Kent State University VCD Alumni Magazine – Issue 2

VCD ALUMNI MAGAZINE Issue 2 | Spring 2015

Walker/Buchanan The Story of How Our School Got Its Start

Also: Inside: Cece Bell Pugzilla Rachel Downey Bacher & Buirge Jason VCD Goupil ALUMNI MAGAZINE | ISSUE 2 | SPRING 2015

STAFF EDITOR-IN-CHIEF Ken Visocky-O’grady

COPY EDITOR Jennifer Kramer

MANAGING EDITOR Khalil Dixon

CONTRIBUTORS Terran Washington Ruby Kelly

CREATIVE DIRECTOR Larrie King DESIGNER Joshua Kruszynski COPYWRITERS Meghan Caprez Ryn Voith Khalil Dixon Amanda Azzarelli Erica Batyko

Contents Points of Pride . . . . . . . . . . 10

Pg. 46

CreateAthon. . . . . . . . . . . . . 16

Studying Abroad . . . . . . . . 18

Graphique. . . . . . . . . . . . . . . 24

Putting in Work . . . . . . . . . 30 Student to Strategist . . . 36

El Deafo . . . . . . . . . . . . . . . . . 38 Walker/Buchanan

Pugzilla . . . . . . . . . . . . . . . . . 74

Critical Making . . . . . . . . . 76

The story of how our school got its start.

‘‘The Kent State University VCD program has helped students develop into some of the finest design professionals and design educators in this country and in others’’ — j.Charles Walker

Read more from our founders on page XX

8

Letter from the Director

As the acting director In the School of Visual Communication Design, it is my pleasure to welcome you to the special issue of VCD Alumni Magazine featuring the visionary founder j.Charles Walker and his partner and colleague, John Brett Buchanan, creative director of Glyphix.

I am grateful to both of them for

our faculty and students. We continue

It is my hope that faculty, students

sharing their story, which brings to

to rejuvenate the complexion of our

and alumni will stay connected with

life our program’s rich heritage. Our

programs to significantly influence

the School of Visual Communication

school pays tribute to both Walker

the next generation of designers.

Design as we continue to build on the

and Buchanan; each has inspired

The National Association of Schools

legacy of excellence that will inspire

generations of students, faculty and

of Art and Design (NASAD) accredits

new generations of creatives.

alumni through their legacy.

our school for the outstanding quality of its curricula, which has produced

I invite you to learn more about our

I would also like to take this oppor-

some of the nation’s most talented

school, students, alumni and faculty

tunity to thank you, our alumni, for

design and illustration professionals.

as well as view student works on our

your dedication to our school and for

website, created by members of our

maintaining high standards of excel-

Our graduates work as designers at

award-winning student design studio,

lence while reshaping academic and

Fortune 500 companies and in lead-

Glyphix, at www.kent.edu/vcd.

professional discourse. It is through

ership positions as educators and

your excellent works that we continue

researchers. Many of our graduates

to challenge and redefine the role of

are entrepreneurs whose enterprises

visual communicators in our society.

began as incubator projects during their years in our school.

You embody the rich heritage in every

Sincerely,

spectrum of visual communication— from our print design roots to today’s new visual narratives in photography, illustration, 3-D design, motion and interaction design.

The School of Visual Communication Design grows and evolves with technology and culture as well as through

Sanda Katila Acting Director

> John Brett Buchanan (left) with j.Charles Walker

10

Thing

Points of Pride EDITED BY: KHALIL DIXON

Asst. Professor Larrie King Presented his most recent paper, Wash: The Development of a Culturally Ambiguous Water, Sanitation, and Hygiene Curriculum, at the Ninth International Conference on Design Principles & Practices in March 2015 in Chicago.

Asst. Professor Jessica Barness Was featured on Women of Graphic Design, a website project focused on exhibiting the contributions of women in graphic design and in education provided by design institutions.

Asst. Professor Christopher Darling Had work featured by School of Visual Arts during We Tell Stories, an exhibition of work by more than 350 artists who graduated with an MFA in ‘Illustration as Visual Essay’ during the 30 years the degree has been offered by the institution.

Learn More Here

VCD Alumni Magazine

Issue 2 | Spring 2015

Christopher Darling, Again Christopher Darling was also featured in the exhibit Process Work! from the University of Central Missouri BFA Studio Art: Illustration Program and the Gallery of Art & Design.

Check it out <

Aimee Crane Alumna Aimee Crane completed a space-themed alphabet set for NASA. Follow the link to view the full gallery!

See the gallery here

Cece Bell VCD alum Cece Bell’s new book, El Deafo, is the winner of the 2015 Newbery Honor Book award for its outstanding contribution to children’s literature It was also a #1 best seller in children’s physical disabilities books on Amazon.com. Amazing!

Get it on Amazon here

William Scharlott VCD sophomore won first place in the Arts category at the Undergraduate Research Symposium for his independent study on typesetting The Iliad, under the tutelage of Assistant Professor Aoife Mooney. Way to go Will.

12

> Will Scharlott’s resetting of The Iliad took first place at the Undergraduate Research Symposium in the Arts category

Points of Pride | Student Work

VCD Alumni Magazine

Issue 2 | Spring 2015

Points of Pride | Student Work

>

14

>

ABOVE YALLA — Let’s Go!, an interaction design project from undergrads Joshua Bird, Eddy Gann, Matthew Neidert, Brandon Alvarado took third place at the Undergraduate Research Symposium in the Communications category

TOP A sample of Aimee Crane’s NASA themed alphabet set.

Check it out here

> BOTTOM Pa Isen, an interaction design project from undergrads Gabe Schutt, Ruby Kelly, Kerry Butler and Amanda Calvin took second place at the Undergraduate Research Symposium in the Communications category.

VCD Alumni Magazine

Issue 2 | Spring 2015

48 to do som hours great A look at KSU’s first-ever CreateAthon

BY MEGHAN CAPREZ

VCD Alumni Magazine

Issue 2 | Spring 2015

‘‘...there are very few short-term commitments available for design students, I thought CreateAthon could be a nice fix for this.’’

mething Nearly 20 Journalism, Communication and

‘‘It’s a great opportunity for students

Senior VCD major Jamie Lefevre came

Visual Communication Design,

to get together, collaborate and create

across CreateAthon when she was

students worked together in small

something beautiful and beneficial

browsing the web in 2013, and she

teams to develop pro-bono design and

in the end.’’

contacted the AIGA Faculty Adviser

marketing materials for local non-

Jillian Coorey to ask if Kent State

profits in a ‘‘creative blitz.’’ Students

CreateAthon is a nonprofit organiza-

might be able to host a CreateAthon

had 24 hours, from 9am November 7, to

tion created to encourage communi-

event on campus.

9am November 8, to create and present

cations students and professionals

their products to their clients in the

to aid other nonprofit organizations

‘‘At the time, there were very few

Kent State library.

in the U.S., Puerto Rico and Canada.

colleges that had hosted one, and

In the 16 years since CreateAthon’s

I really liked the idea of Kent State

‘‘I decided to get involved with the

founding it has produced more than

being one of these pioneers,’’ Lefevre

CreateAthon because it gave me the

3,500 projects, an estimated $16.7

said. ‘’I have also noticed that there

chance to benefit the community

million market value.

are very few short-term commitments

while also doing something I’m pas-

available for design students, which

sionate about,’’ said Rachel Kozy, junior

becomes tricky due to the heavy work-

VCD major and CreateAthon team-lead.

load of our major. I thought CreateAthon could be a nice fix for this.’’

Junior Photo Illustration major Nicole Sauter made the most of study-abroad opportunities at the College of Communication and Information when she traveled to Paros, Greece to study photography.

WORDS BY: ERICA BATYKO PHOTOS BY: NICOLE SAUTER

20

Student Spotlight: Nicole Sauter

Nicole Sauter studied in Greece through Athena Abroad, whose representatives she met at the Study-Abroad Expo this past fall at Kent State University.

The program fit her schedule and allowed her to gain VCD credit while living in Greece for a month. Sauter was thrilled to be accepted into the program and appreciated all the support she received from Kent. ‘‘I really, really appreciate my study

Sauter says one of her favorite parts

Sauter says her summer studying

abroad advisor and VCD advisor; they

of the trip was being immersed in the

abroad was a life-changing experience

helped on everything,’’ Sauter said.

Greek culture. Paros is less of a tourist

and encourages all students to take

‘‘They were so open to helping me get

destination, so she was able to take

advantage of the many programs Kent

there. I really respected the staff at

part in the daily routine of Greek life.

State provides access to.

Kent State for letting me do that.’’

She made friends with the natives and took part in Greek traditions.

In Greece, Sauter lived on the beach

‘‘I learned a lot of lessons, and one that struck me was, ‘Don’t say no’, don’t

of Paros Island and took a class in

‘‘It made me feel more open to meeting

hold yourself back.’’ Sauter said. ‘‘This

digital imagery. The class taught

new people and trying new things.

is the moment to try new things; this

students basic photography skills

I learned how to become more diverse

is the time for no regrets.’’

and allowed them to gain experience

through other people and traditions.’’

in the field. The students explored

Sauter is in the third year of the photo-

the streets of Paros to photograph the

On weekends, she traveled to other

illustration program. She hopes that

island and its residents, Sauter said.

Greek cities and islands. Her favorite

after graduation she will be able to

memories include cliff jumping and

combine her love of photography and

‘‘It was unique because some of the

riding ATVs at midnight to see the city

travel. The next stop on her list: the

students struggled...but I was able to

lights on the water. She even hiked

United Kingdom!

use the skills I learned from Kent to

nine miles from Fira to Oia across the

be almost like a student-teacher.’’

mountains of the Santorini Caldera.

