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I made this magazine because your work inspires me. -Melissa


anm issue one 2009/10

FEATURES 9 Lauren Ellis (Cover)

40 David Sterchele

26 Ian DeShong

52 Lou Hoekstra

34 Brittany Bauman CATEGORIES


6 Illustration

12 Are We Different?

18 Graphic Design 32 Photography 44 Web 46 Animation 50 Fine Art


Bri Dumois

24 Internship Experience by Dale Abbott

52 The Stage Is Intangilbe,

Introducing Donald VanAuken

submit: the blog: group on facebook: cnm collective to purchase:

"The Steak" Representing basic needs, food, survival, prestige

"The cat" Male, opportunistic, lazy, basic survivor instincts. Use of 'nested doll principle' to convey the concept that a single thing, animal, or person changes its configuration to address a number of problems.




Bonified Truth, Allison Walker


Untitled, Lauren Ellis Following Pages Flowerchild, Lauren Ellis



Me and Frank, Bri Dumois


Bad Panda, Bri Dumois


Are We Different? In October, The Valley Museum hosted RACE: Are We So Different?, a traveling exhibit that talks about the origins of racism, the history and consequences of racial ideas through modern day, and how we can change things in the future. Many of our instructors at the Center for New Media assigned the exhibit for one project or another, and the response from students was amazing. One specific project stemming from the ideas of RACE that got some heads turning was Brianne Dumois’, Are We Different? an illustrated children’s book about racism. I asked Bri to take me into her brilliant creative world and describe her process throughout the semester. “Racism is something I feel very strongly about, I do not agree with treating someone different because of the way they look, or the color of their skin. I also believe that children are the one’s to target, to teach them different values than our parents were taught, because as they grow up, they are the ones who will change the world, and the perception of humanity, so it’s up to us, to teach them the right way.” Keeping this in mind, she wanted to create something that would help to spark the conversation about racism and what we can do to change/end it. She wanted to keep it somewhat neutral in terms of the visual subject matter. So she decided that animals would be the best way to illustrate the idea of racism as humans perceive it. During several brainstorm sessions in class, she came up with the idea to use giraffes (who just happen to be one of her favorite animals, remember the cover of ANM Issue One?!?) She thought rather than change their colors, she would simply change their patterns. After seemingly endless days of walking through the grassland,



Clyde spotted a small gr een h

um p

on the horizon.


He yelled back to his herd.

“I wrote my manuscript, then edited. I did some studies to figure out how to get a giraffe face to express human emotions. Much easier said, than done.” With the manuscript in hand, she went through and underlined key visual phrases and started doing some rough sketches to lay out the illustrations. Then she sketched, on plain computer paper with a mechanical pencil, all of the 23 different scenes and illustrations she wanted to incorporate in the book. During this process she often referred to her reference materials, and google as well. “I watched videos of giraffes doing all kinds of different things, so I could see how they moved, where they bent their joints and what it looked like. I also looked at more pictures, not necessarily saving them, but browsing quickly to get the look and feel into my imagination.” “Now comes the fun part! I brewed myself pots and pots of tea and coffee, turned on some old time radio shows (think Groucho Marx) and began the coloring process. I used the big set of Prismacolor Colored Pencils. Each illustration takes approximately 1-3 hours, depending on the complexity of the scenery and the number of giraffes in the picture. The scenes with 5+ giraffes and more than a few trees in the background take the longest. This was probably the most time consuming part of the process, the nature of colored pencils is such that, for an amount of depth or interest


there is lots of layering of colors, one color at a time.” After this, she scanned each colored illustration back into the computer, took them into Photoshop, and treated each one, enhancing colors, softening some parts to bring focus to others, saturating or desaturating colors depending on the ambiance of each scene. It was time to tackle the actual layout of the book. “I gathered my illustrations, my manuscript and my fonts and set to work. This also called for more tea and coffee, and some Groucho to keep my company.” Each page spread takes about 30-60 minutes or so to layout. Once the pages are layed out with the words and illustrations playing nice together, she took them into Photoshop once last time to apply texture. “I have several old paper type textures that I used lightly on each spread to create visual unity throughout the book.” The book is not quite finished, It will be done, printed and available for purchase in Spring of 2011. “For now, I plan on self-publishing on, so that I can have a few physical copies for myself and friends and family. Perhaps I’ll find a publisher to publish the book down the road.” Learn more about Bri and this project through her blog at

Flight, Sandi Wieleba Winner 2010 New Media Showcase 1st Place Illustration


Selt Portrait, Joan VanSickler


A Night, Anastacia Lam Winner 2010 New Media Showcase Honorable Mention - Illustration


Rooted In Earth, Jade Stevens


Graphic Design


"The Steak" Representing basic needs, food, survival, prestige

"The cat" Male, opportunistic, lazy, basic survivor instincts. Use of 'nested doll principle' to convey the concept that a single thing, animal, or person changes its configuration to address a number of problems.

