madelife Zine - Issue 1

Page 1


On the Cover David Polka south wall madelife mural Summer 2014 check it out: madelife-muralsdavid-polka/

Graphic Design/ Lead Editor Devon Tomaselli madelife intern

Graphic Editor Alan Peters madelife graphic mentor

Content Editor Leah Brenner

Photography Scott Clark madelife mentor

Writing Maddy Etre madelife intern Nadav Barnhard madelife intern Sam Klase madelife intern



it’s innate talking art with madelife intern


With a spunky attitude and an appreciation for detail, Maddy is not only young, but talented. Coming all the way from Santa Fe, New Mexico, Maddy recently completed madelife’s Creative Accelerator Program for graphic design. A natural artist and innate doodler, we are stoked that Maddy has made it to Colorado. Maddy was exposed to a plethora of artistry from an early age. Growing up in a southwestern art mecca as well as being around her father’s antique and art dealership, she experienced a variety of visual styles. However, the local vernacular of landscapes and Native American art did not spark her interest. Instead, she chooses an aesthetic focused on intricate line work and heavy detailing. Do not be mistaken, Maddy will not tell you up-front that she is an artist. Cartoon illustration is her passion, and she is now fluent in Adobe Illustrator, so the label of graphic designer works just fine, and it lends itself to new professional opportunities.

graphics by: Maddy Etre words by: Devon Tomaselli

We can hold The Gorillaz and Roy Lichtenstein as responsible for Maddy’s style, and she thinks the fatter the crayon the better. Night over day, and never breakfast for dinner, Maddy is definitely one of a kind. With a couple of graphic jobs under her belt at 20 years old, Maddy has proven her ability to become part of the design world, and we can’t wait to see what’s next.


accelerating AT madelife A conversation with madelife intern

NADAV BARNHARD Nadav, do you think leaving Jerusalem at such a young age has affected your work as an artist? Definitely, it has affected my work. I think in many ways a lot of the work I have done more recently is a process of weaving together different fragments of my experiences and identity. For instance, the Hamsa was used as a background for other elements that I enjoy. Venus has showed up a lot in your work, can you explain your curiosity with Venus and how you became so skilled at drawing the human figure? I went to a very religious school in New York, my parents wanted my siblings and I to have a Jewish education. I was there for 12 years and studied a very fixed idea of God and Yahweh in Judaism. I think I’m attracted to Venus because she is the feminine goddess. I think it is a way for me to subvert that fixed idea of a greater being that I grew up with. In second grade I attended an after school art course and began drawing people at that age. It just stuck with me, and I have an inclination to want to draw the human figure. Do you think those classes helped you transition in your move? I think I always had it in me; I always did it on my own, regardless. In many ways, the religious framework that I grew up in had a huge impact on me. It didn’t nourish my creative side so I sought it out elsewhere, with my parents who supported that. When I look back I see that artistic environment as a huge catalyst to want to explore further. graphic by: Nadav Barnhard


NO MORE CLOWN SCHOOL words by: Devon Tomaselli

I am amazed at how easily your minimalistic style can complete a story. It feels like I am laughing at something I’ve known my entire life. Does your own work make you laugh? If not, what does? I am happy to hear that! I suppose I will chuckle every now and again if I stumble across a funny idea, or execute a card properly. But I guess what really makes me laugh is clowns. Clowns are always in such a good mood and juggling and wearing face makeup. My brother, father and uncle Todd all went to clown school...but only uncle Todd graduated. He actually graduated summa clown laude, and ended up getting a really good clown job after clown college.

Dabbling in a mixture of illustration, poetry, and storytelling, can you tell us more about your creative background? Do you ever consider yourself a comedian? I do have a background in art (graduated with a degree in fine art & graphic design). I have been illustrating my entire life, and I have always enjoyed entertaining and telling jokes. Upon pursuing artistic endeavors after leaving the graphic design world, I knew I wanted my work to have a comedic tone. As far as viewing myself as a comedian...not necessarily yes or no. I simply try to create stuff that makes people laugh, escape, enjoy life, etc. Hopefully my work moves people in some way. Much like a clown car.


Mountain vs Plains has mastered a humor that you have never encountered. Composed of awkwardly illustrated characters and handwriting similar to those found on cocktail napkin prenups, he will make you laugh as hard as that inside joke with your best friend. With an inviting personality, I got to briefly meet Paul, and he is just as humorous and refreshing in the flesh. Returning to Colorado from Austin, Texas, we couldn’t be happier that Paul began Mountain vs Plains in 2011.