All Photos by Nicole Sauter

22

Student Spotlight: Nicole Sauter

VCD Alumni Magazine

‘‘This is the time to try new things, this is the time for no regrets’’

Issue 2 | Spring 2015

Graphi So, how did you become interested in

Alumna and owner of Studio Graphique, Rachel Downey shares how VCD prepared her for owning a studio.

VCD? I always had an interest in art. I was the kid who would stand in the arts aisle of the grocery store and stare in longing at all the supplies. It was really clear to me that I wanted to go into design of some kind, but I really liked visual communication design because it has more commercial value than other art forms and I’m attracted to the business aspect.

Why did you choose to complete your degree at Kent?

I knew what I was going to major in, so Kent was a pretty clear front runner because of the strength of the VCD

INTERVIEW BY: RYN VOITH

program. Also, I found I really loved

ique

Tell me about your company. What do you do? How many employees?

Mission? Clients? Etc. We’re 10 employees, but we work with a lot of freelancers, bring in interns and other collaborators. We stay small with some amount of intention; we’d rather be specialized, specific, and selective rather than grow for the sake of growth. Our specializations are in brand strategy design and wayfinding consulting. The consulting is key for us, we don’t just make stuff look good.

We are strategic in helping clients understand their vision and goals.

the size of Kent. The way I describe

other clients,’’ and I was like, ‘‘Yeah!’’

How did the School of VCD prepared

it is: ‘‘it’s a place where there’s always

It was very challenging; I didn’t have

you for your current role as founder

someone new to meet, but there’s

a lot of experience under my belt,

and president of Studio Graphique?

always a familiar face.’’ It was just the

so I had to chart my own course, but

perfect Goldilocks size for me to have

I don’t regret a second of it. It was

I felt like I was more prepared for the

a great experience, and I did.

great because I learned from my own

business world than my peers from

mistakes, I followed my own vision

other schools. When I came out of

You’re currently the president of

and I got to build this company into

school and interviewed, I felt really

Studio Graphique, which you founded

what I’m passionate about and what

confident having an intelligent, busi-

at age 25. What inspired you to start

I find brings value to the world.

ness-minded conversation with my interviewers. I took the [Issues of GD

your own studio?

Is Willoughby still a client for you?

Business] class, which trained us to talk about our work in terms other

I always knew that I’d probably want to start my own business, but the oppor-

They’re not a current client but I just

than aesthetics. How do our choices

tunity came sooner than I expected.

got a call from the old owner out of

help the objectives of the project or

I was working full time in a design

the blue, and he’s like, ‘‘Hey Rachel,

the client? We help people achieve

position, and the vice president of

I’m gonna start another brewery!’’

goals first, then layer the aesthetics

marketing there was investing in the

And I was like, ‘‘No way!’’ I would love

on. That’s not to say that design is

Willoughby Brewing Company. He said,

to be a part of that. I haven’t talked to

less important, but that good design

‘‘If you start your own business, we’ll

him yet; he only left me a message,

is built on the backbone of function.

be your first client and help you find

but it’d be so cool to bring it full circle.

26

Alumni Spotlight: Rachel Downey

Talk to me about VCD faculty.

What advice would you offer incoming

a verbal personality, which most signs

How did they help you, academically

students to the VCD program?

don’t have. You’ll be seeing them pop up

or with professional development?

here and there downtown.

Take business courses. It’s remarkable

I say the two big takeaways that I got

how much of our work is infused with

Is there anything you would like to

from the faculty were quality and

business. Part of designing is working

add or any messages you would like

thoughtfulness. We were still doing

our way into other people’s businesses,

to share with our students, faculty or

a lot by hand at that time, and the

to immerse ourselves and get really

alumni?

quality of our craft was a huge focus.

familiar with their everyday challenges.

Yes. I have three tips for undergrads:

Secondarily was thoughtfulness; I

Have you visited KSU recently? How

made design choices that served the

has the university changed since you

1. Do an internship, no matter how

needs of the project and didn’t just

were an undergrad?

unglamorous. Real world experience is

please me personally. I knew that in

valuable to an employer.

a critique I’d have to go beyond the

Both the city and the university have

aesthetic qualities and explain why

changed tremendously, but the things

2. In an interview, be prepared to share

I made certain choices.

I remember are still there. I actually

your thinking about how your design

gave a TED-style talk a couple of weeks

communicates or solves a business

Why is it important for you as an

ago, and I made my husband and my

issue. Not just a color choice because

alumna to keep in contact with the

11-year-old son come with me. We got

you liked it.

School of VCD?

there REALLY early and drove my son all over campus. He was totally humor-

3. NEVER, EVER send a resume or cover

Well, it’s less because I’m an alumna

ing us, but we showed him all of our

letter with a typo. Stationery is spelled

and more so because I’m a business

hangout spots and took him to Ray’s

with an e, like in ‘envelope’. If you design

owner and always looking for more

after my presentation for dinner.

stationery for a living you need to know

talent! Knowing that Kent still has a

how to spell it!

strong VCD program, I’m always trying

Also, Studio Graphique is currently work-

to keep my eye out for who’s coming

ing with Kent and KSU, which is so cool

out of it and if they might be a good

to be able to say as an alumna. We’ve

candidate for employment here maybe

been working with the university for a

later down the road if not now. We try

few years now in wayfinding programs,

to keep in contact with some of the

and we’ve been working with the City

teachers and go to the senior show.

of Kent on a new sign program, which is being installed right now! The new signs are super fun and funky (which is so characteristic of Kent) and have

‘‘...two big takeaways that I got from the faculty were quality and thoughtfulness.’’

VCD Alumni Magazine

Issue 2 | Spring 2015

Work

Putting in

Alumni Jason Bacher and Brian Buirge earn accolades for something other than their colorful language.

WORDS BY: KHALIL DIXON

Each year, Print magazine’s Regional Design Annual receives thousands of submissions, but awards only the best.

Among those awarded this past year were alumni Jason Bacherand Brian Buirge. The project, Buirge said, came from Ken and Jenn Visocky-O’Grady, who had been working on the SAW Inc. annual report for more than a decade when they passed the project along to Bacher and Buirge.

Keeping the Kent State legacy alive, the duo won awards both in Print’s Regional Design Annual and Applied Arts, a major Canadian design magazine.

‘‘That basically started as an accident...’’

>

> Buirge reveals the origin myth of GFDA.

Covers for the SAW annual report

34

Alumni Spotlight: Bacher/Buirge

‘‘Part of the experience... is holding yourself to that standard of quality and constantly pushing...’’

Their partnership grew while they

they love to work, Buirge said—at the

June 2014 and Buirge hopes to travel

were in graduate school in VCD, and

same time.

to new cities soon in search of new

amidst teaching, taking classes and

creative collaborations.

research, the duo gained ‘‘C-list inter-

This love for work probably stemmed

net celebrity status’’ with their web-

from the rigorous VCD program in

Though the recognition and growth of

site goodfuckingdesignadvice.com.

both undergraduate and graduate

business so far seems ample, this is

careers, Buirge said.

all still part of a larger undertaking,

‘‘That basically started as an accident,’’

Buirge said. As the business continues

Buirge said. Created after a long talk

‘‘The program sharpened me and

to develop and (potentially) expand

over coffee discussing their frustra-

changed me and helped to manifest

to more cities, Buirge takes his experi-

tions with teaching, he and Bacher

certain work ethic qualities in me,’’

ences in Kent’s VCD program with him.

went from 500 views to over 70,000

Buirge said. ‘‘Part of the experience,

views on the site in a few days.

because it was so rigorous, is holding

‘‘It is a work ethic; it’s not a creative

yourself to that standard of quality

moment, it’s a creative process.

and constantly pushing [yourself].’’

It starts messy,’’ Buirge said.

The website eventually led Buirge and Bacher to start their company, Good Fucking Design Advice (GFDA).

Buirge said this rigor and push for

‘‘By the end of the first semester of

excellence applies to both design

graduate school, we were running a

and business endeavors. While the

business… haphazardly,’’ Buirge said.

undergraduate program gave them their formal design education, the

Their experience built a strong sense

graduate program pushed them to

of trust and an ability to collaborate,

consider expanding their business.

both with their business and design work, Buirge said. In what Buirge calls

In graduate school, Buirge researched

their ‘‘Clark Kent/Superman’’ thing,

how to run a geographically dispersed

they complete both their GFDA and

creative team, which is what he and

their more formal client projects un-

Bacher are now employing for GFDA

>

and Work. Bacher moved to Brooklyn in

Buirge reveals the origin myth of GFDA.

der the moniker Work—named because

From ‘Student’

BY AMANDA AZZARELLI

Alumnus Jason Goupil is the newest senior strategist researcher at Ologie, a branding, marketing and digital media firm based in Columbus, OH. In his position, Goupil will serve as an internal lead for developing discovery and research plans as a resource for both internal teams and clients.

enthusiastic over different applications of design, but our processes and feedback impacted our work collectively."

In a sense, it entails building a strategy to investigate a subject through a designer’s lens and finding the helpful nuggets which will serve the goals of our clients," Goupil said.

Goupil encourages current VCD students to explore the opportunities that exist in both design and research because the field is adapting to a landscape of new technologies and methodologies. "It is an exhilarating moment to consider where the field will develop," Goupil said.

In 2012, he received a Master of Fine Arts in visual communication design.

