Punctuate

Punctuate J o r da n C l a r e - R o t h e

MFA Design Portfolio

Jordan Clare-Rothe

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Punctuate

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Design adds emotion and context to a message.

When used effectively, design reveals whether a person is asking a question or exclaiming a point. It joins ideas together and allows for pause. In short, design punctuates ideas.

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p u n c t u at e

N av i g at i n g C h a n g e

Once around the sun

Binary folk

Olives on the Eastbound

A D e l i c at e m a d n e s s

Pulp Entropy

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Art on the spectrum

Jeepers Keepers

A c o r p o r at i o n u n r e f i n e d

Master’s Thesis

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Reaching the Summit The Coleman brand could use a breath of fresh air. This rebranding brings Coleman back to its roots and to a new generation of adventurers.

Imagine if Coleman meant more than a lantern or other product, but rather represented the spirit of adventure that is personified by Sir Edmund Hillary, the first man to summit Mount Everest (pictured right); that desire to go a bit further and see around the next corner which is present in all of us. The new Coleman says to go ahead and reach your summit!

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Semester Fa l l 2 0 1 1 / Class N at u r e o f I d e n t i t y / Category B r a n d i n g / Instructor Deliverables B r a n d G u i d e / Typefaces V e r l a g , V i t e s s e Pag e 2

H u n t e r W i mm e r /

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Jordan Clare-Rothe

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Once Around the Sun For a leap year, this calendar of posters promotes local and lesser known holidays and events through the use of innovative typography. The holidays and events in the calendar are meant to interest the audience in new events going on around them and maybe even give them something new to celebrate. Typography is the hero in each poster. So go ahead and celebrate, you have an extra day, after all.

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Semester Sp r i n g 2 0 1 0 / Class E x p e r i m e n ta l T y p o g r a p h y / Categor y P r i n t, P o s t e r s / Instructor L i a n N g / Deliverables Tw e lv e p o s t e r s Typefaces H e lv e t i c a , U n i t e d, G o t h a m , C o u r i e r , F u t u r a , M r s . E av e s , F F D i n , K n o ck o u t Pag e 1 8

‌ once around the sun

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Jordan Clare-Rothe

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Injustice anywhere is a threat to justice everywhere.

My Dear Fellow Clergymen, While confined here in the Birmingham city jail, I came across your recent statement calling my present activities “unwise and untimely.” Seldom do I pause to answer criticism of my work and ideas. If I sought to answer all the criticisms that cross my desk, my secretaries would have little time for anything other than such correspondence in the course of the day, and I would have no time for constructive work. But since I feel that you are men of genuine good will and that your criticisms are sincerely set forth, I want to try to answer your statements in what I hope will be patient and reasonable terms.

I think I should indicate why I am here In Birmingham, since you have been influenced by the view which argues against “outsiders coming in.” I have the honor of serving as president of the Southern Christian Leadership Conference, an organization operating in every southern state, with headquarters in Atlanta, Georgia. We have some eighty-five affiliated organizations across the South, and one of them is the Alabama Christian Movement for Human Rights. Frequently we share staff, educational and financial resources with our affiliates. Several months ago the affiliate here in Birmingham asked us to be on call to engage in a nonviolent direct-action program if such were deemed necessary.

We readily consented, and when the hour came we lived up to our promise. So I, along with several members of my staff, am here because I was invited here I am here because I have organizational ties here.

But more basically, I am in Birmingham because injustice is here.

Just as the prophets of the eighth century B.C. left their villages and carried their “thus saith the Lord” far beyond the boundaries of their home towns, and just as the Apostle Paul left his village of Tarsus and carried the gospel of Jesus Christ to the far corners of the Greco-Roman world, so am I compelled to carry the gospel of freedom beyond my own home town. Like Paul, I must constantly respond to the Macedonian call for aid.

Moreover, I am cognizant of the interrelatedness of all communities and states. I cannot sit idly by in Atlanta and not be concerned about what happens in Birmingham. Injustice anywhere is a threat to justice everywhere. We are caught in an inescapable network of mutuality, tied in a single garment of destiny. Whatever affects one directly, affects all indirectly. Never again can we afford to live with the narrow, provincial “outside agitator” idea. Anyone who lives inside the United States can never be considered an outsider anywhere within its bounds.

You deplore the demonstrations taking place in Birmingham.

But your statement, I am sorry to say, fails to express a similar concern for the conditions that brought about the demonstrations.

I am sure that none of you would want to rest content with the superficial kind of social analysis that deals merely with effects and does not grapple with underlying causes. It is unfortunate that demonstrations are taking place in Birmingham, but it is even more unfortunate that the city’s white power structure left the Negro community with no alternative.

In any nonviolent campaign there are four basic steps: collection of the facts to determine whether injustices exist; negotiation; self-purification; and direct action. We have gone through all of these steps in Birmingham. There can be no gainsaying the fact that racial injustice engulfs this community. Birmingham is probably the most thoroughly segregated city in the United States. Its ugly record of brutality is widely known. Negroes have experienced grossly unjust treatment in the courts. There have been more unsolved bombings of Negro homes and churches in Birmingham than in any other city in the nation. These are the hard, brutal facts of the case. On the basis of these conditions, Negro leaders sought to negotiate with the city fathers. But the latter consistently refused to engage in good-faith negotiation.

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Then, last September, came the opportunity to talk with leaders of Birmingham’s economic community. In the course of the negotiations, certain promises were made by the merchants—for example, to remove the stores humiliating racial signs. On the basis of these promises, the Reverend Fred Shuttlesworth and the leaders of the Alabama Christian Movement for Human Rights agreed to a moratorium on all demonstrations. As the weeks and months went by, we realized that we were the victims of a broken promise. A few signs, briefly removed, returned; the others remained.

As in so many past experiences, our hopes had been blasted, and the shadow of deep disappointment settled upon us. We had no alternative except to prepare for direct action, whereby we would present our very bodies as a means of laying our case before the conscience of the local and the national community. Mindful of the difficulties involved, we decided to undertake a process of self-purification. We began a series of workshops on nonviolence, and we repeatedly asked ourselves : “Are you able to accept blows without retaliating?” “Are you able to endure the ordeal of jail?” We decided to schedule our direct-action program for the Easter season, realizing that except for Christmas, this is the main shopping period of the year. Knowing that a strong economic withdrawal program would be the by-product of direct action, we felt that this would be the best time to bring pressure to bear on the merchants for the needed change.

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April 16, 1963 Then it occurred to us that Birmingham’s mayoralty election was coming up in March, and we speedily decided to postpone action until after election day. When we discovered that the Commissioner of Public Safety, Eugene “Bull” Connor, had piled up enough votes to be in the run-off we decided again to postpone action until the day after the run-off so that the demonstrations could not be used to cloud the issues. Like many others, we waited to see Mr. Connor defeated, and to this end we endured postponement after postponement. Having aided in this community need, we felt that our direct-action program could be delayed no longer.

You may well ask: “Why direct action? Why sit-ins, marches and so forth? Isn’t negotiation a better path?” You are quite right in calling, for negotiation. Indeed, this is the very purpose of direct action. Nonviolent direct action seeks to create such a crisis and foster such a tension that a community which has constantly refused to negotiate is forced to confront the issue. It seeks to so dramatize the issue that it can no longer be ignored. My citing the creation of tension as part of the work of the nonviolentresister may sound rather shocking. But I must confess that I am not afraid of the word “tension.” I have earnestly opposed violent tension, but there is a type of constructive, nonviolent tension which is necessary for growth. Just as Socrates felt that it was necessary to create a tension in the mind so that individuals could rise from the bondage of myths and half-truths to the unfettered realm of creative analysis and objective appraisal, we must we see the need for nonviolent gadflies to create the kind of tension in society that will help men rise from the dark depths of prejudice and racism to the majestic heights of understanding and brotherhood.

The purpose of our direct-action program is to create a situation so crisis-packed that it will inevitably open the door to negotiation. I therefore concur with you in your call for negotiation. Too long has our beloved Southland been bogged down in a tragic effort to live in monologue rather than dialogue.

One of the basic points in your statement is that the action that I and my associates have taken .in Birmingham is untimely. Some have asked: “Why didn’t you give the new city administration time to act?” The only answer that I can give to this query is that the new Birmingham administration must be prodded about as much as the outgoing one, before it will act. We are sadly mistaken if we feel that the election of Albert Boutwell as mayor. will bring the millennium to Birmingham. While Mr. Boutwell is a much more gentle person than Mr. Connor, they are both segregationists, dedicated to maintenance of the status quo. I have hope that Mr. Boutwell will be reasonable enough to see the futility of massive resistance to desegregation. But he will not see this without pressure from devotees of civil rights. My friends, I must say to you that we have not made a single gain civil rights without determined legal and nonviolent pressure. Lamentably, it is an historical fact that privileged groups seldom give up their privileges voluntarily. Individuals may see the moral light and voluntarily give up their unjust posture; but, as Reinhold Niebuhr has reminded us, groups tend to be more immoral than individuals.

