish with the graphic design program because I wanted to pursue a bachelor’s degree so I transferred a year before I was done with my degree.”

Q: What did you major in at Amarillo College?

A: “I had two majors before transferring as they weren’t offered together at the time: web graphic design and print graphic design.”

Q: Did you continue at a university?

A: “I transferred to Texas State University where I got my bachelor’s of art in communication design.”

Q: What is the best thing you remember getting out of your time at Amarillo College?

A: “I was heavily involved in the design club and art club, which I enjoyed being a part of. I also enjoyed the environment of the classroom. My classmates were encouraging and we helped each other out during projects by providing feedback and helpful tips on the programs used to create the projects.”

Q: How did your time at Amarillo College help you develop a greater passion for art?

A: “AC did help me create a greater passion for art through the required classes such as drawing, 2D, art direction and web design to name a few of my favorites. Those classes enhanced our skills and allowed us to practice to increase our work.”

Q: Is your current art career what you thought it would be when you went to AC? A: “My art career is definitely not what I thought it would be when I was at AC. I thought I wanted to go into publication and book design, but I found a love for UI/UX and web design when I went to Texas State.”

Q: If you had any advice for today's art majors, what would it be?

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Courtesy Photo

A: “My advice for other art majors would be to always practice your craft whether in the job or on your own time. Always continue to learn new things and take online courses when you can.

Your skills will only grow if you continue to exercise them. Also, take notes of the things happening around you. Inspiration comes in many forms so pay attention to what’s happening in marketing, social platforms and businesses, local and corporate.”

n o t r u B k c Bro

Interview by Taylor Burton

“Remember where you came from, and help those behind you in succeeding.”

Brock Burton, an Amarillo College graduate, is now earning his master’s of fine arts at the University of North Carolina. Originally wanting to be a theatre teacher, Burton claims that AC changed his path and helped him find a new passion. In this interview, Burton elaborates on his time at Amarillo College, and shares some advice to those following in his footsteps.

Q: What year did you graduate from Amarillo College with your art degree, and what was your major?

A: “I graduated in December 2017, and I was a theatre major, specializing in design.”

Q: Did you continue at a university?

A: “I went on to WT. I graduated with a bachelor of arts degree in theatre design/tech. I am now studying for my master’s of fine arts at UNC Chapel Hill. I am studying technical production and working for playmakers repertory theatre.”

Q: What is the best thing you remember getting out of your time at Amarillo College?

A: “The best thing I had from AC was my instructors, Monty Downs and Ray Newburg. They have continued to support me and be references since I graduated. They passed down knowledge and tools beyond the curriculum.”

Q: How did your time at Amarillo College help you develop a greater passion for art?

A: “My time at AC guided me on a whole new path. I was going to become a high school theatre teacher, but after I started designing it became a new passion, which then transferred to my now career choice of being a technical director. The passion for art has remained through this whole process but just shifted the looking glass to what that art is.”

Q: Is your current art career what you thought it would be when you went to AC? A: “Where I’m at now is something I had not even thought about while at AC. I was going to teach and never leave Texas and that was it. Now I’m in a whole other state doing something I had no clue was a profession before I started AC.” Q: If you had any advice for today's art majors, what would it be?

Photo by Taylor Burton

A: “For today's theatre majors I say keep your ears open when around your professors. They are constantly giving advice to you or others and soak it all in. Start summer jobs now if you can.

They are more important than I thought in building a resume. Stay humble. The theatre world is small. You will run into the same people again and again. Don’t burn those bridges.

Remember where you came from. And help those behind you in succeeding. Go out, break a leg and change lives.”

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Composing Composing

MUSIC MUSIC A

story from the soul

By Raygan Lopez | Photo by Taylor Burton Thomas Bales sits down at his computer with a melody in his head. Using digital software, the recent Amarillo College music graduate transforms the notes and rhythms he imagines into a piece of music.

He composes something from nothing, using only his computer and the power of creativity. Bales turns to technology to help him create music.

“Probably most important is the Digital Audio Workstation or DAW. It’s a program that can generate, edit and compile audio,” he said.“After writing out the sheet music to a new piece, I’ll use my DAW to record audio on any instrumental parts. I can use it to edit and fix most mistakes if there are any, and I can load virtual instruments to play instruments I may not have access to, such as synthesizers and string instruments,” Bales said.

Homero Campos, the AC music lab supervisor, is also a composer. He said the process of creating music differs from person to person. “Concept to realization is unique to each individual.” Compos said.