Goupil said the VCD MFA experience at Kent State was transformational. ‘‘It was a fast two-year trajectory of personal growth marked by an education that shaped the path I am on today,’’ Goupil said. ‘‘My colleagues in the graduate program are each talented in their own right, and I was influenced by every one of them. We each were

to ‘Strategist’

a day in the life

Glyphix 2015

 El Deafo

BY: MICHAEL CAVNA

Reprinted from The Washington Post

VCD Alumni Magazine

Issue 2 | Spring 2015

It’s a story Cece Bell knew she wanted to tell, and believed it was something she should share. But it took decades of discovery and experience, and then artistic growth and parenthood, to get to a place where she was ready to put it to paper.

At age 4, Bell suffered a bout with meningitis

[five-year] execution of the book was probably

that left her ‘‘severely to profoundly deaf’’.

Soon she was wearing hearing aids, and a large Phonic Ear across her chest. As her life, too, began to change profoundly, she created an alter-ego—El Deafo!—who, amid a child’s sense of vulnerability and uncertainty, was determined to feel empowered by her being ‘‘different.’’

the hardest project I’ve ever taken on in my life.’’

Now, at age 43, Bell has introduced her superheroic self to the world in her emotionally truthful graphic-novel debut—titled, naturally, El Deafo (Amulet). As memoir, it is a work that demanded its own journey. ‘‘I think the story was easier to tell, since I knew the material inside and out, and I’ve pretty much spent my whole life trying to make sense of some of the things that happened to me,’’ Bell tells The Post’s Comic Riffs (ahead of her appearance Wednesday morning at Washington’s Politics & Prose bookstore, and tomorrow afternoon at One More Page Books in Arlington, Va.). ‘‘But the

‘‘I’ve said it so many times my throat hurts: I don’t see how the graphic novelists in this world make more than one of these things in one lifetime!”

Bell was born in Richmond, and El Deafo recounts her childhood growing up near Roanoke. Her Virginia roots run through her work in many ways, including the very illustration itself. She created the inviting art of El Deafo with Eisner-winning colorist David Lasky, whom she and her husband met while attending the College of William & Mary.

Comic Riffs caught up with Bell—who now lives in southwest Virginia with her family, including her husband, children’s writer Tom Angleberger—to talk about the challenges of writing a memoir; mining emotional truths over factual truths; and how El Deafo has been received by other people who are deaf.

>>>

40

Feature Interview: Cece Bell

Congratulations on a beautiful and

outlook very much mirrored mine.

utterly engaging book, Cece. Did you

I enjoyed, and still enjoy, challenging

find this personal story easier to tell

myself—hence the part in the book

because you’re looking back and draw-

where I say: ‘‘I’m gonna show those

ing upon your memories, or did that

kids that I’m not just ‘the deaf kid’ in

make it more challenging? And how

our class—I’m the smartest kid in the

long you did spend writing the book?

whole school!" That wasn’t true, of course—I’m pretty sure this kid named

Thanks so much for your generous

Henry was knocking me out of the

words about the book, Michael. I think

park every day. But anyway, that kind

the story was easier to tell, since I knew

of attitude really helped me stay pos-

the material inside and out, and I’ve

itive, and on track. That, and having

pretty much spent my whole life trying

a loving home to return to each day,

to make sense of some of the things

kept me feeling a-OK.

that happened to me. But the execution of the book was probably the hardest

Related to that, Raina Telgemeier— in

project I’ve ever taken on in my life. I’ve

the same SPX session this month that

said it so many times my throat hurts:

she proclaimed herself a fan of yours

I don’t see how the graphic novelists

—said she aims for emotional truth

in this world make more than one of

first, over literal truth, when writing

these things in one lifetime! All told, it

her childhood-based memoirs [Smile

took about five years to do, but I was

and Sisters]. From your author’s note,

completing other projects during that

I gather you believe similarly. Could

time [the early reader Rabbit and Robot:

you speak to how you approach such

The Sleepover, and illustrations for the

narrative choices when writing from

picture book Crankee Doodle]. The last

your life, and how you weigh such

two years of that five-year period, I

decisions about emotion and fact?

was solely focused on El Deafo.

I’m totally with Raina on this one. I was One thing I find especially winning

more interested in showing readers

about the story is our hero Cece’s

how it felt to be the only deaf kid in

resilience throughout each setback

the whole school, and what it sounded

great and small. Could you talk a bit

like, too. I also wanted to tell an enter-

about her outlook — and did that

taining story, and if I had presented

mirror yours?

my life’s events in the exact order in which they had literally occurred,

I was a very positive kid, and I’m now

you’d be asleep by Page 21, I think. I

a positive adult. So yes, ‘‘Book Cece’s’’”

looked back at my life, chose the big

VCD Alumni Magazine

Issue 2 | Spring 2015

moments and then rearranged them

their names, though. Part of me want-

Speaking of realism, I’m so curious

a bit. I chose the main people, and

ed to show the featured players some

to know: The superhero themes and

smushed them together a bit. The mo-

stuff beforehand, but a larger part of

metaphors are so wonderful and help

ments and the people in the book are

me thought that if I did, and someone

endear us to little Cece and her youth-

capital-T true—they really did happen,

became upset, I would probably change

ful bravery and sense of distanced

they really did exist. The big moments

identity from her classmates. Is El

in the book are the ones that are most

Deafo actually a name, if not playful

literally true — for example, I really did

alter-ego, you came up with in grade

kick my mother because I was upset

school. And if so, did it help?

about the sign-language classes she was encouraging me to take. There are

It really was a nickname I had for my-

some small moments that are liter-

self. I don’t think I shared it with any-

ally true, too. But sometimes, I had to

one, though, at least not in my younger

come up with some small moments

years. I didn’t actually see that

to tie those big moments together. For

‘‘Afterschool Special’’ where the one

example, the conversation with my

kid calls the deaf kid ‘Deafo’; someone

mother about not wanting to take the

told me about it and I thought it was

sign-language class—I’m sure some-

the book, and it would no longer be as

funny at first. Then it made me mad.

thing like that really took place, but

honest. So…I’ve heard from Martha,

Then I thought: The hell with it, I’ll call

I don’t remember what was said, or

and she loves it. I’ve heard from some

myself that so if anyone says it to me,

whether or not we were in the kitchen.

of the teachers, too, and they’re cool

I’ll be ready! It did help.

You end up smushing all this together

with it. Even the one who I show using

and – voila! – [you have] a better and

the bathroom—I did change her name

Were there ever darker moments, or

more feeling story than if you had just

to protect her privacy! I heard from

deeper rejections, or harsher wounds

plotted it out literally.

Mike Miller [my crush in the book] that

in your childhood, related to your

he received the copy I sent him, but I

deafness, that you chose not to depict

You say that some of your El Deafo

haven’t heard from him since! Uh-oh.

in “El Deafo”? And if so, what was your

characters are composites of real

But I haven’t heard from other people

thinking — and could you share an

people. Before you published this book,

who may recognize themselves—yet.

example or two?

did you show it to anyone who inspired

I’m pretty nervous about that day, if it

any of your characters? And have you

should come. I know I wasn’t always

My darker moments came later, in

heard from any real-life inspirations

fair. That’s what the afterword is for: to

sixth grade and beyond. I think these

since the book’s publication?

stress the fact that the book is most

moments had more to do with my be-

definitely the irrational-kid version of

ing a very late bloomer [we’re talking

Cece [who is] telling the story.

super-late onset of puberty] than with

I didn’t show it to anyone featured in the book before the book got published.

my deafness. There’s a book there, too,

I did ask the people whose names I

probably! I was so far behind the other

kept as-is in the book if I could use

girls that I found it hard to maintain

42

Feature Interview: Cece Bell

certain friendships that had been

and the times I’ve had to do darker

better for my having waited to write it,

meaningful to me, because the other

freelance projects, I usually ended up

in large part because I’m a parent now,

girls were interested in boys and make-

crying in my big pillow at night.

and I think the version of my mother

up and other grown-up things, while I

in the book is a lot closer to real than

was still reading Richard Scarry in my

[Given the book’s] pop-culture refer-

it would have been if I had written the

free time. That served me well later,

ences, I gather you’re in your 40s. Is

book before motherhood. Plus, I need-

though! But I never did get much, if

this a story you wanted to wait awhile

ed to get to a point where I was ready

any, teasing or bullying related to my

to tell — and if so, how did you know

to tell the world without hesitation: I

deafness. Most of the teasing I re-

the time was right to tell it now?

AM DEAF. That’s taken a long time.

ceived was because I was short!

So what kind of feedback are you Speaking of the art and deafness, I

getting from deaf students and their

applaud the decision to give these an-

parents, as well as other people who

thropomorphic characters their rabbit

use hearing aids, or ASL? Are they

ears — all the better to show the plugs

relating to it?

and cords that run to her/your Phonic Ear. Can you tell us some about how

I’ve heard more from folks who were/

you created their characters visually?

are more like me [using an audio train-

They have such warm features [that

er in the classroom as kids] and their

they’re] as appealing as [TV’s animat-

parents; I haven’t heard much feed-

ed] Arthur.”

back from folks who communicate A lady never reveals her age. But I’m

primarily through ASL. I’ve also heard

When I presented my first version of

no lady! Yep, I’m 43. Good call! Well, for

from a lot of parents and teachers, too.

the book to my editor at Abrams, she

years and years, I said: "I’m never gon-

Those who have written have really

said that the characters looked too

na tell this story." I’m not sure what

related to a lot of the book, and have

‘‘picture book-y’’—too young. I’ve mostly

happened, other than finally coming

been able to acknowledge [thankfully]

done picture books and had never

to the conclusions that: a.) it’s a great

that every deaf experience is different.

done a book for this age group before,

story; and b.) I might help a lot of peo-

I try to stress this in the afterword—

so yeah, they did look kind of ‘‘picture

ple if I tell it. I’ve struggled for years

there’s a spectrum of deafness, and

book-y’’. She asked me to age them

with the question: Are my books really

no deaf person’s deafness or approach

up, so I tweaked a few things—but

helping anyone? Am I being selfish

to his or her deafness is going to be

obviously the characters still have a

for sitting on my butt and writing and

the same, and that’s cool. And in-

little picture-book in them, so perhaps

drawing and doing the stuff I love?

terestingly, I’ve heard from kids and

that’s what kept them sweet-look-

Do I even have a right to complain

parents whose kids have other types

ing. Any time I try to draw something

about the work when it gets hard?

of disabilities, and even from folks

dark, it is so not me that I throw it

without significant disabilities, saying

away. Write what you know; draw how

I hope that this book will help some-

that the story resonates with them,

you feel! I’m just not a dark person,

one, anyone. I do know that the book is

too—that it feels kind of universal, or

VCD Alumni Magazine

Issue 2 | Spring 2015

universal in terms of the suburban

terms of color and shading]—he did

some ways, it’s closer to how I actually

American experience, that is. That is

the shading, too, because, let’s face it,

am as a person today: playing for the

really cool.