We know through painful experience that freedom is never voluntarily given by the oppressor; it must be demanded by the oppressed. Frankly, I have yet to engage in a direct-action campaign that was “well timed” in the view of those who have not suffered unduly from the disease of segregation. For years now I have heard the word “Wait!” It rings in the ear of every Negro with piercing familiarity. This “Wait” has almost always meant “Never.” We must come to see, with one of our distinguished jurists, that “justice too long delayed is justice denied.”

We have waited for more than 340 years for our constitutional and God-given rights. The nations of Asia and Africa are moving with jetlike speed toward gaining political independence, but we stiff creep at horse-and-buggy pace toward gaining a cup of coffee at a lunch counter. Perhaps it is easy for those who have never felt the stinging dark of segregation to say, “Wait.” But when you have seen vicious mobs lynch your mothers and fathers at will and drown your sisters and brothers at whim; when you have seen hate-filled policemen curse, kick and even kill your black brothers and sisters; when you see the vast majority of your twenty million Negro brothers smothering in an airtight cage of poverty in the midst of an affluent society; when you suddenly find your tongue twisted and your speech stammering as you seek to explain to your six-year-old daughter why she can’t go to the public amusement park that has just been advertised on television, and see tears welling up in her eyes when she is told that Funtown is closed to colored children, and see ominous clouds of inferiority beginning to form in her little mental sky, and see her beginning to distort her personality by developing an unconscious bitterness toward white people; when you have to concoct an answer for a five-yearold son who is asking: “Daddy, why do white people treat colored people so mean?”; when you take a cross-country drive and find it necessary to sleep night after night in the uncomfortable corners of your automobile because no motel will accept you; when you are humiliated day in and day out by nagging signs reading “white” and “colored”; when your first name becomes “nigger,” your middle name becomes “boy” (however old you are) and

your last name becomes “John,” and your wife and mother are never given the respected title “Mrs.”; when you are harried by day and haunted by night by the fact that you are a Negro, living constantly at tiptoe stance, never quite knowing what to expect next, and are plagued with inner fears and outer resentments; when you go forever fighting a degenerating sense of “nobodiness” then you will understand why we find it difficult to wait. There comes a time when the cup of endurance runs over, and men are no longer willing to be plunged into the abyss of despair. I hope, sirs, you can understand our legitimate and unavoidable impatience.

You express a great deal of anxiety over our willingness to break laws. This is certainly a legitimate concern. Since we so diligently urge people to obey the Supreme Court’s decision of 1954 outlawing segregation in the public schools, at first glance it may seem rather paradoxical for us consciously to break laws.

One may want to ask: “How can you advocate breaking some laws and obeying others?” The answer lies in the fact that there are two types of laws: just and unjust. I would be the first to advocate obeying just laws. One has not only a legal but a moral responsibility to obey just laws. Conversely, one has a moral responsibility to disobey unjust laws. I would agree with St. Augustine that “an unjust law is no law at all” Now, what is the difference between the two? How does one determine whether a law is just or unjust? A just law is a manmade code that squares with the moral law or the law of God. An unjust law is a code that is out of harmony with the moral law.

To put it in the terms of St. Thomas Aquinas: An unjust law is a human law that is not rooted in eternal law and natural law.

Any law that uplifts human personality is just. Any law that degrades human personality is unjust. All segregation statutes are unjust because segregation distorts the soul and damages the personality. It gives the segregator a false sense of superiority and the segregated a false sense of inferiority. Segregation, to use the terminology of the Jewish philosopher Martin Buber, substitutes an “I-it” relationship for an “I-thou” relationship and ends up relegating persons to the status of things. Hence segregation is not only politically, economically and sociologically unsound, it is morally wrong and awful. Paul Tillich said that sin is separation.

Is not segregation an existential expression ‘of man’s tragic separation, his awful estrangement, his terrible sinfulness? Thus it is that I can urge men to obey the 1954 decision of the Supreme Court, for it is morally right; and I can urge them to disobey segregation ordinances, for they are morally wrong.

Let us consider a more concrete example of just and unjust laws.

An unjust law is a code that a numerical or power majority group compels a minority group to obey but does not make binding on itself. This is difference made legal. By the same token, a just law is a code that a majority compels a minority to follow and that it is willing to follow itself. This is sameness made legal.

Let me give another explanation. A law is unjust if it is inflicted on a minority that, as a result of being denied the right to vote, had no part in enacting or devising the law. Who can say that the legislature of Alabama which set up that state’s segregation laws was democratically elected? Throughout Alabama all sorts of devious methods are used to prevent Negroes from becoming registered voters, and there are some counties in which, even though Negroes constitute a majority of the population, not a single Negro is registered. Can any law enacted under such circumstances be considered democratically structured?

Sometimes a law is just on its face and unjust in its application.

For instance, I have been arrested on a charge of parading without a permit. Now, there is nothing wrong in having an ordinance which requires a permit for a parade. But such an ordinance becomes unjust when it is used to maintain segregation and

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Of course, there is nothing new about this kind of civil disobedience. It was evidenced sublimely in the refusal of Shadrach, Meshach and Abednego to obey the laws of Nebuchadnezzar, on the ground that a higher moral law was at stake. It was practiced superbly by the early Christians, who were willing to face hungry lions and the excruciating pain of chopping blocks rather than submit to certain unjust laws of the Roman Empire. To a degree, academic freedom is a reality today because Socrates practiced civil disobedience. In our own nation, the Boston Tea Party represented a massive act of civil disobedience.

We should never forget that everything Adolf Hitler did in Germany was “legal” and everything the Hungarian freedom fighters did in Hungary was “illegal.” It was “illegal” to aid and comfort a Jew in Hitler’s Germany. Even so, I am sure that, had I lived in Germany at the time, I would have aided and comforted my Jewish brothers. If today I lived in a Communist country where certain principles dear to the Christian faith are suppressed, I would openly advocate disobeying that country’s anti-religious laws.

I must make two honest confessions to you, my Christian and Jewish brothers. First, I must confess that over the past few years I have been gravely disappointed with the white moderate. I have almost reached the regrettable conclusion that the Negro’s great stumbling block in his stride toward freedom is not the White Citizen’s Counciler or the Ku Klux Klanner, but the white moderate, who is more devoted to “order” than to justice; who prefers a negative peace which is the absence of tension to a positive peace which is the presence of justice; who constantly says: “I agree with you in the goal you seek, but I cannot agree with your methods of direct action”; who paternalistically believes he can set the timetable for another man’s freedom; who lives by a mythical concept of time and who constantly advises the Negro to wait for a “more convenient season.” Shallow understanding from people of good will is more frustrating than absolute misunderstanding from people of ill will. Lukewarm acceptance is much more bewildering than outright rejection.

I had hoped that the white moderate would understand that law and order exist for the purpose of establishing justice and that when they fan in this purpose they become the dangerously structured dams that block the flow of social progress. I had hoped that the white moderate would understand that the present tension in the South is a necessary phase of the transition from an obnoxious negative peace, in which the Negro passively accepted his unjust plight, to a substantive and positive peace, in which all men will respect the dignity and worth of human personality.

Actually, we who engage in nonviolent direct action are not the creators of tension. We merely bring to the surface the hidden tension that is already alive. We bring it out in the open, where it can be seen and dealt with. Like a boil that can never be cured so long as it is covered up but must be opened with an its ugliness to the natural medicines of air and light, injustice must be exposed, with all the tension its exposure creates, to the light of human conscience and the air of national opinion before it can be cured.

Martin Luther King Jr. Day Martin Luther King Jr. Day is a United States Holiday Jr. It is observed the third Monday of January, which is close to his Birthday on January 15th, 1929. King was a key figure in the Civil Rights Movement, which protested racial discrimination in Federal and State law. King was assassinated in 1968.

King Wrote A Letter from a Birmingham Jail, from which this passage was taken, in 1963.

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I hope you are able to ace the distinction I am trying to point out.

In no sense do I advocate evading or defying the law, as would the rabid segregationist. That would lead to anarchy. One who breaks an unjust law must do so openly, lovingly, and with a willingness to accept the penalty. I submit that an individual who breaks a law that conscience tells him is unjust and who willingly accepts the penalty of imprisonment in order to arouse the conscience of the community over its injustice, is in reality expressing the highest respect for law.

marking the birthday of Reverend Martin Luther King

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to deny citizens the First Amendment privilege of peaceful assembly and protest.

In your statement you assert that our actions, even though peaceful, must be condemned because they precipitate violence.

But is this a logical assertion? Isn’t this like condemning a robbed man because his possession of money precipitated the evil act of robbery? Isn’t this like condemning Socrates because his unswerving commitment to truth and his philosophical inquiries precipitated the act by the misguided populace in which they made him drink hemlock? Isn’t this like condemning Jesus because his unique God-consciousness and never-ceasing devotion to God’s will precipitated the evil act of crucifixion? We must come to see that, as the federal courts have consistently affirmed, it is wrong to urge an individual to cease his efforts to gain his basic constitutional rights because the quest may precipitate violence.

Society must protect the robbed and punish the robber.