“It may begin with a simple melody or a combination of melodies and harmony.

Some composers are well versed in music theory while others compose without it.

It mainly depends on the composers’

influence and their interpretation of it. It’s a very personal experience,” he said.

Campos noted that composing music requires time and commitment. “Composing is work and it requires patience, diligence and consistency. To be open-minded to different ideas and realize that it does require work.” Campos encourages prospective composers to learn everything they can while at AC. “You have to imprison yourself in order to be free. It sounds contradictory but the more that you know, the more freedom you will have,” Compos said.

Grant Fithen, a music major, said he agrees that learning to compose begins with a solid music education. “You must first learn music theory, an instrument, different styles, techniques, how to notate, how to use technology and how to structure a song,” he said. “A good composer can use anything to compose.

Just being creative and willing to try different ideas is how composers make it a realization. Being able to smoothly compose ideas in your head takes time and lots of practice,” Compos said.

In the end, Fithen said, composers do far more than string together notes and melodies – they create a piece of music that tells a story from the composer’s soul.

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Amario Coege S tudents S trive to Create Impo ible Worlds

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By Alyssa Fant & Caylee Hanna

A

marillo College students will soon have new ways to push their creative boundaries for the big screen and beyond. Two unique partnerships are bringing film and visual effects classes to the college beginning in fall of 2021.

VFX, or visual effects, is an image created, altered or enhanced for a film or other motion picture that cannot be accomplished during live-action shooting. It is a critical aspect of the movie and television-making process. Almost every movie and TV show uses VFX in some way. AC will work with David Shapiro, the owner of Semkhor Productions, a VFX production company, to offer online visual effects classes.

Shapiro said he is eager to share his knowledge of the industry with AC students.

“The visual effects industry has a long tradition of producing amazing and engaging visuals that parallel and enhance the history and production of film and television,” he said.

The college has also partnered with a local movie production studio called Sharpened Iron Studios, LLC to create the Amarillo College School of Cinematic Arts. This will be located at the former site of AC’s downtown campus.

Reagan Hales, the AC associate vice president for innovation and work-based learning, said she believes that this collaboration will benefit the community. “The college is stepping into a new role of leadership,” Hales said. “If we’re really going to lead from the front, we’ve got to think about what this ecosystem for our community is going to look like from the ground up, and across every atmosphere.”

The AC School of Cinematic Arts will offer associate of applied science degrees in motion picture production and film/media performance and certificates in screenwriting, motion picture production, broadcast/media performance and film performance. The VFX program will offer an associate of applied science degree and a certificate in visual effects.

“Momento Mori” Visual Effects Created by Elliot Waters

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r e g n u h g n i t h g i F e m i t a t a l w o b e on

By Ruth Martinez

W

ith enough creativity, a lump of clay can fight hunger. That’s the concept behind the Empty Bowl Project, a nationwide effort that enlists art students in using their creativity to raise funds to help those who experiencene food insecurity. For many years, Amarillo College ceramics students have participated in this project. Under the guidance of Dennis Olson, an AC art professor, they have used pottery wheels to make mugs and bowls.

Then, they have donated their artwork to be sold on campus to raise money for the college food pantry. “To give it away for a good cause is admirable,” Olson said.

Eric Van Marter, an art major, said that one year for the Empty Bowl Project the students made coffee cups. “We raised about $700, so they got to have a cup of coffee and they got to keep the cup,” he said. “It’s a great opportunity to raise money for the food bank, for the students in the ceramics program to make their own variation of soup cup or a soup mug,” Van Marter said. He noted that most of the cups sold from between $5 and $10 a piece.

Laurie Dellis, a ceramics student, said she has participated in the Empty Bowl project both at AC and throughout the state. “It’s very worthwhile and I’m glad to do it, because the organizations are needy,” Dellis said.

Olson said his students benefit from the project because they gain experience creating pieces and earn grades for their work. He also said the students grow from learning to donate their art. “Giving away a work of art can be hard,” Olson said. From a shapeless lump of clay to a solution to hunger, creativity offers solutions to many community problems. “It’s an honorable thing to do,” Olson said.

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“Giving away a work of art can be hard. It’s an honorable thing to do.”

Photo by Ruth Martinez

n o s l O s i Denn

25

n e l U n i t s u A Don’t Forget to Laugh

By Stormie Sanchez Whether he is telling jokes at a comedy show or pitching presentations to potential clients, Amarillo College graduate, Austin Ulen, commands whatever stage he is performing on.

