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NESADSU Alumni Magazine

& Then

Spring 2008

Issue # 14

Daly Daly!

Rita Daly, now Assistant Professor in the Graphic
Design program at NESADSU, has been teaching art
and design since she was in college. From art classes for
pre-college students, to after-school programs and classes
for two-year-olds and their parents, to workshops for
graphic designers, to college-level design school courses
—Rita has taught them all. With an undergraduate
degree in interior design and a minor in graphic design
from Pratt and an MFA in Printmaking from Connecticut College, she has the background to formulate
solutions to design problems large and small. And, with
Morgan, her husband and partner, they are Daly & Daly,
Inc. specializing in “corporate, institutional and retail
identity through graphic and environmental design”.
Rita began teaching graphic design at NESADSU as an
adjunct instructor in the fall of 1998 and, in the fall of
2005, became a full-time Assistant Professor. She has
since taught a number of courses and was instrumental
in formulating the MA program in Graphic Design,
which, in its third year, now enrolls 24 students.
I recently asked Rita about her career.

“He (Morgan) starts with A and works his way through
the alphabet in an orderly way… I start with N and
bounce to P and then A… That’s why we are Daly &
Daly and not just Daly.”
Q.You and Morgan started Daly & Daly thirty years
ago. What has kept you going and what has kept
your work fresh?
A. We work together—we live together, we are
seven hours apart in age and we are both Leos. I’m
not sure what the answer is, but I do know that the
field of graphic design is an exciting and stimulating
Each client brings its own body of knowledge
that we have to comprehend in order to produce

thoughtful and meaningful
communications. The cerebral
stimulation is amazing, always
presenting us with something
new to learn, resulting in an
accumulated knowledge that
we always find useful.
Q.You two have different but very complimentary
backgrounds. That must be a significant strength. Talk
about how you work together?
A. We think differently. Morgan is an organized
thinker. He starts with A and works his way through
the alphabet in an orderly way, from one thought
to the next in a linear fashion. I do not take a linear
approach. I start with N and bounce to P and then
A, allowing me to make unique connections and easily come up with new ideas. The good news is that
most projects benefit from both approaches. That’s
why we’re Daly & Daly and not just Daly.
Q.Your clients have included such names as
Brandeis University, Brigham & Women’s Hospital,
Houghton-Mifflin, FAO Schwarz, Doubletree Hotels
and the Seaport Village Mall in Aruba.Your students
must love hearing about that project!
A. As I teach I always have many stories to tell. Our
accumulated stories often answer questions or
make points that help students understand why a
design or project should be produced in a particular way. The projects mentioned in this question all
contain three-dimensional components, now known
in the profession as Environmental Graphic Design.
In 1971 the field of Environmental Graphic Design
was in its very early stages. It really didn’t become a
known profession until the early ‘80’s. We, because
of our knowledge of creating in the built environment and our knowledge and experience in graphic
design, were poised to hit the ground running. As
witnessed by what we see each day – the Niketown
stores, Times Square, street kiosks, “T” and bus

Rita and Morgan Daly at
Daly & Daly HQ

CLIENT: Harcourt General Cinema,
time line plaque series, 1 of 20

Editor’s Note . . . . . . . . 2
Faculty Interview cont. . 3
News & Tidbits . . . . . . . . 4
Do You Know Your
Country’s Typography? . 8
Class Notes . . . . . . . . . 10
Feedback . . . . . . . . . . . 14
News & Tidbits . . . . . . . 15
Alumni Focus . . . . . . . 16
Gallery Schedule . . . . 20

Perhaps I say this in every issue of
“& Then…”, but there is so much going
on around NESADSU that coming up
with things to write about is, thankfully,
never a problem!

Fac u lt y I n t e rv i e w

E d i t or ’ s N ot e

Besides our upcoming reaccreditation
site visit by The Council for Interior
Design Accreditation (formerly FIDER), scheduled for the end of
March, we are actively looking at several new major programs,
to augment the existing ones in Graphic Design, Interior Design
and Fine Arts (all, of course, with the Foundation component).
We’ll keep you in the dark for a bit longer though, as any new
offerings have to pass muster with the Dean of the College of
Arts and Sciences, Ken Greenberg (who has already given his
blessing), as well as several University committees (who haven’t
yet). So, more on that later.

As always, we have wonderful accomplishments by our students
and faculty to write about.This time it’s Clara Wolverton, who
is off to London after graduation in May, and Instructor Bebe
Beard, who is likewise heading in that direction. Perhaps they
can get together with Ciara Langley, whose interview you will
find on pages 16 through 18. NESADSU is spreading its net
wider than ever! And speaking of England, our “foreign correspondent” and the designer of this magazine, Kate McLean, has
returned to the U.K. after several years in Paris. Read her article
on international typographic idiosyncrasies on page 8.
As always, the invitation to come visit the school stands.We’d
love to see you anytime. And please send us your news.

Spring 2008
& Th e n

In the courses I teach, I often introduce a three-dimensional component into a project, requiring students to think about how an object
appears in three dimensions. Once they understand the approach
they are free to consider integrating this skill into their design vocabulary. Some students who have graduated have found their way
into the graphic design departments of architectural firms, where
these skills have allowed them to participate in EGD projects.

Q Where is graphic design going and what do we as a school have
to do to keep pace?
A We have to be diligent in keeping an eye on the marketplace and
carefully determine what our students need to be marketable in
this ever changing field of graphic design.

Please send your photographs and news for inclusion in the next issue. Send all
photographs, slides, or digital files, with an accompanying caption that identifies
who is in the picture and when and where it was taken. All photographs, slides
and digital files should be 300 dpi at 5”x7” (1500 x 2100 pixels, total filesize four
megabytes approximately), a high-resolution JPEG taken with at least a threemegapixel camera.

Th e N e w E n g l a n d S c h ool o f
A rt & D e s i g n at
S u f f ol k U n i v e r s i t y

A l u m n i M ag a z i n e, S p r i n g 2 0 0 8 I s s u e # 1 4

2 3

wrap graphics, museum displays, store windows and displays honoring donors—the field of Environmental Graphic Design continues
to boom.

With NESAD’s well-formed Graphic and Interior Design programs,
I think we too are poised to offer a degree in Environmental
Graphic Design and feel that the field can do nothing but achieve
increasing growth in the future.

For those of you who are current students about to graduate, or
alums who are job-hunting, take a look at the article “Avoid the
Top Ten Resume Mistakes”, courtesy of Monster Worldwide. It’s
one of the most valuable articles of its kind I’ve seen in a long
time. It’s all common sense but, as they say, common sense isn’t
usually all that common.


Sara Chadwick

design concept & DESIGN:

Kate McLean


Rita Daly

contributing authors:

Molly Ferguson, Kate McLean


Reynolds DeWalt, New Bedford, MA

web site:

Send updated contact information, questions or requests to Sara Chadwick at or call (617) 994-4294 or use the new online form on the
Alumni page of the website.