I had also hoped that the white moderate would reject the myth concerning time in relation to the struggle for freedom. I have just received a letter from a white brother in Texas. He writes: “All Christians know that the colored people will receive equal rights eventually, but it is possible that you are in too great a religious hurry. It has taken Christianity almost two thousand years to accomplish what it has. The teachings of Christ take time to come to earth.” Such an attitude stems from a tragic misconception of time, from the strangely rational notion that there is something in the very flow of time that will inevitably cure all ills. Actually, time itself is neutral; it can be used either destructively or constructively. More and more I feel that the people of ill will have used time much more effectively than have the people of good will. We will have to repent in this generation not merely for the hateful words and actions of the bad people but for the appalling silence of the good people. Human progress never rolls in on wheels of inevitability; it comes through the tireless efforts of men willing to be co-workers with God, and without this ‘hard work, time itself becomes an ally of the forces of social stagnation. We must use time creatively, in the knowledge that the time is always ripe to do right. Now is the time to make real the promise of democracy and transform our pending national elegy into a creative psalm of brotherhood. Now is the time to lift our national policy from the quicksand of racial injustice to the solid rock of human dignity.

You speak of our activity in Birmingham as extreme. At fist I was rather disappointed that fellow clergymen would see my nonviolent efforts as those of an extremist. I began thinking about the fact that stand in the middle of two opposing forces in the Negro community. One is a force of complacency, made up in part of Negroes who, as a result of long years of oppression, are so drained of self-respect and a sense of “somebodiness” that they have adjusted to segregation; and in part of a few middle class Negroes who, because of a degree of academic and economic security and because in some ways they profit by segregation, have become insensitive to the problems of the masses. The other force is one of bitterness and hatred, and it comes perilously close to advocating violence. It is expressed in the various black nationalist groups that are springing up across the nation, the largest and best known being Elijah Muhammad’s Muslim movement. Nourished by the Negro’s frustration over the continued existence of racial discrimination, this movement is made up of people who have lost faith in America, who have absolutely repudiated Christianity, and who have concluded that the white man is an incorrigible “devil.”

I have tried to stand between these two forces, saying that we need emulate neither the “do-nothingism” of the complacent nor the hatred and despair of the black nationalist. For there is the more excellent way of love and nonviolent protest. I am grateful to God that, through the influence of the Negro church, the way of nonviolence became an integral part of our struggle.

If this philosophy had not emerged, by now many streets of the South would, I am convinced, be flowing with blood. And I am further convinced that if our white brothers dismiss as “rabblerousers” and “outside agitators” those of us who employ nonviolent direct action, and if they refuse to support our nonviolent efforts, millions of Negroes will, out of frustration and despair, seek solace and security in black-nationalist ideologies a development that would inevitably lead to a frightening racial nightmare.

Never before have I written so long a letter. I’m afraid it is much too long to take your precious time. I can assure you that it would have been much shorter if I had been writing from a comfortable desk, but what else can one do when he is alone in a narrow jail cell, other than write long letters, think long thoughts and pray long prayers?

I hope this letter finds you strong in the faith. I also hope that circumstances will soon make it possible for me to meet each of you, not as an integrationist or a civil rights leader but as a fellow clergyman and a Christian brother. Let us all hope that the dark clouds of racial prejudice will soon pass away and the deep fog of misunderstanding will be lifted from our fear-drenched communities, and in some not too distant tomorrow the radiant stars of love and brotherhood will shine over our great nation with all their scintillating beauty.

Yours for the cause of Peace and Brotherhood, Martin Luther King, Jr.

Once around the sun

GRIEVANCE #9

Your gross hair was in the drain.

GRIEVANCE #18

It’s the same joke at every party.

GRIEVANCE #129

You left the gas tank empty.

You talk in your sleep.

GRIEVANCE #44

Wishing you a tolerable Festivus in 2012.

Wishing you an adequate Festivus in 2012.

Wishing you an accessible Festivus in 2012.

GRIEVANCE #72

Wishing you a passable Festivus in 2012.

Wishing you a fair-to-middling Festivus in 2012.

You finished the mayonaisse.

Festivus is a secular holiday created by writer Dan O’Keefe, and introduced

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into popular culture by his son Daniel, a screenwriter for the TV show

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Seinfeld, as part of a story line for that show. It is a way to celebrate the

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holiday season without participating in its more commercial aspects.

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The holiday is celebrated with an unadorned aluminum “Festivus pole”, along with practices such as the “Airing of Grievances” and “Feats of

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November

Strength”. Easily explainable events are declared to be “Festivus Miracles.”

On this Festivus, please pick the Grievance that best applies to your loved one, tear it out, and present it to them, in the spirit of the season.

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Jordan Clare-Rothe

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once around the sun

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once around the sun

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Pi Day Pi Day is a holiday held to celebrate the mathematical constant pi. Pi is the geometric equation for the relationship between the radius and the circumference of a circle. It is celebrated on March 14 to correspond

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to the first three digits of pi (3.14). The first Pi Day was celebrated at the San Francisco Exploratorium in 1988, with staff and public

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marching around one of its circular spaces,

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then eating fruit pies. Physicist Larry Shaw

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was its founder.

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once around the sun

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Once around the sun

September

August

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National Mushroom Month A mushroom is a fleshy, spore-bearing body of a fungus. Although some species are quite poisonous, several species are edible and enjoyed in cuisine around the world.

September is the month that people celebrate mushroom by cooking Mushrooms into their very favorite dishes.

Sauteed Mixed Mushrooms Ingredients 1 1/2 pounds whole portabella mushrooms, stems and caps separated 1/2 cup olive oil 1 1/4 pounds small white mushrooms (1/2 to 1 inch in diameter) 1 teaspoon fresh lemon juice 1 teaspoon salt 1/2 teaspoon black pepper 1 pound small fresh shiitake mushrooms, stems discarded 1 pound oyster mushrooms, trimmed and halved lengthwise if large 1/2 cup finely chopped fresh flat-leaf parsley 1 tablespoon finely chopped garlic

Preparation Trim portabella stems and thinly slice lengthwise. Scrape away gills on portabella caps with a spoon, then cut caps into 1/8-inch-thick slices.

Heat 2 tablespoons oil in a 12-inch heavy skillet over moderately high heat until hot but not smoking, then sauté white mushrooms with lemon juice, 1/4 teaspoon salt, and 1/8 teaspoon pepper, stirring occasionally, until liquid mushrooms give off is evaporated, about 5 minutes. Transfer cooked mushrooms with a slotted spoon to a large bowl and keep warm, covered.

Sauté shiitakes, oyster mushrooms, and portabellas (caps and stems) in separate batches in same manner, using 2 tablespoons oil, 1/4 teaspoon salt, and 1/8 teaspoon pepper for each batch, and transferring to bowl with white mushrooms.

Return all cooked mushrooms to skillet and sauté with parsley and garlic over moderately high heat, stirring, 1 minute.

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Jordan Clare-Rothe

M FA P o r t f o l i o

Binary Folk Many music fans still long for a covetable artifact to accompany their music purchase, and sales of records recently surged past those of compact discs. Roots and Crowns, by the band Califone, is a beautiful, airy, and artful body of music, which draws on traditional Americana, but is decisively on the cutting edge of music. The design of the album case and poster visually echo this dichotomy between past and present.

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Semester Sp r i n g 2 0 11 / Class G r a p h i c D e s i g n Tw o / Category M u s i c Deliverables R e c o r d a l b u m / Typefaces T r a d e G o t h i c , R e q u i e m Pag e 3 0

promotion/

Instructor

Andrew Johnson/

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Jordan Clare-Rothe

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binary folk

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Jordan Clare-Rothe

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CALIFONE

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Roots & Crowns

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Binary folk

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Binary folk

calIfoNe

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along your skin lost my language black lip and red carnation safe house safe tap shoes break union station marble wrapped in malpractice quiet in the sway

oooosing to me pink and sour

PINK & SOUR

oooodrop down drop down de-sung ribcages shelter wound river languid husk of old jet sweet light tavern in the morning taxi driver silent hard long hands

oooo-

kill the kitchen kitchen light

oooodrop down drop down

oooo-

oooo-

safe house dead trying to whisper a soft vaccination cotton in the calm along your side lost my language on sand and smoke foundation loose in the sway sing to me pink and sour

ooookill the kitchen kitchen light

Rutili, Becker, Adamik, Massarella, Deck

Roots & Crowns

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sharing a bed tonight bruised in the hay

bleeds peel and age familiar peace

fingerings lost

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SUNDAY NOISES

the carnival fighters are

after the quiet the icicles chime

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in the pain

in the motions of our hands sit just as you are

emptying yourself for sleep soft bones a skeletal

raindrops tremble

stretch of drive skinny arms your white dress

and wait to freeze

Rutili, G. Sherman

on spiders house

lost in the crime

comes cigarette teeth by now the eye you lost

carry the choir age and peel

in the crusades is planted in the sand kneeling

the circle around

by wait to reap another sight this where you

the brawl divides in frozen rain

leave behind your brush fires and wedding day

on spider’s house pulling you

our ethiopian bones the pictures and the pills

wrong in soft belief and midnight finish a violent quiet freeze

remember when this was the ocean tiny rivers

catacomb wine a Chinese actor loses heart

bleed the map the eye you lost in the crusades

tricks the light legs entwined brick on pedal chain on wheel

just about to flower ready and wetroot crown sweet ever on/ bones and bread tenderness here we are held and carried warm from the machines fixing

is planted in the sand

SPIDER'S SPIDER'S HOUSE HOUSE

the afterlife saints and angels sex lives switch wives

Rutili, Becker, Adamik, Massarella

a belly what’s never seen the sun

after the quiet bleeds

A CHINESE ACTOR

peel and age

root crown sweet ever on trust came slanted made no mention bones and bread tenderness

familiar peace

a dim head light arrives friction breathe tenderness

in the pain

trust came slanted legs entwined brick on pedal chain on wheel bones and bread tenderness here we are held and carried hot blind fight empty armor dim head light arrives Rutili, Becker, Adamik, Massarella, Deck