However, that level of confidence didn’t come naturally for him. “When I was a kid, I was terrified of being up in front of a class,” Ulen said. “I wanted to be invisible.” Once he learned how to make people laugh, Ulen became addicted to performing. “It became a drug I couldn't get enough of. Laughter is the thing that can get us through anything,” he said. These skills have transferred to his professional life. “I can walk into any room, with anyone and know that I can handle myself. I've presented in meetings in front of multi-million-dollar companies.”

Ulen graduated from AC in the spring of 2017 with a degree in Mass Media. He currently works at Creative Cannon, an Amarillo-based advertising agency. Ulen says he uses lessons he has carried with him from his days wrestling for Randall High School; to more recent skills he developed as editor of “The Current” Magazine at AC. Those who know

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Ulen paint a portrait of an energetic punk rocker, always quick with a joke and an eye for graphic design.

Quintin Hanson has known Ulen for close to 15 years and said that despite their different backgrounds, the two have always gotten along. They met when they were both training to be professional wrestlers. The two have wrestled together, lived together and now both perform stand up comedy.

“The most surprising aspect of him these days would be his drive to finish something,” Hanson said. “Not that he was ever a slacker before, but he always started things and didn’t care if they got finished. Great intentions, with lackluster follow through,” he said.

“And also, his haircut has greatly improved. Bald is beautiful, he was rocking a chili bowl style middle part when I met him and it was terrible.”

Maddisun Fowler, student media coordinator and mass media instructor at AC met Ulen in 2012 at a Halloween party hosted by Hanson. Although Fowler and Ulen didn’t interact much at the party, she did remember his piercing blue eyes. In 2016, the two

met again when they joined a group to go on a trip to Minneapolis for a college media workshop. “Austin took away so much from that trip in terms of new skills to bring back to Amarillo College and it was so fun listening to him be excited about what he learned in his sessions,” she said.

She recalls that on the same trip, after discovering the life-changing tacos at Bar Luchador, where they bought matching T-shirts, that Ulen made them stop at a pizza place in case he got hungry later on that night. “He got a pizza and took it back to his room,” Fowler said.

“Then, the next morning, he wouldn’t stop talking about how much of a genius he was because he was able to reheat his pizza even though there wasn’t a microwave because he used the iron in his room. We still hear about it actually.”

Ulen described the workshop as life-changing. “It was provided to help them improve their lives. That's what AC is about: not just helping students get a piece of paper, but helping them become better people and to reach their full potential,” he said.

He credits his experiences as editor of “The Current” with enriching both his personal and professional life. “I learned how to adapt and overcome obstacles with a cool head,” Ulen said.

“When I took the position, I barely knew how to use InDesign. I diversified my skills in different types of Adobe software, learned how to better lead a team in a professional environment and it really pushed me to be better at following through,” he said.

Both Fowler and Hanson describe Ulen as a reliable friend and a good father. He has picked up many lessons along the way to where he is now, learning from all of his experiences and using them to grow in his profession. “Your comfort zone and your success zone are the exact same size, and they grow at the same rate, at the same time,” Ulen said. “In order to grow and become better, we must reach out and expand that comfort zone. You have to become comfortable with being uncomfortable. Balance is one of the most important things you can have in life.

Don't forget to take care of yourself and don't forget to laugh.”

“ Laughter is the thing that can get us through anything.”

Photo provided by

: Austin Ulen Courtesy Photo

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s r e y M e i l i Ba “I loved reading newspapers and magazines as a kid, but I never pictured myself as a journalist.”

o Courtesy Phot

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By Isaiah Flores Bailie Myers credits Amarillo College with helping her make the successful transition from a classroom to a newsroom. The AC Matney Mass Media Program graduate now works as a digital news producer for Amarillo television station KFDA, News Channel 10. “I loved reading newspapers and magazines as a kid, like “The New York Times” and “National Geographic,” but I never pictured myself as a journalist,” she said. Myers was home-schooled with no prior experience in media until she came to AC during the spring semester of 2012.

She was 16 years old when she enrolled at AC. Myers started college as a general studies major, but working for the student newspaper, “The Ranger,” put her on the path to a future in journalism. She said she owes her career choice to now retired AC instructor and Student Media adviser, Mike Haynes. “Mike Haynes changed my course in life when he asked me to join ‘The Ranger’ staff,” she said.