The field is constantly expanding and we have to prepare our
students for what is going to happen next, while also protecting
the basics of design. An amazing array of pertinent technology is
out there today, all progressing at a dizzying pace. We have to teach
our students to understand the principals of multi media—the
principles of design in motion and usability interface and the basic
principles of the software that will guide them. Web knowledge is
essential, then there’s animation, games, user applications, interaction, miniaturization, as well as considering the social implications
and possible applications of all of the above.
But most of all I think we are poised to make a difference. Our Masters students are working on an amazing array of projects, from the
invention of a new way to e-shop, to a print guide for graphic designers to sustainability in paper selection, an instant guide that literally
reduces paper waste to nothing and even offering suggestions on
how to run a more sustainable office. The mind stretching innovation we encourage them to address is all good: for society, for the
general field of art, for the field of graphic design and for NESADSU.
Q. A letter of recommendation written on your behalf by one
of your former students cited your ability first to inspire your
students and then to teach them the “true value of researching a
project thoroughly before starting to design—… one of the foundation stones of successful graphic design.” Is research the most
important ingredient in successful design?
A. Research is the starting point of any project—even buying an
airplane ticket requires research—so why would it be eliminated
from the most important influence in your life, your education? But
design requires many other tasks and skills. You have to be able to
distill all the information you gather, facts from your client as well

CLIENT: Buick Street Café/City Covenience Store
as research, the cultural aspects of the audience focus and the most
important aspect of any design problem: the communication of a
clear, succinct point.
All of this is about approach. Once this aspect of the design process is well on its way, true designing starts. The voice a student
has formed, and the aesthetic fine-tuning of type, color, form and
composition are essential to the success of any project.You can talk
about a project for as long as you want, but, in this field, until your
ideas take physical form you have nothing.
I am pleased to hear that I inspire. I am lucky to love my work, and
am lucky to be able to communicate my excitement.
Q. Why do you teach? After all, you must be busy enough running
Daly & Daly. And what keeps you at NESADSU?
A. Morgan says I’m like a ‘Busy Box’, one of those kid’s toys with
the doors that open and close—zippers that zip and wheels that
buzz as they turn. I like Buzz. I like the challenges and I like figuring
out how to balance many things at one time so working at Daly &
Daly and teaching suits me. There is a strong link between the two.
Business keeps me aware of current client needs, current technology, where the marketplace is going and how it’s changing. Without
this I don’t think my teaching would be as successful or at least I
feel that putting my feet in both arenas helps me place a perspective on both the graphic design profession and teaching.
What I feel is important is my ability to share the knowledge I have
collected over the years with my students. Within my professional
career lots of thinking and concluding has happened allowing me to
help students do the same.
Another part of what makes my heart sing is seeing students
progress from sometimes not even knowing what graphic design
is, to becoming proficient designers. Seeing them use all the small
things we all have contributed to their education, enabling them to
create a voice for themselves and to find a life’s work that satisfies.
What they do, and what they become, makes all our lives so much
richer. S.C. §

N e w s & Ti d b i t s

NEWS tidbits
Avoid The Top 10
Going for the Gold(smiths)

It’s deceptively easy to make mistakes on your resume and exceptionally
difficult to repair the damage once an employer gets it. So prevention is
critical, especially if you’ve never written one before. Here are the most
common pitfalls and how you can avoid them.

1. Typos and Grammatical Errors
senior Clara Wolverton
learned in January that
she has been accepted
into the Master of
Fine Arts program at
Goldsmith’s College of
the University of Lon-

Detachment, 2007

Resume Mistakes

don. She will be following in the footsteps of
Sara Dziadik (Fine Arts
2004) who completed
her MFA there in 2006.
Goldsmiths is one of Britain’s “premier art schools”,
in the words of Fine Arts Program Director Audrey
Goldstein. A college of the University of London
since 1904, and located in southeast London,
Goldsmiths was founded in 1891. Its long list of
famous alumni include Lucien Freud, Mary Quant
and Damien Hirst.
According to Audrey, Goldsmiths “is a rigorous,
highly regarded program. Charles Saatchi, the
contemporary collector and gallerist, often takes
students right out of the MFA program to collect

and show, so the level of competition is intense.”
She goes on to say, “It is very difficult for students
coming out of a BFA program in the Fine Arts to
be accepted directly into MFA programs. Most
schools will not accept students immediately after
graduation, preferring instead to build their Masters
population on more experienced students, so this is
a real honor for Clara”.

Your resume needs to be grammatically perfect. If it isn’t, employers
will read between the lines and draw not-so-flattering conclusions
about you, like: “This person can’t write,” or “This person obviously
doesn’t care.”

The work that Clara has recently produced (and

• Recruited, hired, trained and supervised more than 20
employees in a restaurant with $2 million in annual sales.

that also appears on the back cover of this magazine) deals with detachment. “The portraits that I
create are intimate and real. In the tradition of their
British rulers, Kenyan children are portrayed with
the technique, style and presentation that would be
acceptable to an affluent colonialist… I want the
viewers strolling by the collection to recognize the
detachment we excuse. But this isn’t history. We
embrace our ignorance in the same way when we
change the channel. Skipping from doe-eyed starving
children to America’s national talent show. …. We
detach ourselves from the reality of a majority of
the world, and with conscious intention.”
Clara’s next works will involve scenes from a
Kenyan childhood, done in fresco, a technique
we’re accustomed to, but used here to bridge the
gap between our aesthetic ancestors and another’s
reality. S.C. §

2. Lack of Specifics
Employers need to understand what you’ve done and accomplished. For example:
• Worked with employees in a restaurant setting.

Both of these phrases could describe the same person, but clearly
the second one’s details and specifics will more likely grab an
employer’s attention.

3. Attempting One Size Fits All
Whenever you try to develop a one-size-fits-all resume to send to
all employers, you almost always end up with something employers
will toss in the recycle bin. Employers want you to write a resume
specifically for them. They expect you to clearly show how and why
you fit the position in a specific organization.

4. Highlighting Duties Instead of Accomplishments
It’s easy to slip into a mode where you simply start listing job duties on your resume. For example:
• Attended group meetings and recorded minutes.
• Worked with children in a day-care setting.
• Updated departmental files.
Employers, however, don’t care so much about what you’ve done as
what you’ve accomplished in your various activities. They’re looking
for statements more like these: future organizational reference.

Spring 2008

• Used laptop computer to record weekly meeting minutes and
compiled these in a Microsoft Word-based file for future organizational reference.
• Developed three daily activities for preschool-age children and
prepared them for a 10-minute holiday program performance.
• Reorganized 10 years’ worth of unwieldy files, making them
easily accessible to department members.

& Th e n

4 5

5. Going on Too Long or Cutting Things Too Short
Despite what you may read or hear, there are no real rules governing the length of your resume. Why? Because human beings, who
have different preferences and expectations where resumes are
concerned, will be reading it. That doesn’t mean you should start
sending out five-page resumes, of course. Generally speaking, you
usually need to limit yourself to a maximum of two pages. But don’t
feel you have to use two pages if one will do. Conversely, don’t
cut the meat out of your resume simply to make it conform to an
arbitrary one-page standard.