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Rutili, Becker

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When all the numbers swim together/ And all the shadows settle/ When doors forced open shut again a flytrap and a petal/ My eyes burn and claws rush in to fill them/ And in the morning after the night/ I fall in love with the light/ It is so clear I realize/ And here at last I have my eyes/ When all the figures sound retreat/ The soft skin starts to shrivel/ When dreams made real become less sweet/ The orchid and the metal/ My sex turns and claws rush in to fill them/ And in the morning after the night/ I fall in love with the light/ It is so pure I can arrive without the fear of seeing my eyes/ When all the characters full size/ And every moon is level/ When all the spirits burn in lies/ As center grief by steel/ My eyes burn and claws rush in to fill them/ And in the morning after the night/ I fall in love with the light/ It is so clear I realize and now at last I have my eyes/ PSYCHIC TV

Rutili, Becker

thisconversation conversation isis the the this duston onanything anything slow slow dust andgreen greenburn burn our our dead dead and thisunwilling unwillingisis the the way way this you shatter when you hit you shatter when you hit thewater water the

scratched scratchedand and bit bit crawl crawl out outofofthe thefaultline faultline this this book is the mask on book is the mask on the the bride bridecircle circletil til the the engine engine dies diestail tailhigh high let let itit lay lay burn burnour ourdead dead shin shin high high it’s it’salmost almostsurgical surgical the the way wayyou youshatter shatter when when you youhit hitthe thewater water drawn drawn on onthe thewindow window steam steam claws clawson onsleep sleep addiction addiction

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OUR KITTEN SEES GHOSTS

THE ORCHIDS ••

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BURNED

BY THE CHRISTIANS

Rose petal ear Water dissolvin’ into water Water dissolvin’ into water

wire

sung

in the teeth

throated air

while we

down your spine

warm twine

crown cooks light

while we breathe

we wolfed and whale

skip

bellied on

notes and bless

A head asleep upon a lap

A head asleep upon a lap

we shone down blinder and winterless days

where you been

lost a black ocean recline

we lose days

held under your tongue like a tiny stone paid and gone Rutili

broke hearts are whole

Water dissolvin’ into water A head asleep upon a lap

Animal dream, animal tongue

or burned by the christians recline held under your tongue like a tiny stone carried home

Animal medicine

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ROSE-PETAL-EAR

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Rutili

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3 LEGGED ANIMAL

hands fit together like medicine

IF YOU WOULD

butterfly itch on a bottle rocket tail everything is bleeding

candy glass sun on red tile this winter bed lives and breathes

shake the glass out of your hair

winter bed could do so much if you

spell your name in broken teeth 3 legged animals

Rutili, Becker, Adamik

shut their sweet eyes lick your scars and grow wings sleep for me sleepless dream for me dreamless hands bleed together fine sweat off your makeup peel and wait in washed out gold ease back warm electric chair leave your memories we’re almost new sleep for me sleepless dream for me dreamless Rutili

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sons and mothers red hand rise side door bones belly and limbs mudslide daughter wrung sweet wine nail and dime a glasswork heart yolk and scotch mask and bed mudslide daughter sons and mothers orchard orchard

mask and bed ice on dancers broken feet spit and shine black metal valentine mudslide daughter side door bones not for mine black metal valentine tiny wrens to take the dinner from your teeth black metal valentine Rutili, Becker, Adamik, Massarella, Deck

BLACK METAL VALENTINE

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PPaaggee 3399

Jordan Clare-Rothe

M FA P o r t f o l i o

Olives on the Eastbound Gimondi Brothers is a fictional deli started by two Italian immigrants in the 1920’s in a New York train station.

Taking a look at the great institution of the New York Italian delicatessen, this deli comforts customers with nostalgic images from a by-gone era.

Trains are an important component, as delis are traditionally a place where people on the go can stop in, grab a quick bite, and be on their way.

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Semester Fa l l 2 0 1 1 / Class Pa ck a g e D e s i g n Tw o / Category Pa ck a g e D e s i g n / Instructor C h r i s t i n e G e o r g e / Deliverables Pa ck a g i n g f o r d e l i p r o d u c t s / Typefaces G o t h a m , P e n u mb r a , S e n t i n e l , T u n g s t e n U n i t e d Pag e 4 0

Olives on the eastbound

:

Pag e 4 1

Jordan Clare-Rothe

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Pag e 4 2

M FA P o r t f o l i o

Olives on the eastbound

Pag e 4 3

Jordan Clare-Rothe

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Pag e 4 4

M FA P o r t f o l i o

Olives on the eastbound

Pag e 4 5

Jordan Clare-Rothe

04

Pag e 4 6

M FA P o r t f o l i o

Olives on the eastbound

Pag e 4 7

Jordan Clare-Rothe

04

Pag e 4 8

M FA P o r t f o l i o

Olives on the eastbound

Pag e 4 9

Jordan Clare-Rothe

04

Pag e 5 0

M FA P o r t f o l i o

Olives on the eastbound

Pag e 5 1

BORLOTTI Jordan Clare-Rothe

Sugars 24 g, Protein 0 g Percent Daily Values (DV) are based on a M FA P o r t f o l i o 2,000 calorie diet

ART

NET W

04

LIM

FA

S PA R K L I N G

LEMONADE NET WT 25.4 FL oz.

Ingredients: Carbonated Water, Sugar, Lemon Flavor, Citric Acid and Vegetable Extracts n u t r i t i o n fa c t s : Serving Size 8 FL (240 mL) Servings Per Container about 3 Pag e 5 2 S SP PA AR RK K LL II N NG G

Amount Per Serving Calories 83 // Total Fat 0g (0%DV ) // Sodium 0 mg (0% DV ) // Total Carbohydrate 24g (4% DV ) // Sugars

II TA TA LL II A AN N

LIMA BEAN

SANGIOVESE Olives on the eastbound

TUSCANY 2010 D E NO M I NA Z I O N E D ’ O R I G I N E C O N T R L L ATA P ROT E T TA M A D E W I T H O R G A N I C A L LY G R O W N G R A P E S

INGREDIENTS: Artichoke, Water, Vegetable Oil (Sunflower Oil), Sea Salt, Cane Vinegar, Spices, Citric Acid.

N U T R I T I O N FAC T S : Serv. size 1/2 cup (121g)// servings about 3// Amount per serving: Calories 150// Fat Cal. 50// Total fat 5g (8% DV )// Sat. Fat 0.5g (3% DV )// Trans Fat 0 g // Cholest. 0mg (0%DV )// Sodium 510 mg (21% DV )// Total Carb. 19 g (6% DV )// Calcium (6% DV )// Iron (10% DV ).

REFRIGERATE AFTER OPENING

M A R I N AT E D

ARTICHOKES

Percent Daily Values (DV) are based on a 2,000 calorie diet

NET WT 12 FL oz. (340g)

Pag e 5 3

II TA TA L L II A AN N

Jordan Clare-Rothe

04

Pag e 5 4

M FA P o r t f o l i o

Olives on the eastbound

Pag e 5 5

Jordan Clare-Rothe

04

Pag e 5 6

M FA P o r t f o l i o

Olives on the eastbound

Pag e 5 7

Jordan Clare-Rothe

M FA P o r t f o l i o

A Delicate Madness In the films of Terry Gilliam reality is never quite what it seems. His movies, including Brazil, Twelve Monkeys, and Fear and Loathing in Las Vegas, always have a touch of sanity and a dash of madness. He stresses that films do not have to give all the answers; they don’t have to make sense. This project takes that same idea and applies it to the promotional materials for a Film Festival of Gilliam’s work. After all, a festival in Gilliam’s honor should leave you guessing just as much as his films.

05

Semester Sp r i n g 2 0 1 0 / Class I n t e g r at e d C o mm u n i c at i o n / Category P r i n t, f i l m p r o m o t i o n / Instructor H u n t e r Deliverables P o s t e r , D V D pa ck a g i n g , f i l m s c h e d u l e , c ata l o g , Typefaces A r c h e r , T u n g s t e n

W i mm e r / Pag e 5 8

?