You have a series of “Office Art,” greeting cards, and even a publication. What can we expect to see in 2015? Anything new aesthetically? Will you be exploring any new mediums? I have enjoyed trying new mediums, and am interested in always trying new things. My goal is to constantly be creating, regardless of what it looks like or how I can make money doing it. Recently, I have been working on a short film coming in the Spring as well as a few fun music projects. I also may start knitting hamster sweaters. Regardless, if I constantly push myself to create, things will not get stale and I will not have to end up going back to clown school.

Your work has elements of both organic and industrial aesthetics. How does this juxtaposition translate into your idea of creative expression in a physical world? The practical side of me appreciates the notion of industrial design. It speaks to well crafted, smart design that can reach the masses. Thoughtful design is beneficial for everyone. The organic aesthetic is rooted in the process of making. Working in clay gives a unique touch and expression to the work and I want to extend that appreciation to the viewer. We are so out of touch with the physical world these days. For example, to enjoy and use handmade cups and bowls that we use everyday gives deeper meaning to the joy of eating. Having handcrafted work around us deepens the appreciation of where things come from. How would you define your personal style? Do you find yourself incorporating that design aesthetic into your clay work? My personal style is pretty simple and minimal. I’ve really paired down and don’t have a lot of ‘stuff’. Must be all those years living in small spaces in NYC. I value efficiency, good craftsmanship and wit. The qualities of clean lines and sophistication tend to translate into my clay work. How is working with clay different than other mediums you’ve worked with?

a word with

Liz Quan words by: Nadav Barnhard

I enjoy pastels and paints, but I prefer clay for it’s sculptural qualities. Clay is an extremely versatile medium to work with. It can be formed into anything and is more forgiving than say wood or steel. The ability to readily add or take away material during the creation process offers tremendous flexibility. You’ve stated that working with clay is a long and involved process. How do you bring playful philosophy into such an intricate process? The play happens during the creation process and the intricacies occur during the reproduction of the work. There’s a wonderful moment in the creation of the work that’s freeing and uninhibited. I’m in the zone. I’m not thinking too much about what the piece is or if it will sell. I’m just present with what’s forming in front of me. The complicated part comes with finishing or extrapolating the piece into further directions. That requires planning.

“EDM has gone where no music era has even been before.” Like many, Frankie has been involved with music for most of his life. He collected CDs, one of the most memorable being The Beatles, “their CD with the apple on it.” However, he is not a classically trained musician. Actually, he lacks any extensive studies on music theory and even a deep understanding of an instrument. But before any assumptions are made, this kid is good. “I’m not trained in any sense, other than being an avid listener and doing a lot of experimenting. I dabbled in guitar a little bit. But I am the type of person that just can’t stand anything like school. I can’t stand having an assignment, to be forced to do, or practice something. And I really wasn’t that interested in learning or having to play other people’s songs.” But this gave me the basic understanding that I wanted compose my own things.” So Frankie taught himself. Starting out with basic production software, he’d compile simple beats and bring them to his friends. “I probably started realizing that I could make music on the computer when I was like 13 or 14 years old and I was using GarageBand, pulling loops together. There are little loops inside of it that are pre-made. I would just stack them on top of each other and make little beats. I’d bring the beats to school and show my friends and they’d be like whoa this is really good. Then I thought, maybe I’m good at this. So I started to use MIDI to make my own loops and eventually I graduated from GarageBand into Logic, which is just the professional version of GarageBand. It was cool to just bring in something that I had made and see people react to it.” But perhaps this is the appropriate rhythm for Frankie. Perhaps, he was correct in composing his own music first, to then learn about theory and music history. With over 10,000 hits on SoundCloud, who is one to argue? In the fall of 2012, Frankie came to madelife. Here he dove into the producing process, making more mixes and learning how to use a DJ controller. After his first gig, he was offered another. (continued)


melodeyes words by: Devon Tomaselli photo by: Scott Clark

On a fair day in December I got to sit in the beautiful madelife show room. As the sun sunk behind the Flatirons, and Pearl Street’s buzz hushed to a whisper Frankie Graham, Melodeyes, and I sat to discuss his work, EDM culture, and future in the London electronic scene.