6. A Bad Objective
Employers do read your resume’s objective statement, but too
often they plow through vague pufferies like, “Seeking a challenging
position that offers professional growth.” Give employers something specific and, more importantly, something that focuses on
their needs as well as your own. Example: “A challenging entry-level
marketing position that allows me to contribute my skills and experience in fund-raising for nonprofits.”

7. No Action Verbs
Avoid using phrases like “responsible for.” Instead, use action verbs:
“Resolved user questions as part of an IT help desk serving 4,000
students and staff.”

8. Leaving Off Important Information
You may be tempted, for example, to eliminate mention of the jobs
you’ve taken to earn extra money for school. Typically, however, the
soft skills you’ve gained from these experiences (e.g., work ethic,
time management) are more important to employers than you
might think.

9. Visually Too Busy
If your resume is wall-to-wall text featuring five different fonts,
it will most likely give the employer a headache. So show your
resume to several other people before sending it out. Do they find
it visually attractive? If what you have is hard on the eyes, revise.

10. Incorrect Contact Information
I once worked with a student whose resume seemed incredibly
strong, but he wasn’t getting any bites from employers. So one day,
I jokingly asked him if the phone number he’d listed on his resume
was correct. It wasn’t. Once he changed it, he started getting the
calls he’d been expecting. Moral of the story: Double-check even
the most minute, taken-for-granted details -- sooner rather than
later. PeterVogt, MonsterTRAK Career Coach §

Copyright 2007 ­— Monster Worldwide, Inc. All Rights Reserved. You may not copy,

Prohibited/Protected, 2007

reproduce or distribute this article without the prior written permission of Monster
Worldwide. This article first appeared on Monster, the leading online global network
for careers. To see other career-related articles, visit

N e w s & Ti d b i t s

NEWS tidbits
Pre-College Alumnus

John Bogan

Molly Ferguson talks with John Bogan, BFA 2008. John Bogan of Beverly, MA will be the first alumnus of our Pre-College
program for high school students to earn a BFA (in Graphic Design) from NESADSU.The Pre-College program, which began
in 2000 with 10 students, this past summer enrolled 23 in 2 sections. John, who took part in Pre-College in the summer of
2003, entered NESADSU in the fall of 2004 and will finish his degree program in May. Our congratulations to him and
thanks to Molly Ferguson, Continuing Education program staffer, for putting this interview together.
Q. Why did you decide to take Pre-College at the
School of Art & Design?
Although I have had a passion and talent for art since
childhood, my high school art teachers and family deserve a lot of credit for encouraging me to pursue that
passion. During my junior year my art teacher informed
me about the various Pre-College-type programs in
the area. I decided that instead of bumming around the
entire summer, I would take Pre-College at Suffolk. I
wanted to prepare for the more difficult assignments
in my senior-level classes and also wanted to get an
idea of what college art classes would be like. I liked
the location of Suffolk, and I liked the idea of going to a
small art school within a larger university.
Q. What is your best memory from Pre-College?
My teachers, (Assistant Professor) Randal (Thurston)
and (Instructor) Paul (Andrade) took the time to show
us their own work. It was really strong stuff that left
me impressed and inspired. I will always remember
painting with Paul, and how he played Tom Waits or
some other crazy tunes on a little boom box.
Q. What was your favorite project or fieldtrip?
I remember going to local galleries around Back Bay
and seeing work that really resonated with me. I was
so eager to grab any gallery cards I could, to find out
more. I wanted to soak it all up.

Q. What did you enjoy most about the studio/classroom environment?
I was really fond of the teachers. The way they presented the assignments and activities was exciting. I was
curious about everything; the studios, Boston, classes,
teachers. In high school I had fine-tuned my technical
drawing and painting skills, but it wasn’t until Pre-College that I began to learn the conceptual ins and outs
of design.
Q. How was the Pre-College experience different from
your high-school art classes?
The Pre-College experience was totally new and
unique. At that point I had no experience with the basic
elements of design, apart from composition. Pre-College gave me the freedom to develop my own ideas,
and I also got a sense of what college would be like.
Q. What type of student would you recommend take
I would recommend Pre-College to any student who is
considering studying art or design and wants to get a
preview of what college studios are like.
Q. How did Pre-College help prepare you for the
undergraduate arts experience? Did participating in
Pre-College influence your choice of major?
I was introduced to more advanced concepts of design
and process. Participating in Pre-College really helped
solidify my decision to go into graphic design, and made
me feel that Suffolk was the right school for me!

Spring 2008

Q. Now that you are about to graduate with your
Bachelor of Fine Arts in Graphic Design, what are your
plans for the future?
I plan to pursue a job while also focusing on my art
and music. I am interested in publication, packaging
and print design. I’ve applied to Project M, a summer
program where small groups produce designs that will
help others. I’m also touring Europe with my band over
spring break! I’m just looking forward to graduating
and starting to work on amazing stuff! Molly Ferguson §

& Th e n

6 7

John in Color

NESADSU Seeks Reaccreditation of
its Interior Design Programs
Having undergone reaccreditation by the National Association of Schools of Art and Design
(NASAD) last year, one might think that would
hold us for a while. Not so. This year it’s the
turn of the Interior Design programs, graduate
and undergraduate.
While NESADSU’s interior design programs
have been accredited by FIDER (which is
now called the Council for Interior Design
Accreditation) since 1983, those programs, like
the department as a whole, must periodically
undergo review in order to maintain accredited status. (The Graphic Design and Fine Arts
programs do not have specialized accreditation.) The rapidity with which programs change
at NESADSU makes this not only mandatory
but highly desirable.
Interior Design Co-Program Director Nancy
Hackett has taken charge of this reaccreditation and has authored the program analysis
report (relieving me of the task for the first
time since the initial accreditation, for which
I am very grateful!), due in the Council’s national office eight weeks prior to the site visit,
scheduled for March 28th through April 1st of
this year.

Like the NASAD reaccreditation, Council reaccreditation looks at the program philosophy,
mission and goals, the curriculum, faculty, facilities, administration, and assessment methods
and results. The curriculum review is especially
thorough, examining every aspect of both the
BFA and MA programs, and looks at such areas
as the curriculum structure, the development
of professional values, design fundamentals, the
knowledge, skills, processes and theories of interior design, communication, building systems,
materials, regulations and professional practice.
In short, we need to demonstrate that our
programs meet certain very high standards
governing the professional education of the
interior designer.
While here, the visiting team members will
meet with students, faculty, administrators and
alumni and, should, by the end of their stay, be
able to formulate an accurate assessment of
the interior design experience at NESADSU.
Needless to say, we’ll keep you fully apprised
of the outcome of the reaccreditation process.
S.C. §

Everybody’s Going to London
NESADSU Foundation Instructor Bebe
Beard has been invited to participate in
FILMOBILE, an international conference
of artists who use cell phone video in
their art making, taking place in April at
the University of Westminster in London.
A screening and panel discussion will be
held April 2nd and 3rd at Regent Street
Polytechnic (now a part of the University), where, in 1896, brothers Auguste
and Louis Lumiere demonstrated their
machine to show moving photographs to

an audience. Bebe will also take part in
a month-long exhibition of her work on
the Harrow Campus of the University in
conjunction with the FILMOBILE conference. For more information on her work,
please visit and for
information on the conference, please see
S.C. §

Ov e r s e a s C or r e s p on d e n t

Do you know your country’s
punctuation and typography?
Sitting writing this I have re-relocated to my homeland, the UK, where the rules of punctuation and typography are different yet again to those of the
USA and to those of France. As I was pounding the pavements (striding the sidewalks in US speak) of Manchester in my search for a wonderful design
job in a top design or advertising agency I came across a little store selling fresh fruit and vegetables, some tinned goods (canned goods) and newspapers.
Neither the newspapers nor the labels on the tinned goods were written in English. I was in the foreign foods aisle of an American supermarket that had
been removed and put into its own premises. Just for fun I bought a couple of newspapers, one Spanish, one German to see if they could add any more to
this idea of different countries having their own typographical rules, and to see if I could actually spot the differences. (See what happens when you have
too much time on your hands?)