A d e l i c at e m a d n e s s

Pag e 5 9

M FA P o r t f o l i o

JULY 13-18

Jordan Clare-Rothe

05

Pag e 6 0

youisfestival.com

Time Bandits | Brazil | The Adventures of Baron Munchausen | Twelve Monkeys | Fear and Loathing in Las Vegas

OLD VIC THEATRE LONDON

The

Tideland

A d e l i c at e m a d n e s s

Pag e 6 1

Jordan Clare-Rothe

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M FA P o r t f o l i o

A d e l i c at e m a d n e s s

Pag e 6 3

Jordan Clare-Rothe

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Pag e 6 4

M FA P o r t f o l i o

A d e l i c at e m a d n e s s

Pag e 6 5

Jordan Clare-Rothe

05

Pag e 6 6

M FA P o r t f o l i o

A d e l i c at e m a d n e s s

Pag e 6 7

Jordan Clare-Rothe

05

Pag e 6 8

M FA P o r t f o l i o

A d e l i c at e m a d n e s s

Pag e 6 9

Jordan Clare-Rothe

05

Pag e 7 0

M FA P o r t f o l i o

A d e l i c at e m a d n e s s

Pag e 7 1

Jordan Clare-Rothe

05

Pag e 7 2

M FA P o r t f o l i o

A d e l i c at e m a d n e s s

Pag e 7 3

Jordan Clare-Rothe

05

Pag e 7 4

M FA P o r t f o l i o

A d e l i c at e m a d n e s s

Pag e 7 5

Jordan Clare-Rothe

05

Pag e 7 6

M FA P o r t f o l i o

A d e l i c at e m a d n e s s

Pag e 7 7

Jordan Clare-Rothe

M FA P o r t f o l i o

Pulp Entropy We have all had days like this. You wake up and everything is normal, and then, before you know what has happened, everything changes.

Its as if all the basic structures you depend on and come to expect simply disappear and you are in a foreign and unfamiliar world. This book speaks to that shared experience by manipulating a medium that is so comfortable that it could easily be forgotten about entirely.

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Semester Sp r i n g 2 0 1 0 / Class B o o k Deliverable H a n d m a d e b o o k / Typeface Pag e 7 8

Arts/

Categor y B o o k d e s i g n , f i n e a r t / Instructor M a c y C h a d w i ck / Award F i r s t P l ac e , B o o k A r t s , AAU 2 0 1 0 S u mm e r S h ow

H a n dw r i t i n g /

Pulp entropy

“” Pag e 7 9

Jordan Clare-Rothe

06

Pag e 8 0

M FA P o r t f o l i o

pulp entropy

Pag e 8 1

Jordan Clare-Rothe

06

Pag e 8 2

M FA P o r t f o l i o

Pulp entropy

Pag e 8 3

Jordan Clare-Rothe

06

Pag e 8 4

M FA P o r t f o l i o

Pulp entropy

Pag e 8 5

Jordan Clare-Rothe

06

Pag e 8 6

M FA P o r t f o l i o

Pulp entropy

Pag e 8 7

Jordan Clare-Rothe

M FA P o r t f o l i o

Daily Infusion Repackaging the Republic of Tea to stand out from its competitors on a crowded shelf and unify the brand as a whole. While conducting research for this project, the designer was asked by a middle age man if he saw a certain type of tea. He did not. The man left without buying a tea saying, “You can never find what you need here.� This packaging was designed with this man in mind, to provide clear, point of sale advertising in the tea aisle.

07

Semester Fa l l 2 0 1 1 / Class Pa ck a g e D e s i g n Tw o / Categor y Pa ck a g e D e s i g n / Instructor C h r i s t i n e Deliverables Pa ck a g i n g f o r a l i n e o f t e a / Typefaces T r a d e G o t h i c , K n o ck o u t, B a s k e r v i l l e Pag e 8 8

George

D a i ly i n f u s i o n

;

Pag e 8 9

Jordan Clare-Rothe

07

Pag e 9 0

M FA P o r t f o l i o

D a i ly i n f u s i o n

Pag e 9 1

Jordan Clare-Rothe

M FA P o r t f o l i o

REP. of

Tea

Ruby red hibiscus shines brightly in this evocatively fruity herbal tea. Sip the pure effervescence of hibiscus. Evokes the thought of a perfect summer day in the tropics.

Natural

50

Natural, Unbleached tea bags

hibiscus

07

her ba l t ea Net wt. 2.8 oz (80g)

Pag e 9 2

REP. of

Tea

Ingredients Decaffeinated China green tea, natural peach flavor and ginger.

Caffeine Decaf Green Tea is decaffeinated using an all-natural process.

Heart Healthy African Super Flower Tea

Steeping Instructions Steeping oolong tea is easy. Simply heat fresh, filtered water just short of boiling. Then pour water over tea and steep for 1-3 minutes (if using a tea bag) or 2-4 minutes (if using full-leaf tea.)

0 Calories County of Origin: China

Novato, California 94949

REP. of

Tea

Natural, Unbleached tea bags

20

Pineapple Lychee hibiscus

D a i ly i n f u s i o n

Ingredients Decaffeinated China green tea, natural peach flavor and ginger.

Caffeine Herbal tea is naturally caffeine free.

0 Calories County of Origin: Nigeria

Novato, California 94949

h er ba l t ea Net wt. 1.2 oz (35g)

of

Flav o

roved by p p

m inist

r

e

er

th

Pag e 9 3

A

Jordan Clare-Rothe

07

Pag e 9 4

M FA P o r t f o l i o

D a i ly i n f u s i o n

Pag e 9 5

Jordan Clare-Rothe

M FA P o r t f o l i o

Art on the Spectrum An exhibit showcasing visual art and poetry by artists with autism. This show celebrates neurodiversity by honoring the work of those who see the world a little different than most of us. Although people with autism have many challenges in life, some show remarkable talent in the arts.

This show takes place at the American Visionary Arts Museum in Baltimore, a renowned new museum famous for showing artwork by those have been excluded from the art world.

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Semester Sp r i n g 2 0 1 1 / Class G r a p h i c D e s i g n Tw o / Categor y E x h i b i t p r o m o t i o n / Instructor A n d r e w J o h n s o n / Deliverables P o s t e r s , p o s t c a r d s , c ata l o g b o o k , w e b s i t e / Typefaces T r a d e G o t h i c C o n d e n s e d, K e p l e r Pag e 9 6

Art on the spectrum

-

Pag e 9 7

Jordan Clare-Rothe

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M FA P o r t f o l i o

Art on the spectrum

Pag e 9 9

Jordan Clare-Rothe

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Pag e 1 0 0

M FA P o r t f o l i o

Art on the spectrum

Pag e 1 0 1

Jordan Clare-Rothe

M FA P o r t f o l i o

AMERICAN MUSEUM OF VISIONARY ARTS

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I am

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HeRe

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W O R K F R O M A RT I S T S WITH AUTISM

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www.avam.org/iamhere I Am Here will run from April 2-April 28 2012, and will coincide with Interntaional Autism Awareness Month.

All art pieces herein are the property of their creators. Designed by Jordan Clare-Rothe for the Academy of Art University.

08 I AM HERE: WORK BY ARTISTS WITH AUTISM

AMERICAN MUSEUM OF VISIONARY ARTS

I AM HERE: WORK BY ARTISTS WITH AUTISM

AMERICAN MUSEUM OF VISIONARY ARTS

Developing Drawing and Graphic Design skills in Individuals with Autism who Think in Pictures

by Temple Grandin

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Welcome to the American Visionary Arts Museum.

We are very excited to bring you I Am Here,

a collection of artwork and poetry by

Previous Page: One in every 110 dots is a star.

In the US, one in every 110 people has autism.

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individuals with autism.

AMERICAN MUSEUM OF VISIONARY ARTS

“Everything around me makes me want to make art!”

—Eliot Antoni Terezi

My mind works like Google for images and I think in photo realistic pictures.