“I played my first DJ set here [madelife]. At the end of the night, a guy came up to me and offered me my next gig and it kind of just worked like that. I’d play a gig, and people would give me their card and ask me if I was available to play a party for them.” And so, Melodeyes was born. Gig after gig, he organically developed a following. After releasing singles he soon had a SoundCloud following too. But this would not be Frankie’s first Internet breakthrough. In high school, one of his earliest songs, Spacecraft, reached tens of thousands of hits on StumbleUpon. But don’t try to find it on the internet. Its time had come and Melodeyes developed into a different sound. Melodeyes has covered a lot of ground since composing his own work. He has consumed a hashtag that was before, unknown to him, #melodictrap, which envelops his downtempo world. Following a similar genre, STRFKR and Youth Lagoon are his favorite composers and he has posted successful remixes of their works too. These three, are capable of composing melodies that are obvious enough to get you pumped, but aren’t so predictable that you don’t return for more. Even more impressive, Frankie’ sound is already distinct but it is also flexible. Somehow, a Melodeyes playlist is consistent and suitable for a party or the library. “What connects all my songs is that they are a very digestible pop music, mixed with something that is not overwhelmingly cheesy or commercial…something that is still cool you could really vibe with.” Melodeyes has done a lot, considering the amount of time; it is a name suggestive of this particular genre. Like his graphic work, Melodeyes is a name that suggests the downtempo beats, and becomes an extension to his music allowing listeners to “color in” the rest. “I’d definitely say that a downtempo or melodictrap is a good way to describe the music that I’ve posted, but I don’t know if I will always be making that stuff. An artist or band can be known for one style of music and I think of styles of music as emotions, but I’m going to want to express other emotions. My taste will change and I don’t want my name to hold restrictions around the style that they hint to.”

“I want to be someone that creates experiences for people but I really want to make something that people could make their own conclusions about.”

Soon, Frankie will be moving from Boulder to London, pursuing an education in music production. In the city where electronic music was born, I predict that he will experiment in multiple genres and once again gain new knowledge in production software. “I’m switching to Ableton, kind of like the way an artist switches brushes. How do I do what I’m doing with these new brushes? I just hope to leave Boulder with new knowledge.” Ending on a high note, Frankie will always consider Boulder a home, to Melodeyes and his passion for music. If there is anything that he wants EDM followers to know is that Boulder and Denver are it. They are up and coming hubs in the global EDM scene, producing stellar artists thanks to local venues like to Fox, that feature them. If you’re a newbie to the EDM scene, Frankie hopes that you will “keep your mind open and give it a try.” As he develops in London, he promises to do the same, “I’m looking forward to exposing myself to new genres in London. A lot of the things that I listen to have started in London, so it’ll be cool to see what I can get into. I think that’s somewhere I would really dive into, someone else’s culture and style of music to tap into and apply to my own music, because not everyone is a huge EDM fan.” He has been building his world for only the past couple of years. But there is no question that Frankie has a clear direction. Filled with dreamy melodies and slinky synths, whether you are studying, partying, or imagining your own world that you too will create, the sounds of Melodeyes work is there to inspire you.

to get more from Melodeyes

HIGH VOLTAGE words by: Sam Klase

The vibrant colors you use on the metal makes an interesting juxtaposition, why do you put the two together? Colors are chosen for contrast and used to evoke emotions and or feelings of nostalgia. When did you first start working with the materials you use? What drew you to it? I was designing and building one of a kind, limited-edition furniture and started incorporating more metal into my pieces. The beauty and flexibility to create anything with steel and aluminum as well as its visual aesthetic inspired me to use it in more of my work. Has it been hard to make it as an artist? When did you finally think it was worth it? It’s always hard to do anything that requires constant determination, reinventing yourself and your work at every point. Challenging your talents, wearing multiple hats, evolving with the new, ever-changing, social media and sales tools and then coming up with creative new ideas to make and sell. No it’s not that hard, and yes, it’s always worth it. Knew it from the first piece I ever made.

CUTTYTOWN words by: Devon Tomaselli

Jaime Molina is a contemporary artist in Denver. Drawing battle scenes from an early age, it was a humble beginning, filled with computer paper. After a BFA in printmaking and well-established sculpture work, saying Jaime has come a long way is an understatement. He has formed a world of beautiful macabre, filled with haunting characters and whimsy skulls. Accredited with an aesthetic, reminiscent of zany folklore, this world is also filled with murals and mixed media paintings. Perhaps today, we can understand a bit more of Jaime’s artful pretend.