American novel with “m-dash”

English novel with “n-dash”

Spring 2008

Compulsory spaces before punctuation in France !

& Th e n

8 9
The Lesser-spotted Guillmets in situ.

Q. Was this type done in the UK or the USA?
A. This is easy. Just look at the dashes; not the hyphens, the
dashes. In the USA the long “m” dash is used to indicate a
break in thought and as an alternative to parentheses. The “m”
dash has no spaces either side of it but is kerned optically to
give a hint of white space. In the UK the “m” dash is an endangered species and rarely seen; in its place we use an “n” dash
with a space either side. Next time you travel to the UK buy a
magazine or a book and have a look.
Q. Which country has spaces BEFORE some of its
A. France. (And Canada?) In France you are obliged to insert
a non-breaking “n” space between the end of a sentence and
an exclamation mark or a question mark or an ellipsis (three
dots in a line) or a colon or a semi-colon or a slash. Curiously, a certain word processing package, when set to work
in French, automatically adds a normal space for you if you
forget. And curiouser still, if you receive a file from a French
version of the software, that file will add a space automatically
when you use it on your Anglophone computer. This is somewhat disconcerting the first time it happens – a sort of “there’s
a ghost in the machine” type of action! If you are a little
underworked at present I can send you a file to test this out.
Q. A guillmet, that’s a type of seabird that nests in cliffs, yeah?
A. No. Guillmets, plural, are French quotation marks which
appear quite naturally on a French « AZERTY » keyboard but
are nowhere to be seen on yours or mine! For the superpicky it has to be noted that guillmets are not the same as
two less than (<) or greater than (>) signs so don’t even try it!
Guillmets require a non-breaking « n » space between them
and any text just like the punctuation mentioned in the previous paragraph. There is another rule about when you have
a quote within a quote in French you use standard double
quotes as the secondary quote but it all gets very messy and
sometimes a secondary quote is simply italicized instead.

You learn your country’s typography by osmosis—you grow up reading, studying books at high school and at college, reading magazines and newspapers. And if
you choose to become a graphic designer then you study the rules of typography to make sure you don’t look like an amateur using a nasty Microsoft application
on a PC. My personal typographic osmosis happened in the UK. My design education was in the USA. I was, as they say, “conflicted”. And at the time I was not sure
enough of my ground to question Laura Golly, so I simply elected not to. Now, with the experience of 2 years in Paris and 2 months in the UK I know that there is
no right or wrong.You just have to understand where you are, and make a point of learning the local rules.
What follows are extracts from my Unofficial Guide to the Minutiae of Punctuation and Typographical Peculiarities. Enjoy reading them and please feel free to
correct me if I am mistaken on any point. Send your own Minutiae Rule or comment, either to Sara Chadwick (, or to me, Kate McLean

Q. Where do speech marks invert their order with the first
one being baseline aligned?
A. In Germany. And it looks very weird. I went all the way
through the newspaper to make sure that it was not a printing error, and then I even bought another newspaper another
day to confirm. Somebody out there will be able to explain
the history of this.

German speech marks

Q. Everywhere in the world follows the laws of hanging
indents, don’t they?
A. Not in France they don’t! Nor in Germany, nor in Spain.
And boy does it look ugly. And the UK, well the jury is still
out depending on the quality of the designer (pretty much like
the USA really). For those of you who don’t know what I am
talking about I have redesigned the example according to the
way I was taught at NESADSU.
Q. How do I know if this is a question?
A. I look at the end of the sentence to see if there is a question mark. Except if I am reading in Spanish in which case I
look at the start of the sentence whereupon I will find an
enormous clue of an inverted question mark at the beginning
of the sentence. For example, ¿Por qué dices eso? (“Why do
you say that?”) I am a big fan; it alerts me to what I am reading. ¡And they do the same with the exclamation mark as well!
Q. What new piece of punctuation can I use legally to make
my work look different?
A. Well you can always try using the “interrobang” which is
non-standard form used to end sentences expressing surprise
and question. The symbol is a combination of the question
mark (aka the interrogative point) and the exclamation mark
(known in printers’ jargon as a bang); it superimposes one
mark on top of the other!
Which leaves me with just the one sentence…You spent how
long writing this article Kate McLean §

•  ’Association des
diététiciens de
langue française
regroupe plus
de 2 000
professionnels et
des journées
d’études et des of

Is this a question I see before me?

! ! !

Interrobang designs

1958 – Ralph Bush (Graphic Design)
was recently selected as an Artist Member
of the American Society of Marine Artists. Already a Copley Master of the Copley Society
of Boston, and a member of the New England
Watercolor Society, the
Rockport Art Association,
and The Whiskey Painters of America, he has
exhibited his work at the
Smithsonian Institute in

Washington, DC. and was the recipient of
Yankee magazine’s Robb Sagendorph Memorial Award for Art. Ralph and his wife, Muffy,
currently live in Waldoboro, Maine. If you’d
like to get in touch with Ralph, please email
the school ( and we’ll
put you in touch.

Spring 2008

Please be sure to send your updated information
to Sara Chadwick at (for
our database and/or for publication) and also, if
you wish, to for the Suffolk
Alumni Magazine.

& Th e n

10 11

1962 – Dan McCarron (Graphic
Design) presented a seminar, “in case form,
to registered attendees at the Print Vendor
Fair which was held for Harvard University design and print buyers last Thursday
[November 1, 2007]. Titled ‘Green Graphics
for a Crimson Community’, the focus of the
presentation was on the manner in which
graphic designers and printing companies
can use intelligent design and print manufacturing solutions to help Harvard meet its
commitment to the environment. Harvard
is truly dedicated to a green campus! I hope
that NESAD students are learning to design
‘green’. It’s important!” You can get in touch
with Dan at