Children and adults who are visual thinkers will often start producing beautiful drawings when they are in elementary school. Parents and

programmed with two things: understanding how

take over and over. They all came from people who

to read floor plans and programming my brain

had never learned to draw by hand. Many of these

took about three years to “program” my brain to

with drafting skills that I had learned by watching

people had also never experienced building things

also encouraged to draw many different things.

read blueprints and floor plans. After I learned

David. I strongly urge all young people who want

with their hands either. It seems that the computer

If children like to draw pictures of trains they

how to do this, I could look at a new floor plan

to become designers, graphic artists, or drafting

mouse is not hooked up to the brain the same

educators should encourage children who have

I returned to the feedlot and walked through the

natural art ability to develop it. When I was little,

facility with my drawing to check it’s accuracy. It

painting pictures and art were encouraged. I was

should also be encouraged to draw other things

and instantly “see” the finished building or cattle

specialists to develop their hand drawing skills.

way the hand is. I think people need to be able to

such as train stations or places the train travels

handling facility in my imagination. Another

I am 61 now and I watched the transition from

“feel” what they are drawing in order for it to be

to. When I first started designing cattle handling

think I had to do was “download” into my brain

hand drafting to computer aided drafting. The

accurate. In the future there will be virtual reality

facilities, I had difficulty relating schematic

the components of many different cattle handling

older people who drew beautiful drawings by hand

systems where a person can “hold” and “touch”

representations of different parts of a building

facilities. I described this process in my book

also drew beautiful drawings on the computer.

the building or thing they have drawn. When these

on a floor plan to the actual building I saw in my

“Thinking In Pictures.” In “Thinking In Pictures,”

The younger people who never learned to draw by

“touch” devices become available, people may be

photo realistic imagination. To learn how to read

I describe how my ability to draw elaborate

hand often made strange mistakes on drawings.

able to skip the need for learning hand drawing

the floor plan and relate it to the pictures in my

blueprints of livestock handling facilities almost

It appeared that they did not “see” what they were

first. Hand drawing may no longer be required for

imagination, I took floor plans of a house and a

magically appeared after I had observed a tal-

drawing. The center of the circle on the round

good technical drafting, but learning how to draw

large meat plant and walked around in the build-

ented draftsman named David. I copied his style

crowding pen would not be in the center. They did

by hand is an art form that will develop a person’s

ing until I could relate every feature of the build-

and used the exact same drawing tools. Below are

not see the mistake because they had never experi-

aesthetic skills. If you are a parent of a child with

ing to the drawing. I had to learn that a square

two of my drawings. These drawings were done

enced holding a compass in their hand and rotat-

either autism or Asperger’s who has good drawing

on the drawing represented a concrete support

by hand with a pencil, ruler, straight edge, an a

ing it to make a circle. They also made mistakes

skills, you should develop these skills. Having a

column and a circle represented a water tank. I

compass. What I did not realize when I wrote

such as 25 ft. (4m) long gates that could not pos-

skill that others appreciate and want will help your

also visited many cattle feedlots and measured

“Thinking In Pictures” is that there was a long

sibly work. In my consulting work with many live-

child to have a more satisfying life.

their cattle handling facilities and then made

period of observation BEFORE I started draw-

stock companies, I saw the same “perceptual” mis-

scale drawings of them. After I made the drawing

ing good drawings. My visual memory had to be

I AM HERE: WORK BY ARTISTS WITH AUTISM

here I aM, I aM here / I haVe a VoIce, Its Just Not clear! / WheN I screaM You stare at Me / do You thINK that I doN’t see? / I aM dIffereNt, I aM JoY / I’M uNIQue Your lIttle boY / I aM loVe, the loVe You Made / soMetIMes

AMERICAN MUSEUM OF VISIONARY ARTS

Its Just...I aM afraId! / I aM the World, / the World lIVes IN Me / I caN feel It aNd sMell It aNd taste It You see / so MuMMY doN’t fear for What We doN’t KNoW / there Is PleNtY of tIMe Just to fINd out aNd groW! Elliott Antonio Terenzi

Pag e 1 0 2

Art on the spectrum

I AM HERE: WORK BY ARTISTS WITH AUTISM

AMERICAN MUSEUM OF VISIONARY ARTS

I AM HERE: WORK BY ARTISTS WITH AUTISM

AMERICAN MUSEUM OF VISIONARY ARTS

When Pigs Fly

seaN bellaNger

A C RYLIC S

Noah schNeIder

14 X 20 INCHES 2006

Sean showed an intense interest in art from an early

Born in 1977 in Arizona, Noah currently lives in

people to his work. According to Sean’s mother,

Pigs Fly” depicts just that. He first became in-

age, developing a singular visual style. Bellanger’s

“many people have commented on the women’s faces

San Diego, California with his mother. He was

volved in art at age 22 when he saw three pictures

attention to detail and his vibrant use of color allow

and the bright colors.” Another piece, “Street Car

diagnosed with autism as a young child. His art

of Disney villains and decided to draw them. He

him to turn the simplest photographs into amazing

in Hanoi” features deep reds and other colors not

reflects an intense interest in fantastical objects

likes to walk and he likes cartoons. He is member

pieces of art. Sean enjoys the outdoors, which are

featured in photographs. Shawn has a strong love of

and people. There is quite a bit of word play in-

of an arts club at his local library. He says he will

commonly a topic in his artwork. “Walking Sticks” is

color and has picks the colors for each piece quite

volved in his work. For example, the piece “When

do art “probably forever.”

his signature piece, and a piece which attracts many

carefully.

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Walking Sticks

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INK AND MARKERS 17.5 X 11.5 INCHES; 2006

I AM HERE: WORK BY ARTISTS WITH AUTISM

AMERICAN MUSEUM OF VISIONARY ARTS

I AM HERE: WORK BY ARTISTS WITH AUTISM

AMERICAN MUSEUM OF VISIONARY ARTS

What is Visionary Art? The Balls ACRYLICS 14 X 20 INCHES 2006

gregorY blacKstocK

Gregory began his art career at the age of 13 with

was born in 1989. He is a perfectionist about his

the support of Arts Unbound, a New Jersey based

artwork, drawing thirty to forty pieces per day but

non-profit organization dedicated to the artis-

keeping no more than one or two. He enjoys video

tic achievement of people with disabilities. He

games, computers and sports.

Like love, you know it when you see it. But

traditions, like Hopi Native Americans

street people, hermits, factory workers,

rule-based systems which can cloud one’s

of the best works in our Permanent

appreciated elsewhere. In this way, we

here’s the longer definition, straight out

making Kachina dolls, sailors making

housewives and psychic mediums, moti-

vision. As in science, ignorance often

Collection Gallery, located on Level 1

can exhibit fabulous art, without the

of our Mission Statement: “Visionary art

macramé, and the Amish making

vated him to say: “Art is at its best when

gives birth to genuinely new inventions

of our Main Building, opposite AVAM’s

great expense of AVAM purchasing works

as defined for the purposes of the American

hex signs. The “contemporary folk art”

it forgets its very name.” It is this listening

and a re-examination of what has already

Museum Shop, as well as throughout our

that would only have to be eventually

Visionary Art Museum refers to art

label isn’t appropriate for AVAM either,

to one’s inner voice with such focused

been dismissed. Jonathan Swift defined

other two buildings and garden space.

confined to dark, climatized storage while

produced by self-taught individuals, usu-

since we like to show works created by

attention that contributes to the unusu-

this kind of vision so perfectly: “Vision

Approximately 50 works will be on view at

we mount new shows.

ally without formal training, whose works

self-taught artists who may have lived

ally large number of visionary art works

is the art of seeing things invisible.”

any one time in the Permanent Collection

arise from an innate personal vision that

hundreds of years ago, alongside work

-many of which took decades to create.

Discovering possibilities that others do

Gallery. This space also permits us to

I’m a self-taught visionary artist.

revels foremost in the creative act itself.” In

that may have been created last year. The

Yet there are still common threads. The

not see is what visionaries do best.

showcase some amazing works made

How do I get to show my work at AVAM?

short, visionary art begins by listening to

exhibition themes we choose to explore

most common theme of visionary artists

available to AVAM on long-term loan.

First, we have no plans to produce any

the inner voices of the soul, and often may

are, thus, innately timeless -with the

worldwide is the backyard recreation of

How do you find all these works you

With the Permanent Collection Gallery,

one-person art shows. There are far

not even be thought of as ‘art’ by its creator.

power to inspire human beings in highly

the Garden of Eden and other utopian

exhibit? Who gets to pick?

the Third Floor Gallery, Tall Sculpture

more self-taught artists making art than

personal acts of creation. Unlike folk art,

visions — quite literally building heaven

We are committed to unveiling a great

Barn, and the 45,000 sq. foot Jim Rouse

any other kind. One artist, attempting

How is visionary art different from

visionary art is entirely spontaneous

on earth.

range of the best of visionary art by

Visionary Center, AVAM can stay open

to stress his independence to us as an

folk art?

and individualized.

exploring one unifying theme at a time.

during the five-week change periods

authentic raw creative visionary, sent us

The German origin of the word “folk,” or So when is visionary art clearly not

volk, suggests “of the people.” The term

Can’t trained artists also hear their

We seek out individual guest curators

between each of our annual thematic

a letter on printed stationery, embossed

own voices?

who know, respect, and adore visionary

exhibitions (with a reduced admission

with “Hermit/Visionary Recluse” along

art and who are likely to have their own

fee of $8). Our Museum Shop, Sideshow,

with his fax and phone numbers and very

“folk art” can be applied in the broadest

folk art?