I’m no good at shading. I also sent him

yuk-yuks, not worrying about the deaf-

lots and lots of my reference photos

ness so much.

On the matter of art, what was it like

to help guide him in color choices. I

working with colorist David Lasky

sent him my linework [all done on

I’m also working on a picture book for

[co-author of ‘The Carter Family: Don’t

the computer] as I completed it, and

Candlewick Press, as well as a second

Forget This Song’]? What was your

he colored and shaded it, and sent it

Rabbit & Robot book, a fourth Sock

process [in] working together?

back. I fine-tuned what he did, and

Monkey book, illustrations for a series

then we turned it in to Abrams. It was

of early-readers by [husband] Tom,

David Lasky is the bomb. David and

grueling for David—for both of us, I

and a comic for the second Comics

I went to [the College of] William &

think—but he was such a good sport

Squad compilation edited by the

Mary together. He was the graphics

and so much fun to work with.

amazing Jarrett Krosoczka and Jenni

editor at the Flat Hat, the college news-

Holm. A fuller plate than I think I can

paper where my husband, Tom Angle-

So, what are you working on now, or

berger, and I met. He was a mentor

next —[what’s on your drawing board

to us then, and I’m still in awe of him

or screen]? Anything you care to share

now. He’s been in the comics business

a few details about?

eat. Good grief.

forever and is amazing.

‘‘I hope this book will help someone—anyone.’’

What happened was: I had a different

There’s a picture book coming out in

colorist lined up, but that person soon

early 2015 from Clarion Books which

realized that he had overextended

has no redeeming value except that

himself and had to back out. I asked

it’s hilarious. Well, I think it’s hilari-

David if he knew anyone who could

ous. And part of what makes it funny

help me, and he said: "I’ll color it!" Just

is that it is the exact opposite of ‘El

like that. I think I fainted from the

Deafo’ in every way possible. It’s called

combination of relief and excitement.

I Yam a Donkey, and the premise is: A

David was terrific to work with. I sent

donkey and a yam get into a big argu-

David a packet of stuff that I liked [in

ment about grammar. There ya go. In

El Deafo is available at fine book retailers and online.

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j.Charles Walker & John Brett Buchanan

VCD Alumni Magazine presents exclusive interviews with visionaries, risk takers and pioneers in the world of visual design—j.Charles Walker and John Brett Buchanan j.Charles Walker began his teaching career at Kent State University in 1964. He would later become the founder and first director of Kent State’s School of Visual Communication Design (VCD). In 1973, Walker created the student-run design firm Glyphix.”

John Brett Buchanan began teaching at Kent State in 1975.

He became the creative director of Glyphix for 25 years, replacing Walker in 1980. Buchanan also founded the VCD’s internship program and developed several courses that helped shape the school’s curriculum.

48

Thing

j.Charles Walker

INTERVIEW BY: KHALIL DIXON

VCD Alumni Magazine

Issue 2 | Spring 2015

Would you please share with us a

versities but chose to attend the Uni-

an idea or statement. Visual design

little about your design education?

versity of Kansas in Lawrence, Kansas,

should never be the primary purpose

which offered me a graduate teaching

or the reason for the design, nor

After graduating from high school

assistantship. I taught basic courses

should it be a substitute for or inter-

in 1956, I attended the University of

in graphic design for the first two

fere with the clear communication

Cincinnati College of Applied Arts,

years, 1961–1963. During the third year,

of the original intended purpose. My

one of the few and one of the best

while completing my thesis, I worked

basic design philosophy has always

schools in the U.S. in those early

for the publications department

been, ‘‘Less is More,’’ the less you

years of the profession. In 1961, I

as staff designer. I graduated in the

have to say, the more you need to

received my B.S. degree in Advertis-

spring of 1964 with an M.F.A. in Graphic

designer-it-up.”

ing Art, which was one of the first

Design and accepted a teaching posi-

co-operative work-study programs

tion at Kent State University’s School

What designers influenced you the

in the country. Second year students

of Art. I thought that I would work

most?

attended classes for seven weeks,

there only a few years before moving

then worked in a design/work related

on. However, I retired from Kent State

Educated as a graphic designer in the

situation for seven weeks. It required

on July 4, 2004, 40 years later.

mid-50s to the mid-60s, I was most

five years to complete this degree.

influenced by the conceptualist/ What is your design philosophy?

By the end of my undergraduate edu-

minimalist designers of the era, most notably, Herb Lubalin, Paul Rand, Saul

cation, I decided that I was more inter-

I have always felt that visual comm-

Bass, George Lois, Eric Gill and Swiss

ested in a teaching career in design,

unication design was more of a

designers and typographers such as

having been influenced by my favorite

communication profession than an

Emil Ruder, Josef Muller-Brockmann,

instructor, Lewis Rockwood. I applied

art profession. The designer’s first

Karl Gerstner and numerous others.

to graduate school at a number of uni-

responsibility is to clearly present

This also was the period when profes-

50

Feature Interview: j.Charles Walker

sional publications and periodicals

regular graduate degree programs

regional, national and international de-

such as Print, Communication Arts

offered, the M.A. and M.F.A., I built one

sign awards. I created a student design

(CA), Art Direction and Graphis mag-

of the most unique programs available

studio in 1973 as a special topic course

azines were coming into the main-

anywhere—a combined B.S./M.A. or

and worked with a small number of the

stream. These publications allowed

a B.S./M.F.A. This program allows the

most talented students, acting as the

students to see what was happening

most qualified students to move into

creative director, also doing work for

in the growing profession.

the graduate program in the senior

various departments and the univer-

year, allowing 12 graduate credit hours

sity. After I saw an article published

Later during my teaching and profes-

courses to be used to satisfy profes-

in a 1975 CA magazine about UCDA, a

sional design career, I met and worked

sional course requirements for the

new international design organization

with many outstanding professionals.

B.S. degree programs.

of graphic designers for colleges and

The list of my ‘‘designer heroes’’, if not

universities formed in 1971, I submitted

direct influences, could be endless.

Kent State University is one of the first

a number of pieces from the studio. We

Through the design workshops I creat-

educational institutions in the U.S.

won a gold award, two silver awards

ed, the Blossom+Kent Art Program, the

to establish a stand-alone School of

and a merit award for several posters

Kent State University & the University

Visual Communication Design, uniquely

we had designed. They were to be ex-

and Designers Association (KSUCDA),

housed in its proper and most logical

hibited as part of the annual exhibition

summer workshops and the Kent

university environment, that of the Col-

at the 1976 Conference held in Snow

Summer(s) in Switzerland, England

lege of Communication & Information.

Bird, Utah. I joined the organization and

and Italy, I was able to work with many

attended the conference. As a small,

incredible designers. They include,

The professional course requirement

new organization of only a few dozen

but are not limited to, FHK Henrion,

in all the degree programs are con-

universities and less than a hundred

Ruedi Ruegg, Fritz Gottschalk, Bruno

siderably more than the minimum

members, I ended up not only making

Monguzzi, Leo Lionni, Alan Fletcher,

standards required by the National

friends but also being elected as vice

Mervin Kurlansky, Stephen Geisbuhler

Association of Schools of Art and

president of the organization in 1977,

and numerous others from all over the

Design (NASAD) found in even the

the following year. One of my respon-

world, all of whom richly influenced

best programs in the U.S. This sets

sibilities, and the primary reason that

my own work and me.

Kent State University’s School of

I accepted the position, was to design

VCD apart from all others in country.

UCDA’s first official annual of competi-

Q. What do you hope will be your legacy?

tion winners. That project took nearly Q. What is your involvement with

two years to complete, utilizing the

UCDA?

Studio 73 student staff as it was called

Against great odds, I envisioned,

originally. Following the 1978 confer-

organized and built one of the larg-

I designed many publications, post-

ence and competition, I was elected

est, most comprehensive, unique,

ers and magazines since the very

as UCDA’s eighth President.

rigorous and highly rated visual

beginning of my teaching career for

communication design programs in

the School of Art and for Kent State

the United States. In addition to the

University, winning more than 100

In those early years, the board consist ed of five [people], each serving a fiveyear term, with the outgoing president becoming the board’s chairperson.

In 1979, as the outgoing president, I became board chair. During that year, I rewrote UCDA’s constitution and bylaws, formalizing the structure, workings and duties of the board as the overseeing body of the long-term aims and direction of the organization. The new constitution and by-laws were formally approved by the membership during that year’s Hilton Head Conference. In December of that year, as board chair, I called the first meeting of the board of directors held in Denver, Colorado.

UCDA’s president for 1981 chose to run again for that office and was elected to a second term in 1982. Since there was no outgoing president and incoming board chair, the board members elected me chair for a second term.