1963 – Lynne Foy (Illustration) moved
from Newton to Provincetown two years
ago, where she is showing her fine art work
at Thanassi Gallery, after nine years at the
recently closed
Galleria Artemisia. She also
does commercial
illustration and
design and is
nearly finished
with a children’s
book, which
she will begin
marketing shortly.
The advantages to Provincetown? “I live on
the ocean and enjoy glorious sunrises and
sunsets almost daily”. Take a look at Lynne’s
website at and get in
touch at
1972 – William Bradbury (Graphic
Design), while still at the Lowell Sun newspaper, is now teaching a graphic design class
at Middlesex Community College. He and
his wife, Lois, also have a studio on Western
Avenue in Lowell, a 4-floor space they share
with 150 other artists, one of whom is Gary
Destramp (Graphic Design 1982). You can
reach Bill at
1974 – John Roman (Graphic Design)
let us know the other day that he has been
commissioned by Suffolk to produce a new
illustrated map for the University. “As you
may know, I have been specializing in illustrated campus maps for colleges and universities
across the country for many years and am
excited to be applying my work to NESAD
and Suffolk. The new Suffolk University map
will depict the City of Boston’s attractions
and landmarks and their relationship to
Suffolk and NESAD campuses. This commission has been in the works for a few months
now, but I just got word today [January 11,
2008] that the purchase order has been
issued, making the map project official.” John’s
website (
currently shows one of his maps, though
shortly will display over sixty of them. Check
it out and contact John at
1979 – Laurie Dovale (Graphic
Design) recently completed the Alumni
Update Form on the NESADSU website,

giving us the first information we’d had on
her since her graduation. After returning
to the Caribbean, Laurie put her graphic
design skills to work in her father’s ad agency
and publishing firm for ten years, before
leaving Curacao for the neighboring island
of Bonaire. There she worked at various
jobs before starting a B&B in 1990, at her
mother’s suggestion. (“There weren’t any on
the island and all the little hotels seemed to
be making way for bigger ones.”) She ran
the B&B until 2001 and is currently working
with disabled children and helping a friend
with his dining guide (“selling ads, distribution,
copy writing, pretty much what I did for my
dad”). She’s also doing translations (Dutch/
English and the reverse) and selling antiques
left over from the B&B. “Oh, I forgot, before I
started the B&B, I worked on a movie, made
especially for Showtime, called “Curacao”,
with George C. Scott and ‘whatshisname’
before he got famous on CSI. That was some
experience. I had to find and buy/rent stuff
from all over the island for the sets. It was
just what I liked – rustic old stuff, most of
which they gave me afterwards. A 40-foot
container full….” Now Laurie is thinking of
moving, perhaps to New Mexico or Africa.
We’ll keep you posted. In the meantime, you
can reach Laurie at
1981 – Eli Cedrone (General Art) has
exhibited her
painting “Autrefois” at the
Winter Juried
Show at the
Art Complex
Museum in
Duxbury. The
show, of 100
works selected
from over 500
entries, runs

M o r e C l a s s N ot e s

C l a s s N ot e s

until April 13, 2008 at the museum complex
on Alden Street in Duxbury. Another painting of Eli’s, “Mercato”, won an Award of Excellence in the 2008 Members Show of the
North River Arts Society in Marshfield Hills
in February. You can reach Eli at artfulhand@
1981 – Michele (Cormier) Biondo
(Graphic Design) stopped by several
months ago with her two daughters, one of
whom, Katie, is currently a Suffolk student but is considering a change of major.
Michele’s younger daughter, Gina, is in high
school and is looking at colleges so both
came to look at NESADSU. Michele, besides
assisting her children with college decisions,
is working as a graphic designer for Action
Unlimited in Concord, MA, so both girls are
familiar with the design world. You can reach
Michele at
1983 – Carolann (DiNitto) Kovach
(Graphic Design) and her husband have
returned to the Boston area, having spent
some time in Baltimore. “Of course, I love
Boston and was very happy to be back near
family, friends and clients.” They’re now living
in Charlestown where Carolann has a busy
freelance design business, under the name
Oltre Studios, Inc. “I have a couple of steady
clients that are keeping me busy but, as
always, I’m looking to diversify and expand
my client base a bit.” You can reach Carolann
1983 – Paul Harrington (General Art)
is participating in an Illuminations show at
the Yawkey Center for Outpatient Care at
Massachusetts General Hospital through May
2008. The Yawkey Center is located directly
across from the MBTA (Red Line) Charles
Street station. For more information, call
(617) 726-4808 or email You can also reach Paul at
1983 – Terri (Thomas) Coutu (Graphic Design) reconnected with NESADSU
after a long separation while researching
Suffolk University for her daughter, Holly,
who will graduate from high school in June
of this year. Terri, currently living in Rhode
Island with her husband and other daughter
Leah (14), is working for Stevens Publishing
as a graphic designer. “We produce a weekly

shopping guide called The Reminder, consisting of print advertisements, classified ads and
community notes… We also do business
cards, letterheads, menus, etc. I also do
freelance work, with a small but strong client
base.” Contact Terri at
1986 – Armando Bettencourt (Graphic Design) is giving up the corporate
design world and is getting into (or, rather,
back into) fine arts and music, with a little
design thrown in. As ABettencourt Studios
in Attleboro, he’s pursuing his “kid-dream of
incorporating fine art with my own original
music. Each of my paintings is accompanied
with an original song from CD albums I’ve
written and recorded in the past.” Check out
Armando’s website at
and contact him at armando1965@yahoo.
1989 – Mark Fisher (General Art)
recently supplied us with contact information
for classmate Jack Kacian (see below), in the
process of which updating his own information as well. Mark has taken a leave from
real estate (“another casualty of this crazy
market!”) and has gone back to City Music,
where he has worked for 9 of the past 12
years. City Music is a two-store chain that
sells “most things musical as well as a lesson
program with about 300 students”. He’s also
just finished a new CD (you can find music
downloads at Mark, who’s been married to his wife
Nancy for 10 years, has two stepchildren.
“Our daughter has just returned from 27
months in Benin, West Africa and is now
enrolled in a Masters program at Brandeis
University. Michael is a big-time computer
geek working for the U. Mass. president’s
office on the network keeping all MA state
colleges running. I feel like an underachiever
hanging with this crowd sometimes!” You can
reach Mark at
1989 – Suzanne Fletcher (Graphic Design) is living in Livermore, CO, where she
is the marketing manager and designer, with
three others, for Scuba Schools International
( in Ft. Collins. She has a
stepson, a daughter (9) and a 6-month-old
baby to keep her busy as well. You can reach
her at

1989 – Jack Kacian (Graphic Design)
sent us a
long email
in October
about his
doings since
graduation. For
the past 12
years, Jack’s
been with
the Holbek
Inc. (www.
com), an
education exhibit design and fabrication
company in Orange, MA. While they do a
wide variety of jobs, most involve natural history, for clients such as the Audubon Society,
U.S. Fish and Wildlife, the National Parks
Service and various zoos and aquariums.
They have also worked with clients such as
Dreamworks, Jeff Corwin, Warner Brothers,
Sprint and Verizon. For the latter, they have
done concealment structures for cell phone
antennas, in the form of architectural details
(atop buildings) or what one cynic called
“Frankenpines”, designed to look like trees.
“We have developed the technology to
produce the longest branches in the industry
(18 feet), which allows us to make the trees
look like trees and not bottle brushes!” While
Jack is an art director, he occasionally gets
his hands dirty making models or painting
murals. He also does freelance work as well,
currently for the Boston Children’s Museum.
You can get in touch with Jack at

1992 – James Schenck (Graphic Design), whom you read about in the spring
2007 issue of “& Then…”, is continuing his
work as a Park Ranger at the Grand Canyon
and was a member of the team tapped to
design a 1400-square-foot exhibition on the

Civilian Conservation Corps and its work in
the park for the CCC’s 75th anniversary. The
exhibit, which runs through October 31st,
includes historic photographs and artifacts,
never before viewed by the public, on the
work of the CCC and the positive changes
brought to the lives of the over 1400 men
who worked in Grand Canyon National Park
between 1933 and 1942. James was one of
five members of the design team, charged
with presenting the “golden years” of the National Park Service and the contributions of
the CCC. For more information go to www. You can
reach James at

Spring 2008

Please be sure to send your updated information
to Sara Chadwick at (for
our database and/or for publication) and also, if
you wish, to for the Suffolk
Alumni Magazine.