Absolutely. All of us at AVAM enjoy and

sense: it’s art of or by the people. At

The essential difference between the two,

respect the learning that comes from

special relationship with a particular

stays open to serve you, too. AVAM is

professional slides. Please do not send us

AVAM, we don’t define visionary art as

though both may at times use similar

academic study or through apprentice-

exhibition theme. We like them to lead a

dedicated to continuing production of

your slides! We just don’t have the staff

“folk art,” or even “contemporary folk

materials and methods, is that visionary

ship to a trained artist. We dedicate AVAM

full life quite apart from their curatorial

all new mega-exhibitions. They provide

available to review the piles of unsolicited

art,” principally because organizations

artists don’t listen to anyone else’s tradi-

exclusively, however, as a place devoted

abilities, so that their personal richness

an ideal forum for public exploration of

artist packages arriving each week. Again,

like the National Endowment for the Arts

tions. They invent their own. They hear

to the other path of mastery — the

and other interests can inf luence

all the grand themes that have always

the way we find the work we show is

rightfully define folk art as art coming

their own inner voice so resoundingly

intuitive path of learning to listen to

their show.

inspired human beings into acts of fresh,

by empowering our guest curator and

out of a specifically identifiable tradition.

that they may not even think of what they

the small, soft voice within. We believe

Is there a permanent collection?

new creation. This system also lets us

equipping him or her with our archive of

Folk art is “learned at the knee” and

do as ‘art.’ Dubuffet’s beloved Art Brut

there is great power in not knowing what

Yes, we now have over 4,000 pieces in our

borrow the best art works to share with

proven contacts with an excellent eye for

passed from generation to generation, or

Collections, formed exclusively from the

will or won’t work, and we adhere to the

collection! We intend to rotate exhibition

the public, and return them safely to be

what we want.

through established cultural community

“raw art” creations of non-artists, such as

importance of not being immersed in

* I AM HERE: WORK BY ARTISTS WITH AUTISM

AMERICAN MUSEUM OF VISIONARY ARTS

Museum Information

MUSeUM HoURS

10:00am - 6:00pm Tuesday - Sunday* *Open Monday Martin Luther King, Jr. Day as AVAM’s celebration of

* For Group Reservations, please take a look at our FAQ & fill out our Group Visit Request Form, then email or call our Group Visits Coordinator, Jackie Leo: (410) 244-1900 x216 groupvisits@avam.orgwith that info.

all of life’s possibilities! Free admission & special programming.

toURS

CLoSeD

Our wonderful volunteer docents (tour guides) can be available

Christmas Day and Thanksgiving Day

to take your group through a tour of AVAM’s current exhibition

ADMISSIoN

Adult $15.95 Senior (60 and up): $13.95 Student/Child $9.95 Children 6 and under FREE! Members FREE! ( just show us your Fan Club Card) Membership has its benefits — find out more!

GRoUP ADMISSIoN PRICeS

Adult Groups of 10 or More: Adults $10 per person

and our Permanent Collection. If you would like to request a docent for your group’s visit, please contact our Group Visits Coordinator, Jackie Leo: (410) 244-1900 x216, groupvisits@avam. org (be sure to take a look at our FAQ & fill out our Group Visit Request Form first). There is no additional charge for a guided tour, but we ask that you place your request at least 2 weeks before the date of your group’s visit.

age groups only)

light. Turn right on Lombard. Turn left at Light Street. Turn left

Take Ed Kane’s Water Taxi to Landing 4 (at The Rusty Scupper).

bottom of the ramp, make a right at the stop light onto Key

Follow the walkway up to Key Highway (about a 2 minute walk!)

Highway. The museum is 1.5 miles ahead on the corner of Key Highway and Covington street.

From Washington DC and Points South Follow I-95 north to exit 55/Key Highway. At the bottom of the

Baltimore Visitor Center Follow Harbor Promenade toward MD Science Center. Turn left

do our very best to provide one, however, your group is NOT

(Across the street from the Rusty Scupper restaurant). Turn left

Key Hwy. Museum is across the street. Cross safely & behold the

guranteed a docent, even if you request one. Our docents are

on Covington (you make almost a U-turn around a median in

sights and wonders!

volunteers and are unable to provide tours for every group

order to make the turn) for metered parking.

designed to be self-guided. If we are cannot provide a docent for your visit, we have provided extensive wall text, scavenger

*

and you can’t miss the museum.

Walking From The Inner Harbor /

at Science Center, continuing to follow the promenade until

that places a request. The American Visionary Art Museum is

*

at Key Highway (MD Science Center as landmark). AVAM is on the corner of Key Highway and Covington Street.

hand lane through the tunnel) to exit 55/Key Highway at the

you reach The Rusty Scupper. Follow sign up stairs & path to

at kiosks throughout the galleries.

Adults and Chaperones for groups of 70+ get in FREE (school

Follow 1-95 south through the Ft. McHenry tunnel (stay in right

From The Sea

ahead on the corner of Key Highway and Covington Street.

hunts for students and information about our artists available

Adults/Chaperones and Seniors: $10 per person

From New York / Philadelphia and Points North

ramp, make a left onto Key Highway. The museum is 1.5 miles

School Groups of 10 or More: College Students: $8 per person

From Harrisburg / York and Points Northwest Follow I-83 south ( Jones Falls Expressway) to Lombard Street

of historic Federal Hill, adjacent to downtown Baltimore’s Inner Harbor.

PLEASE NOTE: If you request a docent for your visit we will

Students (K-12): $6 per person

Title One Schools: FREE

DIReCtIoNS

The American Visionary Art Museum is located at the base

*

*

*

*

*

PARKING

Abundant metered parking available on Covington Street and Key Highway. Handicapped accessible. Paid Parking is also avail-

*

able in the Public Parking Lot at The Rusty Scupper Restaurant on Key Hwy.

*1 Adult Chaperone is required for every 10 students, if your group is younger than 8 years old, you will need 1 Adult Chaperone for every 5 students.

*

*

* The maximum group size the museum can accommodate is 100-120 people per group

* * One in every 110 people is now born with autism spectrum disorder.

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I am

Here W ork by Artists With Autism

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Art on the spectrum

I am

I am

Here

Here

W o r k b y A rt i s t s With Autism

Wo r k b y Arti sts W i th Au ti sm

I am

Here Work by Arti sts Wi th Auti sm

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Art on the spectrum

I am

HERE W O R K B Y A RT I S T S WITH AUTISM

D I R E C T I O N S | A RT I S T S | L I N K S | AVA M | M U S E U M | F I L M

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Am e r i c a n Vi si o n a r y Ar t s Mu s e u m , Ap r i l 2 - 3 1 , 2 0 1 2

Buy Ti x!

I am

HERE W O R K B Y ARTISTS W ITH AU TISM

D I R E C T I O N S | A RT I S T S | L I N K S | AVA M | M U S E U M | F I L M The American Visionary Art Museum is located at the base of historic Federal Hill, adjacent to downtown Baltimore’s Inner Harbor.

From New York / Philadelphia and Points North Follow 1-95 south through the Ft. McHenry tunnel (stay in right hand lane through the tunnel) to exit 55/Key Highway at the bottom of the ramp, make a right at the stop light onto Key Highway. The museum is 1.5 miles ahead on the corner of Key Highway and Covington street.

From Washington DC and Points South Follow I-95 north to exit 55/Key Highway. At the bottom of the ramp, make a left onto Key Highway. The museum is 1.5 miles ahead on the corner of Key Highway and Covington Street.

(Across the street from the Rusty Scupper restaurant). Turn left on Covington (you make almost a U-turn around a median in order to make the turn) for metered parking.

*

From Harrisburg / York and Points Northwest Follow I-83 south ( Jones Falls Expressway) to Lombard Street light. Turn right on Lombard. Turn left at Light Street. Turn left at Key Highway (MD Science Center as landmark). AVAM is on the corner of Key Highway and Covington Street.

From The Sea Take Ed Kane’s Water Taxi to Landing 4 (at The Rusty Scupper).

Follow the walkway up to Key Highway (about a 2 minute walk!) and you can’t miss the museum.

Walking From The Inner Harbor / Baltimore Visitor Center Follow Harbor Promenade toward MD Science Center. Turn left at Science Center, continuing to follow the promenade until you reach The Rusty Scupper. Follow sign up stairs & path to Key Hwy. Museum is across the street. Cross safely & behold the sights and wonders!

Am e r i c a n Vi si o n a r y Ar t s Mu s e u m , Ap r i l 2 - 3 1 , 2 0 1 2

Buy Ti x!

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Jeepers Keepers From the minimalist to the hoarder, we all have a relationship with our possessions and keep the things that have meaning to us. But what do those items say about a person?

This ethnographic work raises the question, “Why do we keep what we keep?” Included are interviews of four archetypes — a pack rat, a horror geek, a historian, and a sentimentalist — and photography of their possessions, all in search of the answer to the question of what we keep means about who we are.

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Spring 2011/ C l a s s Typography Three C at e g o r y Book design David Muro III/ D e l i v e r a b l e s Book/ T y p e fa c e s Adobe Garamond

Semester

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Instructors

Arvi Raquel-Santos,

/

J e e p e r sR eKbe r ea pn er ds ing Coleman

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Jeepers Keepers

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A Corporation Unrefined Richmond, California is home to one of the largest, dirtiest oil refineries in the country. Its citizens, most of whom are minority and working class, suffer from health problems including asthma at unusually high rates. This book focuses on the people of Richmond and their long, problematic history with a refinery in their backyard. An interview with oil industry expert Antonia Juhasz explains the issue in depth, and interviews of people living in the area provides a first hand connection to the issue.