The Cat and the Fox, Melissa Al-Azzawi and Ryan Hunt






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House of Cards, Jenna Kooiker



Handmade Font, Brittany Bauman


Handmade Font, Brittany Bauman


You don’t have to go to Western to “grab the reins” and make your own path. Having previously met with Lois Brinson-Ropes, KVCC’s Internship Coordinator, I was aware of the Community Partners Internship program and the availability of KVCC’s services to assist me with finding an internship placement. I knew I wanted an internship for the summer of 2010, so in March I decided to be proactive about finding an opportunity myself, realizing that this approach would allow me to be selective in choosing companies and/or positions that most appealed to me. If I didn’t secure something on my own by May, I would ask Lois to help find a placement for me. I updated my resume, made sure my on-line portfolio was in good order and drafted an introductory cover letter. Then came the task of figuring out where/who/ how many to send out. First I made a list of companies/ organizations that I wanted to apply to; some I knew and some I found by surfing a bit. In the current (down) economy jobs are few and far between, but the Community Partners Internship program is a very attractive offer, and I felt confident that it would appeal to organizations that needed help, but couldn’t afford to take on a permanent, full salary employee. I decided that I would apply in waves of ten. I figured I might as well prioritize what I really want, and apply to those places first, rather than sending out fifty resumes, taking the first one that comes along and then having one that I really wanted, come in a week later. So I prioritized what I wanted with what made sense. For me this consisted of non-profits and other companies that align with my sense of values— companies/organizations that “do good” (or at least “do no harm”). I also felt it was important to have a good mix, thinking that if I targeted only one type of organization, it might be out of the question for all of them due to the current climate of that industry. In the end, my first ten were a mix of a few non-profits,


a couple small agencies, one print shop, and a few miscellaneous companies that sounded interesting. I mailed my first batch of letters out on a Wednesday afternoon; that Friday my phone rang at 4:50 pm. It was Blaine Lam with Lam & Associates—a small, but very well connected public relations firm that works primarily with non-profits and community organizations. This was not a company I knew, I found them on the internet, and I immediately liked that they were a small, but well-established, agency whose mission is to “improve the quality of life in Kalamazoo County”— pretty much all the elements I was looking for. Blaine had received my letter, reviewed my online portfolio, and after a twenty-minute conversation, hired me over the phone. This has worked out to be an ideal opportunity for me. Being an agency, we work on a wide variety materials: newsletters, print ads, brochures, identities, political campaigns, special events, web sites—you name it! Blaine has hired many, many interns over the years in various capacities and is committed to ensuring that that it is a challenging and vibrant learning experience for the interns. As a bonus, it turns out he is one of the most well-connected people in Kalamazoo—a recommendation from Blaine Lam will open many doors for me in my future. At this point, my official school internship has ended, and Lam & Associates has invited me to stay on with them. As I recount the story, it sounds like a fairytale—but then I remember that I made it happen! (with help of good timing and a generous internship program that I am very appreciative of!). The point is, I grabbed the reins and chose the path I am on. (Oh, and by the way, two of my other top ten companies contacted me for an interview the following week, but I was already very content where I was.)

AZO Logo Development Dale Abbott is a Graphic Design student at CNM who also works part time as a Graphic Designer for Lam & Associates, a public relations firm here in Kalamazoo. Lam & Associates handles all the PR for the Kalamazoo/Battle Creek International Airport and one day Dale’s boss came to her and said “see what you can come up with for a new logo for the airport; take a look at the concept drawings of the new terminal for inspiration— I’m thinking something swooshy.”

With these inspirations in mind she created a series of arches in Illustrator and combined them in different ways and tried several placements. The airport’s call letters are AZO which had been incorporated in the previous logo, so she used the letters in some of her concepts. Red and blue is a common color scheme for airports and airlines so she used these colors, but experimented with variations of tone.

Dale got busy looking at the architectural renderings for the new terminal, researching other small to medium sized airports’ logos and doodling her thoughts and inspirations. The roofline of the new terminal building has an off-set arch. When recreating this on paper it also had a feeling of a bird’s wing (another good reference to flight). As Dale pondered on the purpose of an airport she kept thinking “it gets you from point A to point B” and she found herself drawing an arch back and forth between two points.