& Th e n

12 13

1995 – Carroll Conquest (Graphic Design) has just returned from a 12-day trip
to Cuba with
a group of
Tufts University graduate
students. “We
did research
in our areas
of interest for
our capstone
degree projects [Editor’s
Note: Carroll
is currently
enrolled in a Masters of Art in Teaching
program at Tufts University, in conjunction
with the School of the Museum of Fine Arts.]
My research included meeting contemporary
female artists in Cuba to discuss their art and
the role of female artists in Cuba; also art
education in Cuba with a focus on elementary school art education since that is the
focus of my MAT degree. I am currently student teaching at Angier Elementary School
in Newton and have been hired at the MFA
as an adjunct museum art educator. I am
spinning with excitement for what I learned
in Cuba and the opportunity to teach art to
elementary children in the public schools. For

Coordinator at Office Environments, a major
New England office furniture distributor. You
can reach her at

my personal art, I am working in a new medium – steel. I learned to weld and cut steel
in one of my SFMA studio classes and now
I am hooked.” You can contact Carroll for
more about her adventures at c.conquest@
1996 – David Phile (Interior Design)
wrote to let us know that “the best Christmas present” he got this year was to find out
he’d passed the NCIDQ (National Council
for Interior Design Qualification) exam!
The exam, required for licensing (where
applicable) and for professional membership
in various interior design associations, covers
the whole field of interior design and is extremely rigorous. So congratulations, David!
Send yours to him at dphile@buildersdesign.
1998 – Melissa Horvath (Graphic
Design) and fiancé Ron Plyman were married on November 9th at The Bethwood in
Totowa, NJ. Fellow NESADSU alum, Lynn
(Janz) Lloyd (Interior Design 2000) and her
family attended as guests. After a snowboarding honeymoon at Whistler/Blackcomb
Mountains Ski
Resort in British
Columbia, they
returned to
New Jersey and
are now in the
process of buying
a house. Both
Melissa and Ron
work in New York
City so “wanted to
be in a nice town
that was close to
NYC”. Melissa,
a Senior Interactive Art Director at VML, is
working on the Colgate-Palmolive account
and has just launched phase one of the redesign of a new website (
You can send your congratulations to Melissa
and Ron at
2001 – Angelique Donovan (Graphic
Design) has a new job as the Marketing

2001 – Sarah (Rowe) Ankrom (Graphic Design) has returned to Rhode Island,
this time to Hope Valley, where she and her
husband have bought their first house. In
addition to working on the house, she has a
new job with the Westerly (RI) Sun newspaper, doing advertising design. You can reach
Sarah at
2002 – Katherine Garbarino (Interior
Design) has relocated to New York City
and is working for Hokanson, the carpet firm
she was with at the Boston Design Center
before her move. You can get in touch with
Kate at
2002 – Nicholas Heigelmann (Graphic
Design) has returned to Maine after a stint
in Boston, and is working at Silver Oven,
a design and web development studio, in
Portsmouth, NH. You can reach Nick at
2002 – Shari (Longstaff) Mason (Fine
Arts) and her family (husband Russ and
children Russell and Silas) have relocated to
Petersburg, VA, where Russ has taken a position as an assistant pastor, alongside a friend
from Zion Bible College. Shari is using her
fine arts training as a muralist in both residential and commercial settings. As she says,
“I enjoy getting out of the house to paint. I’m
hoping that, once the boys are bigger, I’ll be
able to do it more.” You can reach Shari at
2002 – Patricia Ramos-Otero (Fine
Arts) has moved to Madrid and founded
an association to promote art and culture.
Called Espaciorojo (,
its website features, among other things, a
gallery of Patricia’s work. You can get in touch
with her at
2002 – Shelley (Robertson) Sullivan
(MA in Interior Design) has been working since graduation at Warner
& Associates, a
healthcare design
firm in Boston.
Warner was
recently bought

T h e L a s t o f t h e C l a s s N ot e s

Ye t M o r e C l a s s N ot e s

out by HDR, Inc., a healthcare architecture,
design and engineering firm with offices all
over the country, making Warner now the
Boston office of HDR. While Shelley loves
her work, her “true joy” is her family, her
husband and their daughter, Cara, one year
old in January. You can contact Shelley at
2002 – Kodiak Starr (Graphic Design),
while still in New York, has left Foote, Cone
& Belding for a position as a web designer at
RDA International. RDAI is a “full-service advertising, interactive and experiential agency
focusing on special interest categories”
(RDAI website) in the hospitality, technology,
entertainment and fashion fields. You can
email Kody at
2003 – Laura Hanson (Graphic Design) has left Small Army and, for the past
year, has been working at Partners + Simons,
a design and marketing firm specializing in
the healthcare, financial services, life sciences
and technology areas. You can reach Laura at
2003 – Sara MacAllister (Graphic
Design) has moved to Rockland, MA and is
working for the Casual Male Retail Group in
Canton, where she’s been since September
of 2006. You can reach Sara at smaca18@
2003 – Aimee Whitlock (Interior
Design) is working as the Greater Boston
Rep for Durkan Hospitality, a Mohawk Carpet company based in Dalton, GA. As such,
she calls on local architecture and interior
design firms that work in hospitality design as
well as restaurants, casinos, universities, etc.
Recent clients have included the Boston Park
Plaza Hotel, the Lenox Hotel and Harvard
University. You can reach Aimee at aimee_
2004 – Erika Brown (Master of Arts in
Interior Design) has left Gensler to take
a job as a Facilities Planner at Wentworth
Institute of Technology in Boston. She has
generously offered to provide information
and networking contacts for any students
interested in facilities management, so, if you
fall into that category, please get in touch
with Riki at