My last year as a member of the UCDA board of directors was 1984. However, I ran for board member at-large and was elected and served again from 1991 to 1993.

In 2002, both John Brett Buchanan and I were honored at the annual conference in Chicago with UCDA’s prestigious Gold Award. The Gold ‘‘Cube’’ Award (designed for UCDA by me) is presented

by UCDA’s board of directors.

52

Thing

‘‘The success [of the program] is demonstrated by the vast variety of positions held by graduates and of the variety of the work...’’

VCD Alumni Magazine

Issue 2 | Spring 2015

In 2008, John Brett Buchanan and I

Q. How would you like to see the VCD

or the musician. However, being a visual

again were asked by UCDA to be in-

program at Kent State University

communication designer requires a

volved in the early stages of the devel-

evolve?

completely different mind-set, more

opment of a UCDA foundation board to

similar to news writing or non-fiction.

help organize long-term fund-raising

Over the last fifty plus years, the Kent

They need to visually speak for someone

goals. We participated for four years

State VCD program, has helped stu-

other than themselves, to communi-

on the foundation board, retiring from

dents develop into some of the finest

cate a specific and clear message to

it in 2011.

design professionals and design ed-

a specific audience that does not nec-

ucators in this country and in others.

essarily include themselves. The satis-

John Brett Buchanan and I have re-

Obviously, I would like to think that a

faction a designer derives from solving

mained involved with UCDA for nearly

goal would be to continue to provide

a visual communication problem, which

40 years because we support their

the finest education possible to stu-

enhances and extends the meaning of

mission: ‘‘The University & College

dents and to help them develop into

the written word through visual form,

Designers Association (UCDA) in-

visually and conceptually creative

can be as rewarding to the designer as

spires designers working in academia

visual communicators through innova-

self-expression is to the artist.

in North America and around the

tive curriculum, which includes train-

world by delivering relevant program-

ing in constantly changing technology

Q. What is the best way for alumni to

ming and benefits in a personal and

and maintaining rigorous standards.

stay connected?

provides for the professional and

Q. What advice do you have for stu-

Use e-mail and other social media

personal growth of its members, and

dents entering VCD?

platforms, such as Facebook, to ask

thoughtful way. The organization

advocates for designer and educators

alumni to supply contacts from their

roles within their institution. UCDA

It is important for students to know

memories of their classmates. John

works to elevate the importance of

what the visual communication design

Brett has acquired many contacts

design overall.’’

profession is, what innate abilities they

with a VCD Alumni Facebook group

have to hone and what they need to

page he set up.

UCDA continues to improve the quality

learn to have professional success. It

of college and university visual com-

is important to make sure they are

The school could also have periodic

munications through educational

choosing this as a life career for the

exhibitions of alumni professional

conferences and workshops, provid-

right reasons.

work. Alumni should feel that the

ing their members with a venue for

institution celebrates their successes,

interaction with notable professional

It must be stressed that the point of

which were in some part due to the

designers and with colleagues in high-

visual design for communication is

quality of their education.

er educational institutions working

not to create visual form to satisfy a

in their specific part of the graphic

need to solely express oneself. The

design field.

artist wants to say something, hoping someone will listen, similar to the poet

> 1962 - j.Charles Walker with the Chandler & Price press he purchased in Olathe, Kansas.

54

Feature Interview: j.Charles Walker

Q. How did Glyphix begin and what was

its mark. Producing award-winning

In the 1979/80 academic year, when

your vision for the program?

work, Glyphix won a Gold award, two

my workload increased with my

Silver awards and a Merit Award from

growing responsibilities as the coor-

By 1973, program began to grow and

UCDA in 1976. The work was exhibited

dinator of the now [renamed] design

develop, students were becoming ever

at the annual conference in Snow

division, rewriting GD&I curriculum,

more sophisticated and creative in

Bird, Utah.

teaching two graduate level courses,

visual design. While I was still free-

acting as advisor and sole thesis

lancing for a number of departments

I was able to derive some financial

director, organizing and running the

at the university, I was so busy I em-

support for Glyphix by charging clients

summer programs on the campus and

ployed a couple of my best students to

minimally for expenses, far less than

in Europe, I asked Professor Buchanan

help me. I tried to convince the pub-

any outside design firms could or

to take over Glyphix. Having had his

lications office to hire students on a

would offer to non-profit organiza-

help in building many of the programs

freelance basis to help them, but there

tions, which we required for clients

I had created previously, [he] gave me

was little interest by the director for

taken on by Glyphix. Other innovative

complete faith that his organization,

the idea. I decided to develop and for-

programs I was creating such as the

creative ability, and work ethic would

malize a special topic course, offering

Summer Kent + Blossom Workshops

continue to move Glyphix forward. As I

elective credit, in a small working stu-

and the Kent Summer in Switzerland,

had foreseen, Professor Buchanan brou-

dio to do work for some of my clients

England and Italy Programs also

ght a creative and organization level

at the university.

provided some funding. Later, a VCD

to Glyphix as professional a full-time

Resource Center and an official Apple

studio as any studio in the profession.

I selected a small group, five or six

Computer and Peripheral Re-Sale

of the best students, in their senior

Store, approved and set up in the VCD

Q. How did you meet Armin Hoffman,

year of the program. Laying claim to

area of the Art Building, generated

Paul Rand, Fritz Gottschalk and Rudi

a small room in the Art Building to

considerable funds.

Ruegg?

program’s desks and equipment to

We received additional funding from

In the fall of 1972, an Italian/Swiss

furnish it. I acted as creative director,

grants, such as a 1986 Academic

travel program was being organized,

assigning myself the course as one of

Challenge Grant of $178,000 awarded

ostensibly by an outside group, RE-

my three required courses to teach.

by the Ohio Board of Regents to VCD

GIS, which organized such programs

I was able to do that by virtue of my

for being an outstanding educational

for universities around the U.S. The

position as the coordinator of the Divi-

program. In 1988, Glyphix was awarded

faculty head of the industrial design

sion of Design & Crafts, one of whose

the Ohio Board of Regents Excellence

program, within the Division of Design

responsibilities was to schedule facul-

Grant of $149,000. Both grants were

& Crafts, was involved with them in

ty to teach courses in the division.

written by me, John Brett Buchanan

setting up a travel experience in Italy

and the School of Art’s Director, Wil-

for the Industrial Design (ID) students.

The first group of students named it

liam Quinn. This grant funding went

As the ID program was relatively small

Studio 73. By 1976, the studio had been

a long way in building Glyphix.

in its number of majors, it was unlikely

house the studio, I utilized some of the

renamed Glyphix, and it was making

that sufficient enrollment in a sum-

VCD Alumni Magazine

Issue 2 | Spring 2015

mer program could be pulled off. I

Switzerland on the Rhine River, border-

continued and flourished until 1980.

suggested that perhaps a graphic de-

ing Germany, featuring field trips to

During that period, in addition to

sign component, with its larger num-

studios’ museums and to the Zürich

Armin, guest faculty included Paul

ber of majors, could perhaps make

Design School as well as the Basel

Rand, Ivan Cheramayeff, Wolfgang

it happen. I proposed to expand the

School of Design where Armin was

Weingart and numerous notable

program into Switzerland, as it was

chair. In June 1973, a week ahead of the

international designers as speakers.

the most well-known country at that

beginning of the tour, John Buchanan

time for innovative graphic design.

and I flew to Paris, then we took a train

In the summer of 1980, I decided I

As the Regis Group had no contacts

to Basel where we met with Armin to

wanted to expand the European

with graphic designers in either Italy,

finalize the plans. This was both my

Workshop offerings. During a VCD

or Switzerland, I agreed to find con-

and John’s first trip to Europe. We then

fieldtrip to New York, I approached

tacts and to help organize it. I had a

trained to Turin, Italy, to meet up with

Colin Forbes, a partner in Pentagram

friend, a colleague and faculty mem-

the students and a faculty group to

Design, one of the most famous

ber in the art history department at

begin the tour.

multi-disciplined design firms in Lon-

Kent State, Sheila Tabakoff, who had

don, England and New York. Colin was

studied, lived and traveled in Europe,

During that first travel program,

interested in my idea of developing a

primarily in Italy. She agreed to help

Armin and I discussed the possibility

workshop in England. The first Kent

me set up studio tours, lectures and

of continuing the program the follow-

& Pentagram Summer in England

field trips, etc., in Italy.

ing year. However, both of us agreed

Workshop began the summer of 1981.

that a more hands-on experience for

The first and second years of the work-

I had read about Armin Hoffman, a

students would be more worthwhile,

shop were held at Cambridge Univer-

well-known Swiss graphic designer

but we would retain the field trips,

sity on the campus of Kings College

and educator. I contacted him by mail

lectures, etc. We structured a five-

in Cambridge. Subsequent workshops

and he responded positively about

week study program—a week in Bris-

were held in London. Faculty included

working with me. We agreed on a se-

sago, Switzerland for all the students,

Colin, as well as other partners of the

ries of possible lectures, studio visits

graphic and industrial design, followed

firm, including Mervyn Kurlanski (who

and hotel accommodations in Swit-

by an additional three-week graphic

later took over for Colin as co-director

zerland. He gave me some additional

design workshop in Brissago and a

with me) and Allen Fletcher. Numerous

contacts in Italy, which I sent to Sheila

simultaneous three-week industrial

notable British designers were guest

to organize. The travel program was

design workshop to be held in Zürich.

speakers, including FHK Henrion.

organized to be 6 weeks long, includ-

The two groups would reassemble

ing travel time. It began with 2 weeks

for a final week in Basel. This was

In 1982, we recomposed the Kent

in Italy then a week in Switzerland in

the first Kent Summer in Switzerland

Summer in Switzerland as a graduate

Brissago, on Lago Maggiore and at

Program beginning in June 1974. In

level and post-graduate experience for

the foot of the Alps in the southern

1975, the industrial design portion of

practicing professionals, (similar to

canton of Ticino, the summer home of

the program was dropped for lack of

the new, England Program). It moved

Armin. Another week would be spent

interest and enrollment. However, the

to Rapperswil, located a short dist-

in Basel, Armin’s home in the north of

Kent Summer in Switzerland Program

ance north of Zürich on Lake Zürich.