“I think her talents could be taken to a national level.”

i m K y n n e P

During her time at AC, Myers held several Student Media positions. “I was the editor-in-chief of ‘The Ranger’ and I held other positions there. I went on to be the magazine editor,” she said.

In 2015, Myers won the Texas Community College Journalism Association’s Journalist of the Year award, which led to a paid reporting internship at “The Corpus Christi Caller-Times.” Haynes said he first spotted Myers’ potential as a journalist in his beginning news writing class. “I saw that Bailie was a good writer and that she had an interest in news,” Haynes said. He taught Myers how to use her natural curiosity and writing ability to cover both hard news and feature stories. “She had potential for success,” Haynes said.

Myers said her AC degree gave her education, experience and networking opportunities. “I would say Amarillo College provided me with a lot of connections that I don’t think I would have had otherwise,” she said. Before

starting at News Channel 10, Myers worked as a social media director and coordinator for Circles Co. Collective in Amarillo and Dallas and as a content editor for UCI Digital in Amarillo. She then decided to return to journalism and the excitement of a newsroom.

Myers described her work at News Channel 10 as extremely fast-paced. “We’re always coming up with new innovative things to do, and it requires you to be very on the ball,” she said. “Being a digital news reporter and producer requires me to find ways to get our audience to engage with us online, and that’s a challenge, but I generally love anything that challenges me,” she said.

Myers said her daily work schedule requires a lot of multitasking.

“My job entails looking at the latest news, seeing what happened overnight through social media and also listening to breaking news on the police scanner and writing stories as they come in, '' she said.

Penny Kmitt, a multimedia journalist at the station, said Myers is a great addition to their news team. “Bailie is wonderful to work with,” Kmitt said. “I would say that she is someone that I think will go super far and I think her talents could be taken to a national level. She’s a very talented writer who understands her craft.”

Myers said her time as an AC student gave her the necessary resources to be able to excel her career path. “I think one of the best things I learned as a student was how to reach out to people.” She encourages other students to make the most of their time at AC. “This is a fantastic opportunity for you to make connections and push yourself so when you enter the workforce, you have some experience to help propel you to bigger and better things,” she said. “I attribute any success that I have to the people who invested in me and my education. They’re really responsible for where I am today.”

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DITO

ROM TH

ETTE 30

Over the past semester, “The Current” staff has worked together to create this magazine through thoughtful collaboration, careful decision making and creative problem solving. We have chosen colors, fonts, imagery and graphics to give the readers a creative insight into the artistic brains of Amarillo College. With the theme “exploring creativity,” we dig into the different worlds of art students, alumni and faculty at AC. We introduce success stories from those who started their creative lives at AC, and continue to cherish what they’ve learned here. We give some information about the brain and the part it plays in our creativity. We get a look into students' creative spaces and learn more about what inspires AC artists.

The creative process is important and unique to each person. In this semester's edition of the magazine, we wanted to emphasize the importance of the different types of creativity and what inspires people to do what they do best. “There is no doubt that creativity is the most important human resource of all. Without creativity, there would be no progress, and we would be forever repeating the same patterns.” —Edward De Bono We would like to take the time to thank our most important supporters, Jill Gibson, Maddisun Fowler and Derek Weathersbee. They encouraged us through all our big decisions, thought processes and modifications. Without their much appreciated feedback and knowledge of graphic design, typography and print media, this magazine would not be nearly what it is today. We would also like to thank Brady Hochstein and his team from Cenveo for advising the staff and working hard to publish this semester's edition. We thank the writers for giving our stories life and our readers for the incredible opportunity to create this new edition of “The Current.” Without the support of all of you, none of this would have been possible.

n o t r u B r o l y Ta

Meet the Staff

Co-Editors:

Taylor and Eden are both graphic design majors, co-editors of “The Current,” and most importantly, two peas in a pod. They met in Derek Weathersbee’s web design 1 class, spring 2020, and bonded over their shared love of design and typography. They plan to graduate from Amarillo College in December 2021, and then dive into the graphic design world. They enjoyed working together on this semesters edition of “The Current,” and will continue to use what they’ve learned at AC everyday.

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n o t r u B r o l y a T s t r e b o R n e Ed 31

S pring

2021 A STUDENT PRODUCED PUBLICATION “The Current” is an independent student publication. Material published in “The Current” does not necessarily reflect the views of Amarillo College administrators or employees.