JAIME MOLINA Can you further describe your meaning of Cuttytown? Did you decide to use this before or after beginning your work? Cuttytown is an imaginary place that I made up, as a way to make sense of all of the characters I was drawing a while back. I was trying to find some kind of cohesion in all of the different types of people I was drawing. I had a dream about it and it made a lot of sense to just have all of them live in this funny little made up town/world. Not everything I make is about Cuttytown, but it’s always a source of inspiration and a way of making sense of things. Having this imaginary place to process things is kind of like an alchemist’s stone of sorts for me. You’ve mentioned that you began drawing at an early age, how old were you and who or what had the strongest influences on your aesthetic? As long as I can remember I’ve always drawn. Lots of guns and army stuff when I was little, which would probably surprise a lot of people. Then in high school I really started to fall in love with drawing and creating whatever I wanted to make. Zoning out in class and drawing the whole day was all I did back then. Lots of parent teacher conferences with tests full of drawings instead of answers. Early influences were mostly from beat writers I was really into at the time. From that, it went to graffiti and other raw visual artists like Cy Twombly and Basquiat and Twist. Lately, I’m drawn to straight up folk stuff and graffiti with no pretense. Kids drawing shit on a trash can or a wall with a No. 2 pencil really does it for me. Fameless stuff, ya know. My great uncle used to paint these really cool landscapes on old saws and old pieces of wood. Aside from my family, that’s what inspires me. From printmaking to murals, to sculpture and painting did you always plan to work in these realms or did this development happen organically? I’ve always made stuff from whatever is around me. Finding printmaking was a blessing because it is so unique and it was just what I needed at the time I discovered it. My sculptural work definitely evolved organically from my paintings. I did a couple of custom painted skateboards that I also carved. From there, I just kept pushing the three dimensional aspect further and further each time. Working in different mediums just makes sense to me. If art is a language, then each process and medium are just an extended vocabulary. They are all powerful in their own ways. Telling a story is much easier and more complete when you have many different tools in which to tell it. How long will you stay in Cuttytown and what are your plans for future works? Cuttytown forayver, foo! Haha, nah. I just make work from my heart and sometimes it's planned and intentional and sometimes I don't know what I'm doing and it's more unknown Cuttytown territory. Whatever it is, I got an endless well in my imagination for ideas. Hopefully it's fun for people to look at once in a while. Future works? I just do what I'm into and try not to think too much about what else is out there. It helps me to unplug and keep looking within rather than clouding my vision with what every other artist in the world is doing. I love Instagram, but you have to know yourself and be confident in your own vision or else it's very easy to get lost in everyone else's. I know i'm not the most conceptual or pop savvy artist, but what I do is straight from my heart and soul and I think that it comes across to people when they see my work. Thanks for your time, homie!

10 QUESTIONS with Julie Mother F’ing Tierney

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Where are you from? How did you end up in Colorado? I am from Wheat Ridge, CO. My parents moved here in the 70's from Baton Rouge, LA, that is where I was born. How old were you when you started designing? I went to Mt. Hood Community College when I was 26, and then returned to school for fashion when I was 32. Was there something or someone specific that inspired you to start? I thought I was going to make Oregon-inspired, women's fly-fishing, apparel. How has your inspirations of artistic influences changed over the years? I graduated 4 years ago, so my aesthetic is the same, with more refinement and a clearer vision.


Tell me a little about being on Project Runway, What was that like? How was it standing up in front of the panel of Judges knowing you're on TV.? It felt like all the another crappy jobs I have had. Same characters, they just have cameras on you. The judging is long, and it is a lot of hurry up and wait. But, you are standing around for so long that you are just waiting for it to be over.


Who are some other artists that inspire you? Who or what are other things in general that inspire you? Joseph Beuys, Duchamp, Matisse, Buffalo Wild West Show Posters, Annie Oakley, Vintage Boy Scouts propaganda, 90's snowboarding, 80's skateboarding, olde timey skiing posters and outfits, 80's ski outfits, Shackleton Expedition, Face to Face : Polar Portraits (book), corporate identity, vintage photographer branding, Mission Movement/ WPA, 70's and 80's camping and Bigfoot the mythical creature.