John Brett Buchanan

j.Charles Walker

>

>

Kent Swizerland Trip 1973

58

Feature Interview: j. Charles Walker

I contacted Fritz Gottschalk and Ruedi

The Kent Summer in Switzerland

Quality and diversity were accomplished

Rüegg during a 1981 trip to England,

Workshop ran from 1973–1991 for a

by carefully selecting and hiring full-

both internationally noted Swiss

total of nineteen years. Kent & Penta-

time and adjunct faculty with different

designers with their design firms in

gram Summer in England Workshop

styles and “training” graduate teaching

Zürich. Each expressed their interest

ran 1981–1985 for five years, and the

assistants. As Division Coordinator, I

in working with me on the recomposed

Kent Summer in Florence, Italy, work-

was in charge of scheduling and assign-

Swiss Workshop. The 10th Annual Kent

shop ran 1982–1984 for three years.

ing faculty to classes. I assigned them

Summer in Switzerland was held in

During the years, 82–84, all three

to teach courses in which they had prov-

summer 1982. Both Fritz and Ruedi,

European Workshops ran for three-

en their competency. I found the way to

along with Edgar Reinhart, noted Swiss

weeks each, beginning with Florence,

avoid teaching a school ‘‘style’’ but to

designer and expert in 3-dimensional

Italy, followed by the Rapperswil, Swit-

instead expose students to the widest

design, were the instructors. Other

zerland, ending with the Cambridge/

variety of possibilities available. In addi-

notable Swiss designers were guest

London. For 20 years, I was working

tion, I interviewed guest adjunct faculty

speakers such as Jean Robert and Kati

and spending from three to ten weeks

who were noted for their styles, but

Durrer, creators of the Swatch Watch.

in Europe overseeing each one of the

selected them for their individual differ-

workshops.

ences. They were hired to teach Special

Also, in 1981, Sheila Tabakoff and I

Topic courses, required in the curricu-

discussed setting up a third workshop

Q. Was there a model for the program

lum or as elective courses in the Blos-

to be held in Florence, Italy. That year

you designed?

som+ Kent, KSUCDA and the Summer

together, we attended the Aspen (Colo-

Workshops. Students were allowed and

rado) International Design Conference,

The visual communication program I

encouraged to develop their own styles.

which was to be focused on Italian

envisioned and built at Kent State, was

The success of the approach is demon-

Design in all areas, including graphic

not based on any model. It was based

strated by the vast variety of positions

design, industrial design, fashion and

more on what most schools were not

held by graduates and of the variety of

interior design. With the help of my

doing or doing poorly. The underlying

the work created by KSU alumni.

New York designer contacts attending

philosophy of the Kent VCD program

the conference, we were introduced to

I built was to avoid teaching ‘‘style’’,”

Later in my career, as a NASAD Accred-

Bruno Monguzzi, who was interested in

concentrating instead on teaching the

itation Reviewer, I saw first-hand how

the concept and in participating as an

basic fundamentals of visual design

poorly curriculum for the programs in

instructor. We held the first Kent Sum-

theory (form), skill with tools (later the

design were constructed. I saw how

mer in Florence, Italy, in the summer of

most important tool, computers) and

disorganized and poorly courses were

1983. The program featured Bruno as

conceptual problem solving. I wanted

structured, the lack of constructive

well as Leo Lionni, Mario Lovergine and

a structured and stepped curriculum

criticism, and rigorous standards for

numerous other notable Italian design-

that was both rigorous and demand-

quality were missing in many higher

ers and illustrators as lecturers.

ing and that offered a constructively

education institutions.

critical evaluation of student work.

> VCD students in class during the late 70s

60

Feature Interview: j. Charles Walker

I also realized how good our program

and energetically for five days with

Q. How would you describe John in

at Kent State actually had become.

the students. It was truly amazing

three words?

the time and effort they spent. The Q. What are some of your favorite

‘‘fun part’’ for me and the other faculty

MOST VALUABLE PLAYER”

memories working with designers you

of record was spending the evenings

brought to campus for Blossom &

at dinner talking and getting to know

Q. How would you describe John’s

UCDA Summer Programs?

them. After the first couple of years,

impact on the program?

the visiting faculty stayed with me at Modeled after the 1973 Kent Summer

my home, later they were housed at a

The three-word description above is

in Switzerland Program, the first

second house I owned next door, both

an appropriate description for Profes-

Blossom + Kent Art (& Design) Sum-

on the shore of West Twin Lake.

sor Buchanan’s contributions to the

mer Workshop, held in 1976, featured

Program, Division and then School. All

well-known design and illustration

The program offered the participants

of the VCD faculty had their strengths

professionals. That workshop started

intensive hands-on work sessions,

and contributed to the school’s devel-

with a bang, bringing the well known

lectures, field trips, portfolio reviews,

opment, but John was unique and be-

New York designer Rudolph De Harak

lunches, cocktails and dinner parties

came indispensible. He was proficient

and San Francisco designer Barba-

at the Lake to ‘‘rub shoulders’’ and

in nearly every aspect of the design

ra Stauffacher Solomon to the Kent

get to know wonderful and talented

curriculum. He taught in almost every

campus for a week and a half each.

designers. Some students were in-

course in the extensive curriculum.

Both Rudolph and Barbara were both

terviewed during the workshops and

While capable of seeing things in a

heavily involved in 3-D design. I had, in

some later hired as interns and even

larger context, he was most efficient

preparation for the workshop, secured

full-time employees by the guest fac-

and valuable in his ability to see the

an Ohio Arts Council Grant (Graphic De-

ulty. Obviously, the guest faculty en-

smallest of details. I found early on

sign for Three Dimensional Spaces) for

joyed their experience as much as the

that whenever he was asked to do

a workshop theme of the same name.

participants and the faculty of record,

something, he always completed the

by the fact that I never had an invita-

task, and usually far beyond what was

For the next 28 years, until my retire-

tion to a prospective guest designer

asked of him.

ment, the summer workshops brought

turned down. Like many professions,

to the Kent State campus nearly two

designers are a tight-knit community,

I chose John Brett to replace me as the

hundred world-renowned visual com-

many know each other and the ‘‘word

Professor/Creative Director of Glyphix

munication professionals to teach and

spread’’ as to the quality of the pro-

because I trusted that he would per-

work with hundreds of students.

gram and how much those who had

fect the most important and unique

participated enjoyed ‘‘giving back’’ to

course, structured for the most cre-

future professionals.

ative students in the program. I was

While not answering the specific question above, I can say that my experienc-

not disappointed. He brought Glyphix

es were 99 percent positive. For a very

to a level, which I doubt any other fac-

small honorarium—food, lodging and

ulty member in the division, including

transportation—they worked tirelessly

me, could have achieved.

VCD Alumni Magazine

In every course assigned to him in the program, especially the professional courses, I relied upon him to help build or to re-build. The internship program, Professional Portfolio and the accompanying Senior Exhibition required for graduation were his to structure.

Finally, John was intricately involved in working with me in developing the summer foreign study workshops beginning with the Kent Summer in Switzerland Workshop in 1973. John took over the Blossom+Kent Summer Workshops, becoming the co-director and instructor of record of those programs in 1982. He and I worked together on the Blossom and the KSUCDA Summer Workshops until we both retired in 2004.

> j.Charles Walker

Issue 2 | Spring 2015

‘‘I wanted a structured and stepped curriculum that was both rigorous and demanding and that offered a constructively critical evaluation of student work’’ — j.Charles Walker

John Brett Buchanan

INTERVIEW BY: KHALIL DIXON

Q. Would you please share with us a

In 1971, I received my B.F.A. in 2/D art

plained that I could apply my art and

little about your design education?

with an emphasis in graphics [print-

photo background to the major. Since I

making] and photography. My graph-

had tried to major in design at USC, and

I landed in graphic design purely by

ics/printmaking professor, Ruth Weis-

the three faculty members were very

accident. I wanted to be an architect

berg, recommended that I apply to Kent

welcoming, I decided to remain in the

since the age of five. The School of Ar-

State University for graduate school,

graphic design program. Graphic design

chitecture at The University of South-

which accepted me into its M.F.A. in

is all about problem solving for clients,

ern California (USC) in Los Angeles

printmaking program in The School of

as is architecture, so I was hooked in-

accepted me into their program in

Art. The first day I arrived at Ian Short’s

stantly. Everything about the field and

1967. My first design course was with

printmaking studio in Van Deusen Hall,

the program felt ‘‘natural’’ to me.

Deborah Sussman, who was working

he informed me that I had actually reg-

for Charles and Ray Eames at the time.

istered for 15 quarter hours of graduate

I later left the M.F.A. program to work

She was inspiring. [She later designed

graphic design and illustration (GD&I)

for GD&I for a year and gain Ohio

the 1984 L.A. Summer Olympic graphics

courses, not printmaking courses.

residency status. I became a lab tech

program]. However, once into the pro-

When I attempted to withdraw from

for the photo lab, and j.Charles hired

gram I found that the math component

my current courses and register for

me for some photo assignments that

and I did not get along. I eventually

printmaking courses, I met j. Charles

he had through his graphic design

transferred into the School of Art to

Walker, the head of the GD&I program

studio, Tarragon Graphics. The School

major in design, but the school ter-

and faculty members Doug Unger and

of Art awarded me a graduate teach-

minated that major during my soph-

Eric May in the graphic design offices

ing assistantship, and I was put in

omore year. As a result, I transferred

at White Hall.

charge of the GD&I darkroom. I also

into the 2/D art program.