2006 – Jin Koh (Fine Arts) has returned
to South Korea and is getting ready to make
application to graduate school in painting. You
can reach her at
2006 – Kelly Pearson (Fine Arts) has
recently moved to New Bedford, where she
has bought “an historic sea captain’s house”.
No longer with Grand Circle Travel, she is
freelancing for such clients as PartyLite and
Thomson CompuMark. You can reach Kelly
2007 – Timothy Enright (Graphic
Design) has deserted his fans at NESADSU,
leaving us with barely a smile to remember
him by (Editor’s Note: I was instructed to
make this note “light-hearted and hilarious”…a tall order) and moved back to New
Jersey. He’s now working in New York at
Match Fine Print, a 3-person print production, design and consulting firm that does
print work for luxury goods companies.
They’re currently working on the redesign of
packaging for Harry Winston, as well as projects for Moet-Hennessey, Kangol, Pentagram,
and H. Stern. “Things are going great and I
could not be happier in my position. A small
firm with great people that understand that
this field is not about being a commodity but
an art….exactly what I always talked about
@ NESAD.” And, if your clients are handing
out free samples, Tim, remember your friends
at school. You can reach Tim at
2007 – Hanna Kim-Seda (MA in
Interior Design) has taken a job with
Zebrowski Design Group, a hospitality design
firm in Culver City, CA. Zebrowski focuses
primarily on hotels and restaurants, as well as
some private residential projects, now including the Ritz-Carlton in Half Moon Bay (near
San Francisco), a resort in Tucson and an
Intercontinental Hotel in Montreal. Contact
Hanna at
2007 – Ciara Langley (MA in Interior
Design) has relocated to London and has
found a job as an Assistant Architect with
TTG Architects, a design, architecture, construction and management firm specializing
in retail projects. “I am learning an incredible amount and the people are fantastic.
They put a lot of faith in me and give me
great work to do. I was lucky to land the

job almost instantly. I found it via Consensus
Recruitment, which deals with architectural
job-finding. A good company to keep on
contacts lists if any other student heads toward London in search of a job!” You can get
in touch with Caira at ciara.langley@hotmail.
com. And look for her interview in this issue
of “& Then…”.
2007 – Kaitlin Palaza (Interior Design)
left Duncan Hughes Interiors and started a
new job in September at CBT/Childs, Bertman, Tseckares Architects in Boston. You can
email her at
2007 – Helen Principio (Diploma in
Interior Design), who was with the Expo
Design Center in Burlington, MA, has been
working since August at Berard Martel Architecture in Bedford, NH. Berard Martel is a
general architecture firm, handling corporate,
retail, hospitality, healthcare, institutional and
residential clients. You can reach Helen at
2007 – Emilie Tucker (MA in Interior
Design) has a new job with the interior
design firm Manual de Santaren in Boston.
You can get in touch with her at ejmittel@
2007 – Karen Urosevich (MA in Interior Design) has a new job at Benson
Interiors, a residential interior design firm in
Boston. You can get in touch with Karen at
2007 – Daniela Wong-Chiulli (Graphic
Design) recently took part in a two-person
show, called Framing the Line, of drawings
inspired by the Japanese comic book art,
manga, at the Distillery Gallery in South Boston ( Manga refers to comic book art, which in turn is often
brought to film, becoming anime (Japanese
animation). “The main distinction to be made
between the art works on display and manga
is that the latter involves images that are
continuously in motion. The images drawn
by …Wong-Chiulli exist by themselves for
themselves. They are manga-like images taken
out of the context of narrative and placed
in the context of contemplation.” (Distillery
Gallery website). You can get in touch with
Daniela at

I realize that, to some extent, every piece of
information—new job, new baby, etc.—that I
receive from an alum is “feedback” of a sort and
that is, of course, one thing that drives this
magazine. But every once in a while, an alum
writes a note to someone at NESADSU that
really deserves to be read in its entirety. Such
is the case with Carl Grivakis (Graphic Design
2004) and the email he sent to Graphic
Design Program Director Laura Golly (and
her colleagues, Jennifer Fuchel and Wallace
Marosek) in January.With only the most minor
editing, here it is:

teacher in Massachusetts. I am taking the MTELs on

Jen, thank you for teaching me the ropes of the pro-

March 8th. My goal is to teach art and design at the

grams. Without the tools to work with I don’t know

high school level to better prepare students who

where I’d be. My boss still thinks my Photoshop skills

want to enter the field directly or to move on to a

need work. I agree but I am the master of Illustrator

college program. I’m excited and a little nervous, but I

and InDesign here and everyone comes to me if they

have found a love for helping people along when they

ing, but I’ve given up on coding. I have a friend handle

authored several articles on Designer Today offering

that...the design work is usually all mine. As far as the

advice ranging from portfolio development to profes-

newest technologies go, I haven’t a clue.

sional practice and spec work.
Wallace, thank you for the extraordinary time in GD
Along with all of this I have been active working with

III and IV as well as the illustration classes. Apologies

local political campaigns, trying to bring a unique design quality to each candidate so that they will stand

some of the projects. My work schedule was a little

out in the crowd of cookie cutter work produced

overbearing and I would have been better served

in many of the sign shops. I have done logo work for

taking fewer classes and devoting more time to my

Peer Servants and helped Unite for Sight as well. Fi-

portfolio in my senior year.Your lessons have always
stuck with me and I see much of the senior course

for a local anime (Japanese cartoons) convention in

work coming through in my professional life.

Students at NESADSU are taught to work together on
projects, to collaborate, pooling their talents for the best
result. Whether within a discipline or between two (say,
interior design and graphics), the sum is nearly always
better than its parts.

for never being able to put the proper time in on

nally I set some time aside to lay out program guides
“Hello Laura, Jen and Wallace,

Recipe for Success

need technical help. As far as web design goes, I’m try-

are struggling to get into the industry. I have even

NEWS tidbits
N e w s & Ti d b i t s

Fe e d b ac k : N ot e s F rom You

FEEDBACKfrom you

New Hampshire.
It’s been quite some time since I’ve been around

So I just wanted to thank all of you properly. Sorry

NESADSU. I’ve been meaning to come to the senior

If you’ve read this far I’m glad. One of the thrills I

it took me four years to get to it, but I wanted to

shows the last couple years, but work has prevented

hope to have as a teacher is hearing the stories of

be able to come to you with some info. on my ac-

it. I’m happy to say I work as an in-house designer at

my students. I want to thank each one of you for

complishments. I wish the program and all of you well.

InScribe, an invitation and stationery company located

all the work you’ve done in the design program.

I will try and visit soon.

in Woburn. I’m going on my third year here…. Now

NESADSU was one of the best decisions I’ve ever

that I’m at a small place like InScribe, I find myself

made in my life.


wearing many hats, designing mostly print mate-


rial, brand identities for new products and product

Laura, thank you for driving me to always do better in

samples for our merchandise.

my work. I regret having not taken the Electronic Publication Design class. I had to learn on the job how to

My work also brings me to New York once a year to

lay out a document that’s 16 to 90 pages long. Though

the National Stationery Show where I can see much

as a student I often disagreed with your critiques, I

of our product put on display at the largest both in

realized afterwards you were absolutely correct. I

the show. I’m quite content with what I am doing,

apologize for not being able to take the guidance to

but looking to the future I am considering teaching.

heart at the time.