What are some of your other hobbies? Visting dive bars, Instagramming, snowboarding and skateboarding some, but not like I used to. I work a lot now, so work has become my hobby. I guess I go to art openings.

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What is in the future for you? Moving my products into Outdoor Retailers. What was your favorite toy as a child? Legos and Transformers If you weren't an artist what would you be or like to be? Boring, but rich. words by: Maddy Etre

words by: Sam Klase


Wool Hat is a throwback to the days when Made In America meant local, quality, produced to support the community. Wool Hat is owned by two bad dancers and their children. Danelle is the material hunter, de-constructer, finishing department, optimist, and mother at Wool Hat. Matthew has an ever laughable degree in carpentry, but has spent the last ten years working with some talented cabinet makers and furniture makers that taught him many things you can only learn working with talented people. Matthew has the skills to design and assemble material, the imagination to recycle, and knowledge to leave the sales to Danelle. The little owners of Wool Hat are currently enjoying third and first grade.


We are saving the world one consumer product at a time, by making pre-apocalyptic re-constructionist furniture. It’s classic, with clean lines ranging from Shaker to the Industrial Revolution to Mid-Modern with materials marked for the landfill. We have combined excess maple flooring and a discarded metal workbench into a kitchen island, the envy of any cook. We named it after our local icon, Chef Happy. We have turned salvaged post-and-beam framing from Estes Park into farm tables. We have taken a rock star anvil case and converted it into a Courtney Love wardrobe, for the closet hungry nomad who is now renting a room in old town. As soon as she graduates, she wants to pack up everything, take it down to UPS, and ship it to NYC, where there aren’t any closets either.


Wool Hat has been a full-time occupation since March of 2010. Matthew has been employed as a woodworker since 1999, with a small hiatus to raise a couple of kids, start and sell another small business, and write a couple of novels that aren’t published. Danelle had been in the brewing industry marketing and sales until two little people helped her focus on the stuff that makes a home. Without each member of the Britt Family owning their strengths and weaknesses, we would not be skipping down the Wool Hat path.


Furniture is inherent in our lives and space. It’s an extension of our story and philosophy. The white leather contemporary couch in the formal living room covered in plastic is the same as being a Christian that has never read the Bible. The understated craftsmanship of the Shakers respects the hardworking, frugal ethics of the Protestant Reformation. Our craft, our pre-apocalyptic re-constructionist furniture is a testament to making life sustainable in a time when consumer products are designed to break, religions are failing us as a viable belief system, and shipping from around the world is cheaper than local production.

“Vintage, Dilapidated, Worn, Un-fashionable, & what others see as a waste... Wool Hat conceives style & potential.�

CMKY Kate Lesta with

words by: Devon Tomaselli photos by: Stephen Cardinale

Was there an instance that really inspired you to begin a career in this?

Can you tell us a bit more about Communikey’s origins? We started Communikey in the winter of 2003 going into 2004. The other founding members were people who I had been throwing parties with. Everybody who started Communikey already had a background in producing electronic music events in the area and elsewhere and they’re still here in Colorado. Pretty soon after that a couple of other friends joined in, mostly, Djs, graphic designers, and event organizers …all creative people.

I started producing electronic music, art, and community events when I was 16. I was a home-schooled student; actually I was what you call an unschooler. It is a technique of homeschooling where young people are encouraged to find their own interests and get out into the world; find a real job, similar to madelife. The standard education system teaches us we have to follow a certain path. So I left traditional school when I was 15. I knew I was interested in working with young people in the community to form creative platforms and enable them to have creative expression and I had been interested in electronic music already. My partner and I started an art collective in the late 90s. I was inspired to create community through art. I wanted my friends and I to have creative expression, and it evolved over the years into Communikey.

Are you yourself a producer of electronic music? No, I am not. My craft is the ability to produce electronic events. I look at creating a program of artists over the course of a couple of days. It is a composition in it of itself. I like working with people to help them find where they shine but I don’t make music.