> View of Room 105 from the Director’s Office

assisted j.Charles in his courses. I did j.Charles told me what graphic design

not teach a course on my own that

& illustration was all about and ex-

first year.

66

Feature Interview: John Brett Buchanan

In the meantime, I began to try to pick

terminal degree. By the way, in 1975, I

understated elegance, but I also like

up small freelance [gratis] jobs design-

was offered the tenure track position

‘‘over-the-top’’ and even ‘‘garish’’ if it is

ing posters, brochures and ads around

of Assistant Professor at both KSU and

an appropriate solution for the prob-

the university and learned about the

The University of Akron. Akron offered

lem and the client.

production aspect of design. I worked

me $1,000 more per year, a substantial

with the sole university graphic design-

amount at the time, than KSU. I turned

One of my very first students, who later

er, photographer and an editor in the

Akron down to take the lesser-paid

became a design partner and friend,

University Publications Department

position at KSU, a decision that I have

Chris Nehlen, once quoted Ralph Waldo

along with the director of University

never regretted.

Emerson to me during a class critique:

Printing Services.

‘‘A foolish consistency is the hobgoblin My next big educational experience

of little minds, adored by little states-

I spent a lot of time in the library, read-

was spending the summer of 1975,

men and philosophers and divines.’’ I

ing every graphic design periodical

in San Francisco working for Humbert

initially took offense but then realized

and every book on graphic design and

-Clark, a design agency that special-

just how right he was. I do think that I

illustration as well as advertising and

ized in department store catalogs.

had a teaching philosophy when I first

related art. j.Charles, Doug and Eric

The owner was one of j.Charles Walker

started, however misguided it might

lent me their personal libraries as well.

and Eric May’s classmates from the

have been at the time, and that was

I developed my own personal visual

University of Cincinnati. I wound up

that I taught to the good students and

library in my head and began to see

working on fashion catalogs for Lipp-

hoped that the others could keep up.

the history of graphic design in a very

man’s in Oregon, Bullock’s in San Fran-

I don’t think I was much of a ‘‘nurtur-

informal manner.

cisco, Mervyn’s, Diamonds of Arizona,

ing’’ professor at the beginning of my

The Little Daisy, the fashion designer,

teaching career, but I think that I was

I was hired by the University of Akron

Jessica McClintock, Gump’s, and a

more accessible and supportive to all

as an Adjunct Instructor and taught

non-fashion client, Dutch Boy Paints.

students towards the end of my career.

courses in their advertising (graph-

I worked with modeling agencies and

ic design) program for a year. I later

fashion and product photographers

Q. What designers influenced you the

earned an M.A. degree instead of the

in San Francisco and Oakland. I still

most?

M.F.A. even though I had more than

consider this opportunity as my ‘‘real’’

enough design hours for the terminal

master’s degree.

degree; I was missing some required elective hours. I took the lesser degree

When I became a graduate student in graphic design, I had no real back-

Q. What is your design philosophy?

because I was beginning to apply for

ground on which to draw for influence except for those who I read about in

teaching positions, and I needed a

I don’t think I have a design philosophy.

periodicals and books. Because I had

master’s degree, any master’s degree,

I think some of my former students

been an architecture major, I naturally

in order to be a viable candidate. I have

believed that I was pedantic and only

gravitated to the work of Eero Saarinen,

never regretted taking the M.A. instead

liked ‘‘Swiss design’’ (whatever that

Richard Neutra, Phillip Johnson, and

of the M.F.A., but today a candidate

is], but my design aesthetic is varied

Frank Lloyd Wright and to very simple

for a teaching position must have the

and runs the gamut of tastes. I like

design. The work of Moholy Nagy stood

out because of my photography background. I later began to notice the work of George Lois, and as his work for Esquire magazine and the very simple Volkswagen ads [Think Small] by Doyle Dane & Bernbach.

My own freshman basic design teacher at USC had been Deborah Sussman, who worked on Mathematica, the science exhibit at The Museum of Science and Industry in Exposition Park that was across the street from campus. I admire a whole list of graphic designers, of all types and of all design persuasions, and there are too many to name here. However, many of the guest faculty in the Blossom+Kent and KSUCDA summer programs stayed at my house for their week, and I got a chance to get to know them on a more personal basis. Quite a few of them helped to open me up to other avenues of design.

April Greiman and Jayme Odgers were a major influence on me. A lecture given

by Michael Manwaring at a UCDA Conference in Chicago was life-changing for me. j.Charles Walker was my mentor and later partner and probably had the greatest influence on me and whatever design philosophy I have.

My association with UCDA [University

> John Brett Buchanan

68

Feature Interview: John Brett Buchanan

Q. What is your involvement with

UCDA is an organization that respects

Q. What is the best way for alumni to

UCDA?

and values its members. I have appre-

stay connected?

ciated all that it has done for me and My association with UCDA [University

it has rewarded me time after time.

With websites and social media, it

& College Designers Association] has

I cannot speak highly enough of the

is much easier to stay in touch and

been the most rewarding professional

organization and its mission. It is

reach out to almost anyone.

and personal aspect of my design ca-

because of this that j.Charles and I

reer outside of my university involve-

formed the jCW+JBB Foundation to

Dale Shidler (VCD MFA), acting Chair of

ment. I have begun and maintained

award conference scholarships to the

the Milwaukee Institute of Art & Design,

life-long friendships that I cherish

annual UCDA design conference. We

and VCD professor Valora Renicker (VCD

because of my belonging to UCDA.

have awarded scholarships to under-

M.F.A.) started an unofficial Facebook

graduate and graduate students and

Group called Kent State Visual Commu-

The UCDA board of directors awarded

their faculty sponsors nationwide over

nication Design Alumni Group. It is for

me the UCDA Gold Award at the annual

the last seven years. UCDA is the re-

anyone who was ever in VCD; it is not

design conference in Chicago in 2002,

cipient of our personal trusts and our

just limited to alumni.

which was doubly rewarding because

foundation as well. We are now in the

my Glyphix staff attended. They also

process of developing new educational

I’m glad to see that many VCD alumni

awarded me emeritus status. I have

sponsorships for UCDA and hope to

are members of professional organiza-

served on the Board of Directors for

announce those very soon.

tions such as AIGA chapters. Monthly

UCDA and the UCDA Foundation, and

events can, I hope, serve as a way to

have held the offices of Competition

Q. How would you like to see the VCD

Coordinator, Conference Co-Chair,

program at Kent State University

Treasurer, and President. I also coor-

evolve?

dinated the summer KSUCDA design

keep in touch, too.

I know first hand that many of my former students and staff of Glyphix have

workshops through which I have met

I would hope that the program con-

remained friends and even colleagues.

and spent time with many national

tinues to offer solid design principles,

Moreover, many of our graduates work

and international designers, illustra-

along with technical, ethical and

together in the same in-house design

tors and photographers.

conceptual skills as well. I hope that it

offices and design and advertising

does not succumb to a one approach

agencies, so there is always that

The Glyphix studio and I have won

suits all program that many programs

connection, too.

numerous gold, silver and merit design

nation-wide are being forced to adopt

competition awards through the ann-

by administrations due to a mere num-

Q. What advice do you have for stu-

ual UCDA design competition, which

bers game [students, revenue, etc.].

dents entering VCD?

I have attended nearly every year and was able to get the Glyphix staff to

This is a profession, not a hobby. This

many as well.

profession is about problem solving for clients, trying to derive satisfaction and expressing oneself within,

VCD Alumni Magazine

Issue 2 | Spring 2015

at times, a myriad of limiting circum-

I never intended Glyphix to be ‘‘my’’

stances. Graphic design is not some-

studio. I had my own studios, Tarragon

thing that exists on its own. One does

Graphics and John Brett Buchanan,

not produce ‘‘graphic design’’ and then

so I never used it for my own clients. I

try to find a client to buy it. There is a

wanted the studio to be the student’s

client. The client has a problem. The

studio, but still under my direction,

designer needs to analyze and solve

guidance and leadership.

the problem by producing a viable and appropriate result.

I never wanted Glyphix to compete directly with professional graphic design

Incoming students must embrace

studios or ad agencies. Glyphix did not

technology, not shun it. Moreover, writ-

have to pay rent, utilities or salaries,

ten and personal skills are even more

so we could always ‘‘undercut’’ a

important than in the past. I am sure

professional. However, I knew that just

that I am not the only one of us to have

offering work gratis was not ‘‘profes-

an email or text message horrendous-

sional’’ either and was not something

ly misinterpreted.

that I encouraged. There were some organizations that needed help and

Graphic design, illustration or photog-

who could never afford to hire design

raphy (since it is now a part of VCD)

services, so I sometimes used paying

can be creative and even lucrative pro-

clients to subsidize clients who could

fessions. Clients can be harsh at times

not pay a design fee. I didn’t want any-

(even harsher than some professors).

one to say, “You get what you pay for”

However, sometimes jobs go better

if we didn’t charge, but I didn’t want

than expected and wind up being

the students to be taken advantage of

experiences of a lifetime.

by a non-paying client with unrealistic expectations, either.