Dale worked on logo concepts for a couple hours one day and a couple of hours the next when her boss said “let’s see what you’ve got.” She sent him the 5 designs she had that were far enough along to present. Her boss selected his favorite and a few refinements were made—more intentional typography, scale and placement adjustments were made. Then the logo was emailed off to the airport for review. They got a call back the same day—they loved the new logo. Now Dale needed to get busy on new identity pieces and some print ads to unveil the new look!

Rough Concepts:


Kalam azoo |BattleCreek InternationalA irport

AZ 25

Kalam azoo |BattleCreek InternationalA irport


Kal am az oo /Bat tle Creek Interna tional Airport

Kalam azoo |BattleCreek InternationalA irport

Kal am az oo /Bat tle Creek Interna tional Airport

Ian DeShong

Don’t be afraid of

the ever evolving progressive desire for resolution and stimulation through art. Today’s designer must posess a consious awarness of the relationship between form, function and I also believe that today’s designer must posess courage, bravery and guts, to take that desire for resolution and turn it into a revolution of soul, body, mind and




Don’t Be Afraid © 2010 Following Page: Circle Takes The Square © 2010



Help Yourself Ian DeShong Š 2010 Winner 2010 New Media Showcase 1st Place Graphic Design



Rage Legends, Ian DeShong © 2010


Lay Down Your Mind, Ian DeShong © 2010





Brittany Bauman

20 Great Kalamazoo Chefs, Brittany Bauman

Previous Page Laura, Brittany Bauman


20 Great Kalamazoo Chefs, Brittany Bauman

Winner 2010 New Media Showcase Best Of Show

Following Pages Untitled, Ashleigh Young




Untitled, Brian Carey


Faster, Faster, Jaren Maddock


David Sterchele







1 Plus 1 Rowse Ranch, Craig Pennings Winner 2010 New Media Showcase 1st Place Web Design




The Adventures of Justin and Staci, Staci Gibson


Habitat Lost, Matthew Perigo Winner 2010 New Media Showcase 1st Place Animation


Invasion Walk, Matthew Perigo Winner 2010 New Media Showcase 2nd Place Animation


Fine Art


Untitled, Elenor Hollister


Lou Hoekstra


Baby Driver, Lou Hoekstra


Ghost Pre, Lou Hoekstra


Sandwich, Lou Hoekstra


Introducing Donald VanAukan... Originally from Michigan, Donald W. VanAuken has created a world that has manifested itself in dreams and continuously appears in thoughts and drawings. This world is an exultation of whimsy, parody, and beauty. As a child he began to construct a world of cardboard, pencils, action figures, clay and scotch tape. “The world that I am creating with my work has a theatrical quality, where iconography and graphic imagery substitute props and actors. However, the stage is intangible and the dialogue is in a constant state of flux. In some of my most recent work the narratives begin to break free from the painted structures and enter the physical world, through diorama-like sculptural forms. The major influence in my work even more than pop cultural imagery is medieval painting. I’ve always been attracted to the epic narratives, symbolism, and generosity of detail. It is interesting to me that some academics have devoted their careers to decoding medieval paintings and that there exists a timeless, eternal interest in their narratives. These works seem to develop new meanings when viewed today and yet they had a very specific function during the time of their making. This is how I want my work to operate and how I believe in many instances contemporary art does not. I invite the viewer to enter a place absurd, whimsical, surreal and sometimes dark.” As an art educator VanAuken has taught for two years in public schools, served as the Director of Education at a small midwestern art museum in Battle Creek, Michigan and as an Assistant Professor/Teaching Associate with the School of Art at Ohio University where he received his M.F.A. in Painting, in 2007. “I spent over two years searching for an institution where I felt that I could not only have the opportunity to teach the techniques of fundamental concepts regardless of a student’s age or experience in the visual arts, but also a place where I felt that could connect with my student’s individual needs and foster within them the motivation and critical thinking skills these students will need to become contemporary artists; I know now that Kalamazoo Valley Community College is that place.” He also has a lovely wife and drive a truck.



The Directory Dale Abbott, Melissa Al-Azzawi, Brittany Bauman, Ian Deshong, Bri Dumois, Lauren Ellis, Staci Gibson, Anastacia Lam, Craig Pennings, Allison Walker, Sandi Wieleba, Ashleigh Young, Brian Carey Lou Hoekstra Elenor Holister Jenna Kooiker Jaron Maddock Matthew Perigo Jade Stevens Joan VanSickler




ANM: Issue Two  

A CNM Collection

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