You were always in an underground environment. But Communikey just happened naturally here? Yes, it did happen organically. I have to admit that. I started with an art collective where we produced electronic music events then that kind of evolved into a record label, then Communikey started. Myself and the other founders of Communikey went to a music festival in Montreal called Mutek. That was a total game changer for us, it is a beacon in North America. There are a lot of those shows happening in Europe, but it made it possible for us to think we could have one here. Then I went to work for a festival in Seattle called Decibel. I was like we can do this. This is the next step for us. These festivals were the two pieces of inspiration. It seems like a very organically grown company: Yeah it is. I mean we didn’t really know what we were getting into. You never really do when you’re younger. But we had that strategic de-growth. We decided to downsize the festival. We stopped working the really big venues, like Boulder Theater. It’s a different type of growth; it’s a growth in recognition, it’s internal. We basically decided we wanted to work in smaller venues. We noticed a pattern in the first year all the way to the fifth year that no matter how many big names we brought, we sold the same number of passes each year. We were like, well, that is our audience. Let’s make the best thing we can make for the people that want this. Rather than trying to grow, and try to reach more people, let’s just try to provide quality over quantity. The growth now is just that its becoming more well-known.

How do you differentiate between your festival, Decibel, Mutek and big festivals that many people have heard of, such as Coachella? The massive festivals are generally festivals for entertainment. Festivals like Mutek or Decibel are places for engagement. The way that they’re organized really demonstrates that. At Coachella, there are lots of stages, and music happening all at the same time. It’s all about the big names, selling tickets, selling beer, and Facebook photos. Communikey is programmed in a narrative format with no overlap. It’s designed so that the audience can experience and feel everything that’s happening. Artists are booked for their craft, not their name.. These are artists that deserve exposure and for people to be able to experience their work. The biggest difference is the entertainment versus engagement. They’re also trying to be unique; speak to a certain aesthetic or idea, not to meet the masses. We would rather have a small audience where there is room for intimacy. We’re really not trying to sell tickets. Somebody in the entertainment industry could argue with me otherwise. But festivals like Coachella and Bonaroo are just there to sell tickets. They’re there to make millions of dollars. It’s business. We’re a business, but we’re a nonprofit. We are a cultural organization not an entertainment organization.

What do you plan to do with being this well known? The festival will be up to its 10-year mark; the festival will be doing the next thing. We’re ready to do the next thing; we’re not sure what that looks like yet. It could look like taking the festival nomadic or a large-scale public art installation that events happen inside of. We’re ready for letting a new platform for expression happen. I don’t want to do the same thing for my whole life. That’d be really boring. You are a female in this industry, and you’ve started this foundation too. There are a lot of women who want to do something similar. Is there any advice that you would give those girls? I think it is really important for women to support each other. Being collaborative and cooperative versus being competitive is really a huge part of personal growth. But, as far as being a woman in a professional realm of any kind, having real companionship and fellow powerhouse ladies is really important. Also, don’t believe in the gender war. Don’t believe it because its bullshit. That doesn’t mean that it doesn’t exist because I don’t believe in it. But be empowered and look to women who won’t be competitive but mutually supportive. Another thing for women in the creative industry to remember is to be creative. The majority of cultural workers are women. It’s women who get everything done. But that is not the creative part; that is administration. There’s so much of this business that requires administration and women get stuck doing that. Women who actually get driven to be creative are actually driven to be the leader and the one that will be recognized.

How would you explain the benefits of Communikey to people who may not support or agree or understand? It’s a place for people to connect. It’s not an entertainment vehicle. It is a vehicle to connect with real creativity, to expose under recognized mediums of art. Experiencing unbridled creativity is transformative. It can be healing; it can be incredibly inspiring. People meet each other and connect and build real friendships. Music is an international language, especially electronic music. It bridges cultures; it bridges generations. It’s also vital for humans to celebrate life. It’s a natural part of being human and it is important to our health. We need a place for that. It’s interesting that you claim that notion; it’s a place for people to be human. There’s this shadow around partying, as though people do it to escape. We create events for people to find themselves, their new best friend, music, and things that change their lives. We want them to be awake with us. That happens through listening, through connecting with people and learning.

David Polka painting a mural on the south wall of madelife with help from madelife Creative Accelerator Program participants. Summer 2014

Creative Accelerator Program A fee-based accelerator for individuals looking to make their dreams of a creative career a reality. A 12-week program of rigorous self-evaluation, intensive mentorship with creative and business professionals, and hundreds of hours of focused, market-driven creative work. We focus specifically on individuals trying to launch a career in graphic design, music, video & film, photography, or develop a creative-based digital or physical business.

303.927.0802 2000 21ST Street Boulder, CO 80302

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