Q. What was your vision for Glyphix?

Glyphix ran like any design office. We j.Charles created Glyphix, and under

put together production schedules

his direction, it was an extension of

and sent requests for quotations to

himself and his university clients. He

vendors. Deadlines were set and ad-

did not charge those clients, and the

hered to, and there were real conse-

students got course credit and printed

quences if a job did not make it out of

pieces in exchange.

the studio on time. There were presentations, photo shoots, and press checks. We compiled and reconciled

70

Feature Interview: John Brett Buchanan

accounts and expenses. However, I

roughs, x-acto knives, rubyliths and

VCD owned. I suggested and enter-

was in charge of the final billing.

overlays! It was all about the skills

tained guest speakers and coordinated

needed to make class projects better

the reception afterwards.

Unlike a classroom with set hours per

as well as how to prepare work for

week, the student’s schedules could

printers. While the computer has

I was most closely associated with

vary depending on their coursework.

taken over many of these earlier tasks

Glyphix, and I was the Creative Direc-

Many of the faculty understood if a

I still think that craftsmanship is im-

tor of the studio for 25 years.

class deadline conflicted with a client

portant and comes into play especially

deadline, and professors often gave

if you look at someone’s computer

I became the Coordinator of the

the students some slack.

document and see how terribly orga-

KSUCDA and Blossom+Kent Summer

nized it is.

Workshops and arranged for the guest

The students and I had a very real-

instructors, lodging for guests and

istic experience through Glyphix.

Another class that I developed was

students who came to campus from

They put in more time than what was

Graphic Design 2, the concept course.

all over the country and even inter-

required in a ‘‘regular’’ class; they re-

Because it was taken in conjunction

nationally and publicizing the public

ceived ‘‘real life’’ experience and very

with the Junior Portfolio Review, I was

lectures. Many of the guests stayed at

often got award-winning work out of

always associated with the review

j.Charles’ and my home and we very

the studio as a result.

even though I was rarely the instructor

often hosted opening night cocktail

of record for the review. I team taught

and dinner parties, lunches and end of

Q. What were the key programs you

this course for many years with Steve

the program lunches and dinners for

were responsible for and how did

Timbrook, and it was one of the most

the guests and students.

these programs change over time?

rewarding and enjoyable teaching experiences in my entire career.

I put together and taught the first

Q. What is your most memorable experience at VCD?

Basic Studio Skills course. You can

I developed our internship program.

also blame me for the 5-pointed star,

I arranged and screened the intern-

I think that one of the funniest mem-

the grid, the box, etc. I had to actually

ship offerings and compiled a printed

ories that I have has to do with one of

draw these for a client, and I felt that

list for the students. I also developed

the first Glyphix staffs. At the time, the

everyone should know how to use a

Internship 1 & 2 to help students

Mary Tyler Moore Show was very popular.

Rapidograph, a ruling pen, a compass

prepare their portfolios, cover letters,

The staff decided that they wanted to

and a Shadler rule!

resumes and portfolios. I secured

re-create the newsroom in the series

internship opportunities all over the

in the very small space they occupied

country and even a couple in Europe.

on the first floor. One night they went

I also taught students how to use the photo lab to make PMTs and ColorKeys

through the Art building and appropri-

so they could improve the ‘‘comp’’

I put together the original Senior Port-

ated all of the clocks. They mounted

quality of their projects and how to

folio Review course as well. I helped

them in the studio and underneath

comp and specify type and charac-

design and make the portfolio stands,

they posted signs like those from the

ter counting. I taught them marker

including the two display systems that

series. The clocks were labeled ‘‘New

VCD Alumni Magazine

York’’, ‘‘London’’, ‘‘Moscow’’, ‘‘Beijing’’,”

Q. How would you describe j.Charles

‘‘Paris’’, etc. The director of the school

Walker’s impact on the VCD program?

had to come to j.Charles and demand that they be returned.

Having been there from almost the beginning, I’ve seen the program grow

Q. What part of the VCD program

under j.Charles vision. j.Charles was

makes you the most proud?

always the visionary and ‘‘big picture’’ guy. Acting as, to use his own analogy,

The Glyphix studio and the incredibly

the ‘‘conductor’’, he orchestrated the

talented student staff that I had the

program and saw the major become a

privilege to work with over the years

division and, eventually, a school unto

during my teaching career. I’ve enjoyed

itself. By getting this accomplished, he

observing their careers develop. I’m

had others in design education jealous

proud to say that many are not just

and amazed. Even after retirement,

former students but have become life-

other design educators approached

long friends.

him about how to institute the same kind of program in their institutions.

Q. How would you describe j.Charles

I think that is a good testament to his

Walker in three words?

tenacity and a good legacy for his vision for Visual Communication Design

Crusty, but benign.

at Kent State University.

Issue 2 | Spring 2015

‘‘I have always felt that the primary purpose of the visual communicator is to enhance and expand the conceptual idea.’’

—j.Charles Walker

74

Faculty Spotlight: Jaime Kennedy

Pugzilla

What do a pug, Godzilla and the Sears Tower have in common?

VCD Alumni Magazine

Issue 2 | Spring 2015

a lot of news recently with the ice bucket challenge, but people rarely see how the disease changes people’s everyday lives. The family has been faced with excessive financial burdens; they have to make some serious home renovations just to get Brian’s wheelchair into the house. This money will go to help Brian’s family in that way.’’

Associate Professor Jaime Kennedy and his wife Kelly Urquhart sold ‘Pugzilla’ t-shirts to raise money for the Best Friends Animal Society and the Brian Sirl ALS fund before Kennedy ran the Bank of America Chicago Marathon October 12.

‘‘People have skillsets that can make the community better, and they should use them.’’

In the future, Kennedy would like to get other VCD students and faculty

BY MEGHAN CAPREZ

members involved in the production and design aspects of the fundraiser.

One hundred percent of the proceeds

The couple raised ‘‘a decent amount’’

‘‘I’ve actually talked to several people

from the Urquhart-designed shirts pur-

of money for the Best Friends Animal

about that,’’ Kennedy said. ‘‘Getting

chased through the couple’s Etsy shop

Society, a no-kill shelter, last year

graphic designers and photographers

go toward the Best Friends Animal Soci-

through a t-shirt fundraiser before

and illustrators involved in a project

ety and the Brian Sirl ALS fund charities.

Kennedy ran the Rite Aid Cleveland

like this would be perfect.’’

Customers could choose which charity

Marathon. The shirts were printed by

to help with their purchase, or they can

the Rust Valley Design Co., an organi-

While the couple is no longer accept-

choose to split the funds 50-50.

zation founded by 2012 VCD alumnus

ing donations for this year, they are

Nate Mucha.

already working on next year’s design.

‘‘I think the message we want to send

Kennedy has entered the New York City

out is that everyone should be playing

The couple planned to do another fund-

Marathon lottery for Fall 2015 and has

their part,’’ Kennedy said. ‘‘People have

raiser for the shelter before the 2014

his fingers crossed.

skillsets that can make the community

Chicago Marathon when they received

better, and they should use them.’’

news that a friend of theirs had been diagnosed with Amyotrophic lateral sclerosis (ALS). ‘‘ALS has been getting

> The dog himself: Mr. Wiggles

Check out kellyurquhart.com

76

Faculty Spotlight: Jessica Barness

Critical Making Asst. Professor Jessica Barness will co-edit a special edition of the journal Visible Language with assistant professor Amy Papaelias of the State University of New York at New Paltz.

WORDS: ERICA BATYKO IMAGE: TERRAN WASHINGTON

g

VCD Alumni Magazine

Issue 2 | Spring 2015

ing with content related to literature,

developing commercially viable prod-

museums or social media, for exam-

ucts,’’ Barness said. ‘‘The students will

ple,’’ she said.

design toward a better understanding

The difference between this issue and others is the incorporation of an online element dedicated to things like interactive reading experiences

of a topic or issue, as part of a larger research agenda. They’ll be authoring and producing creative works that are also critical inquiries into human experience.’’

The special issue,

or works that exist as audio or video.

Barness says this is not standard

Barness says she finds passion in this

Critical Making: Design and the Digital

practice for design research journals.

research because it challenges the

Humanities, will explore the point at which those two disciplines intersect in education and research.

‘‘The idea that we brought to Visible Language was to do a hybrid issue

typical expectations of what it means to be a designer.

that was printed but also has an on-

‘‘One thing I would call a misconception

‘‘The digital humanities is an interdis-

line space that will host peer-reviewed

is that designers just make things

ciplinary approach to investigating

creative, digital contributions,’’ Bar-

look good; it’s something we constant-

human experiences in the networked,

ness said. ‘‘Journals in a couple other

ly fight,’’ Barness said. ‘‘Our processes

electronic information age,’’ Barness

areas are already doing this. We hav-

and approaches can also add value to

explained. ‘‘Historically, it’s also been

en’t explored it very much in design,

team projects with people outside our

known as humanities computing. Re-

and we’re excited to have the support

areas of expertise.’’

search in this area focuses on digital

of Visible Language to do it.’’

technology and culture, as well as practices of building and inventing.’’

Overall, Barness says she and her

The issue is set to be published in

co-editor aim to have the issue be an

October 2015, but in the meantime,

asset to design practice.

According to Barness, the cross be-

Barness says she is discovering ways

tween the two disciplines is becoming

to incorporate the project into her

more prominent.

curriculum.

‘‘We’re seeing a crossover in that

‘‘This spring, I’ll be teaching a gradu-

scholars in the digital humanities are

ate course called Critical Making in

designing their own research tools,

Design Research.

and designers often create work that

I plan to introduce how design and

is outside of traditional client-based

making can be an active part of the re-

relationships. And both areas are deal-

search process, and not aimed toward

‘‘The digital humanities is an interdisciplinary approach to investigating human experiences in the networked, electronic information age,’’