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Semester Fa l l 2 0 0 9 / Class V i s u a l C o mm u n i c at i o n s L a b / Categor y Instructor J e r e m y S t o u t / Deliverable B o o k / Typeface F F D i n Pag e 1 1 8

Editorial, Book Design/

a c o r p o r at i o n u n r e f i n e d

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a c o r p o r at i o n u n r e f i n e d

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a c o r p o r at i o n u n r e f i n e d

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a c o r p o r at i o n u n r e f i n e d

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a c o r p o r at i o n u n r e f i n e d

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PERSONAL IMPACT Pag e 1 2 8

a c o r p o r at i o n u n r e f i n e d

OPPOR- HIS- ECOTUNITY TORIC NOMIC GAPS IMPACT IMPACT ENVIPOLITI- CUL- RONCAL TURAL MENTAL IMPACT IMPACT IMPACT

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Communal Construction Children with autism face tremendous challenges in their lifetimes. They have difficulty relating to other people and reading social cues, and one quarter never learn to speak at all.

One problem is that people with autism often have great difficulty with auditory learning, the spoken word gets lost. On the other hand, they are often particularly strong at visual learning. Parents and teachers are increasingly capitalizing on this strength by using visual supports

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Sp r i n g 2 0 1 1 - Sp r i n g 2 0 1 2 /

Service Design/

Advisors

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Web Design, Book Design, Mobile Design,

P h i l H a m l e t t, M i c h a e l K i l g o r e , N at h a n Wat e r h o u s e /

Typeface

C h a pa r r a l P r o, B r e e

Deliverables

Book,

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based on simple images to reinforce learning. Unfortunately, the images that make up visual supports are of a shameful quality and are in need of design. This is not merely to make them look nice, but so they can more effectively communicate meaning to the children they are meant to serve.

The people who understand children with autism best are those who see them every day; their parents, teachers, therapists, and aides. It is not the role of a designer to dictate what would be the ideal visual support.

Thus, Imagengine is an open-source

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Master’s thesis

platform for teachers and parents to make what they need themselves; it enables them to exchange, search, and improve on the visual support images they use. Much as Wikipedia has pooled human resources to make the world’s largest encyclopedia many times over, Imagengine will pool efforts to assemble and refine a library of powerful, effective visual support images for children with autism.

These images will make up one piece of the puzzle to teach children with autism the skills they need to lead happy, independent lives.

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Autism

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Visual Support Images

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Open-Source Platform

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Search and find images

Log-in to personal account

Tag images

Register a new account

Upload images

Request additional images

Download images

Exchange dialogue with other teachers/ parents/ therapists

Create image collections

Print images at home or office

Export images to mobile device

Print from vendor on alternate material

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Every child is different.

There is a common expression in autism circles

others prefer line drawings. Some favor the color

Visual supports must be customizable to the needs

that, “If you know one child with autism, then

red, while others may be distracted by any color

of the specific child. The people closest to the child

you know one child with autism.� This is because

at all. Some can read and understand common

must be able to have control over the substance

every child with autism is different, a fact that

symbols, others cannot. For this reason, the

and the appearance of the visual support, ensuring

even pertains to their response to visual supports.

visual supports must be different for every child.

that the support matches up with the individual

Some children respond better to photographs,

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needs of the child.

Master’s thesis

Together we can design better learning materials for children with autism.

IMAGEngine is an online platform for teachers

VisuAl supports

and parents of children with autism to share and

The core function of IMAGEngine is to create visual

improve visual supports for their students and

supports. Visual supports are specific structured

children. Users will share images through an open

combinations of images used to communicate

source library, and use these images to customize

ideas, commands, phrases, schedules, and actions

visual supports to the individual needs of a child.

to a person with autism. Visual supports can take

Further, IMAGEngine allows users to communicate

several forms, and this site will focus on daily

with each other and work in networks to address

schedules, image exchanges, calendars, checklists,

the support their children.

first/ then charts, and task steps. Because children

Autism

Autism is a developmental disability that affects a person for his or her entire lifetime. While symptoms vary greatly from person to person, it

with autism generally struggle with auditory

the library it can be used by any other user for his children’s visual supports.

KArmA

Karma is a way of tracking how active users are on IMAGEngine, and to encourage users to contribute to IMAGEngine. Users are granted Karma points for

every child is different.

Just the necessities.

making positive contributions to the site, such as uploading images, providing feedback on images, and tagging images. Each of these actions benefits

input, and are good at receiving visual input, visual supports can be greatly beneficial in the

User-centered research led me to

classroom and at home to provide structure and communicate to children with autism.

these seven discoveries, which

and relate to others, and many people with

imAge BoArds

informed the structure and direction

severeforms of the disorder never learn to speak

An image board is the web space where all of

of the imaGengine site.

at all. One in eighty-eight children has some form

a child’s images are stored. All members of his

of autism, more than childhood diabetes, AIDS,

support circle can post images to the image board.

cancer, cerebral palsy, cystic fibrosis, muscular

These images then become the ingredients for a

dystrophy or Down syndrome, combined.1 There is

child’s visual supports. Images from the image board

no known cure for autism, but the right education and

can be dragged and dropped into place onto a visual

intervention can give any child a better chance at a

support (such as a task list). Because every child is

happy and independent future.

different and responds well to different styles of

usually limits a persons ability to communicate

must be easy to use.

Consistency is everything.

ence to how many karma points a user has built up. imAge rAnKing

best to select the images that will work for him.

with his child, he will be encouraged to rank the

IMAGEngine organizes its users into support circles

effectiveness of that image, that is, how well the child

with an individual child at the center. A support

was able to understand its meaning. Through an easy

circle is a small social network of two to eight

system of ranking, IMAGEngine will keep track of

work with or are related to a single child to contribute to that child’s image board, using an agreed upon and consistent set of images to create imAges

that child’s visual supports — as well as send

Images are the basic elements of visual supports for

messages related to the care of the child to the

children with autism. They can be illustrations or

whole support circle or to an individual member.

photographs which symbolize a specific meaning,

Messages arrive in user’s e-mail accounts.

supports. To use an analogy, if visual supports are the meal, then images are the ingredients.

Once a user has used an image in a visual support

support CirCles

people, and it allows a group of people who all

are the basic unit that makes up the modular visual

to let users know their actions are appreciated. A color coded system of hearts will make easy refer-

images, this allows the people who know the child

in a way that is recognizable to the child. Images

the overall use of IMAGEngine, and Karma is a way

materials must be tough.

The iPad is a game changer.

which images are more and less effective, and be able to encourage users to use images that have received high marks in their visual supports. More highly reviewed images will show up higher in a search query. user pings

In order to encourage users to return to IMAGEngine and use the site, the site will occasionally “ping” them with e-mail messages. When a member of

open sourCe liBrAry

their support circle has uploaded a new image or

IMAGEngine provides an open source library to its

created a new visual support, for example, the user

users. An open source library is a set of documents

will receive an e-mail. This will help remind users

that are available to anyone and to which anyone

1. Web site for the data resource Center for Child and

can add their own documents. A well known

adolescent health.

example of an open-source project is Wikipedia. At IMAGEngine, any single user can upload an image to be used in a visual support — either artwork

adults must work together.

from her own computer, or with proper attribution,

about the site and will keep them coming back.

Future

Through these functions, IMAGEngine will become a valuable resource to the autism support community, and will provide them with the tools to give every child his or her best shot at a happy

images from anywhere across the web. The system

and independent future.

trusts the user to know what sort of images will be effective with her children. Once an image is in

imaGenGine for aUTism.orG

J o r d a n C l a r e - r oT h e

aCademy of arT UniversiTy

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Hello Julia!

My Profile | My Kids

My Support Kids Circle

Jackson R. IMAGE BOARD

SUPPORT CIRCLE

Jeremy T.

Jackson R.

Anna D.

Jason G.

Scottie W.

Jodie K.

Javier L.

+

Copywrite Jordan Clare-Rothe 2012 | Graduate Thesis Project | Academy of Art University

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VISUAL SUPPORTS

Add New

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Ac a d e m y o f A r t U n i v e r s i t y

School of Graphic Design Jordan Clare-Rothe

510 326 3518 jordan@clarerothe.com 600 William Street Apartment No. 150 Oakland CA 94612 Instructor

Mary Scott Course

Portfolio Seminar Photography

Jordan Clare-Rothe T y p e fa c e s

Bauer Bodoni, ITC Franklin Gothic, ITC New Baskerville B o o k b i n d e ry

Blurb www.blurb.com Title of Book

Punctuated Text stock

NewPage 100 pound premium matte Software

Adobe Creative Suite 5

Š 2012 All rights reserved. No part of this publication can be reproduced without express permission from Jordan Clare-Rothe.

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Acknowledgments Many people are responsible for this portfolio. To my family whose love and generosity helped me get to this point. To my Academy professors Phil Hamlett, Michael Kilgore, Mary Scott, and Hunter Wimmer for pushing me to be better. To my wonderful friends for sticking with me, and to my amazing partner Sarah Beth, for helping me keep it all in perspective.

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Thanks for looking; drop by for a visit.

Clarerothe.com

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Design adds emotion and context to a message.

When used effectively, design reveals whether a person is asking a question or exclaiming a point. It joins ideas together and allows for pause. In short, design punctuates ideas.

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