I am currently applying for licensure as a vocational

A similar collaboration took place recently, in a small space
in Harvard Square. Stephanie Rossi (Interior Design 2001),
a practicing interior designer (,
whose husband, Jerome Picca, is a chef, decided in 2006 to
open a small restaurant in Cambridge, in the space previously occupied by the iconic Iruña. Starting from scratch,
and leaving the food issues to Jerome, Stephanie set about
designing the space. But what about a logo? Turning to her
former NESADSU classmate and good friend, Joel Gendron
(Graphic Design 2000), Stephanie and Jerome entrusted
this important piece of the puzzle to him. The result? A
snappy logo that says it all, to go with a small restaurant
that, as the Boston Globe says, gives you “a distinct feeling
that you are eating inside someone’s home dining room”.
The restaurant, which opened in October of last year, consists of two small rooms, seating about 50 people, and is
done in a sophisticated palette of warm tones with accents
of red and gray. (Beginning this spring, there will also be
outdoor terrace seating for about 15.)

Small Plates is a restaurant and wine bar, specializing in
tapas or appetizer-sized portions that, in some cases, can
be ordered in entrée-sized versions as well. One entrée or
two tapas makes the perfect meal and allows the diner to
try several different dishes. Everything is cooked or baked
by Jerome and his staff and is “reminiscent of a dinner
party given by someone who is cooking to please you”
(Boston Globe).
In the interests of a full confession, I should tell you that I
dined at Small Plates, with two family members, in February,
on a Tuesday evening. The restaurant was full (reservations
are a necessity!), the place looks wonderful, and the food is
fabulous. Personally, I’m not fond of restaurants that serve
plates piled high with food, half of which goes uneaten or
goes home. Small Plates is perfect for those who want, well,
a small plate, or who want to try several dishes. I had one
tapas of baby lamb chops on a bed of Israeli couscous and
vegetables, and another of puff pastry filled with lobster
and asparagus. Both were beyond delicious and very
reasonably priced. Then, the advantage of “small plates”
being obvious, there was room for dessert, a peach/ginger
bread pudding that was out of this world. A small but very
good list of available wines added just the right finish. All
in all, it was a wonderful meal in a lovely setting. That’s
my review. For the Globe’s, check out
com/lifestyle/food/articles/2008/02/06/small_plates_offers_eclectic_choice_of_nibbles/ or
com/ae/food/restaurants/articles/2007/12/21/entcing_tapas_in_a_refined_room/. You can also see a menu at So support your fellow
alumni! And bon appétit! S.C.§

& Th e n

14 15

Pa s s ag e s

Spring 2008

Stephanie Rossi

It is with great sadness that we learned just before Christmas of the death of
Christopher Nolin (Interior Design 1995). Chris, who was living in
the Albany area, had been the operations manager and then a group sales
manager for Macy’s, before becoming the assistant manager of the Kohl’s
store in Saratoga Springs. In 2006, he started Chris Nolin Home Improvement Services, combining his retail background with his interior design
training. Chris leaves a wife, Tammy Bamford Nolin, one brother, and
numerous other relatives. A funeral was held on November 30th, 2007.
Our heartfelt sympathies go to his family and friends.
Small Plates, Cambridge

A l u m n i Fo c u s


BFA Installation

BFA Installation

Ciara Langley
One thing I find fascinating about
the students in the Master of Arts
program in Interior Design at
NESADSU is the astonishing variety
of their backgrounds. Not only
do they come to us from some of
the most prestigious colleges and
universities in the U.S., but they
also represented, in the 2006-2007
school year, over a dozen foreign
countries. Ciara Langley is a good example of the best of them.
“Originally from Dublin, I traveled quite a bit from an early age
and lived in Saudi Arabia for four years during my childhood. This
instilled in me a fascination for and desire to travel and experience
other cultures. After returning to Ireland and the Irish educational system, my parents saw some talent in my love for art. They
encouraged my siblings and me to follow our passions in life and
afforded us every opportunity possible to explore various interests,
in my case art. When I was about nine, my parents enrolled me in
classes with a local artist named Fionnula O’Keefe. Classes were
very small, with only a few students, which afforded each of us
great attention and really helped me to explore a range of mediums and approaches.
“At the age of fifteen I expressed to my parents my desire to follow art as a career path. They were again incredibly supportive,
with great faith in my abilities. They explained to me the difficulties
I might confront in a professional field in which it can be very hard
to create a stable career. However they trusted me to find my own

direction in life, knowing that I understood the amount of dedication it would require.
“I began a weekend portfolio course in a DLIADT (Dun Laoghaire
Institute of Art, Design and Technology, a university in south Dublin). I was the youngest in the course as most people were eighteen
and preparing for entry into college the following academic year.
The course was incredibly challenging and really made each of us
question our ability and dedication. The professor was very critical
and demanded a huge amount of effort from us. I spent two years
doing this course, spending my final year of school taking state
exams and compiling my final portfolio for college application.
“I applied to NCAD (the National College of Art and Design, a
central Dublin university known for being the leading art institution in Ireland). Competition for places at NCAD was tough but
my application was strong enough and I was accepted on my first
application after reviews of my portfolio and Leaving Certificate (a
state exam required to get into college in Ireland).
“My time at NCAD was a difficult one. Natural talent was not
enough and the professors constantly questioned our abilities
and our dedication to the field of art. Having broken away from a
very traditional arts approach in the 1960’s the college strove to
produce work strong in concept and powerful in effect. There were
many supporting subjects that we were required to take including
history, media studies, sociology, aesthetics, etc. Our finals included
an extensive 10,000-word written thesis along with a much anticipated final degree show attended and reviewed by the Irish media.

Plaza Chair

Spring 2008

Dog Sketch

“In 2003 I graduated with a Bachelor of Fine Art honors degree,
specializing in printmaking. My final degree show in NCAD was
very abstract in nature and I chose to exhibit a final selection of
lithographic prints in conjunction with a drawing installation. The
installation consisted of a large 8’ x 8’ completely enclosed room
filled with abstract drawings and visible only through small strategically placed view ports. Viewers had to maneuver around the
structure and engage with it to fully explore and receive from the
work. The drawings evolved over a period of about six weeks and
were catalogued with photographs throughout this period. These
images were created in conjunction with the set of lithographs and
together explored over three semesters the nature of underlying
forms, notions of their spatial relationships and my perceptions of
the world around me. I was using the process of drawing itself to
understand something more about myself, my philosophy of reality,
experience and an understanding of reality beyond the tangible
physical form.
“Now I began contemplating earning a Masters degree. I had enjoyed the challenge and stimulation of university life and was eager
to continue to pursue my education in some capacity. The drawings
and the work I created during this time became very architectural
in nature as I explored spatial relationships, encounters between
forms and personal experience when engaging with a structural
form. At the time my sister was finishing an architecture degree and
I found myself intrigued by the complexity of concept and detailing
in her models and drawings. Then, as I was finishing my studies at
NCAD, I was offered a job as a graphic design intern in Burlington,
Massachusetts. I was eager to travel more and had never been to
America so I jumped at the opportunity to spend time in New
England traveling and gaining work experience. I spent a couple
of summers working there, at the same time researching various
Masters programs.
“My original intention was to undertake my next degree in Europe
and carry on with the fine arts route, obtaining either a Masters
in Fine Arts or perhaps a degree in Art Therapy. Then, during one
commute to work on the subway, I saw a poster for NESADSU
and decided to see what programs they had to offer. I discovered

the MA program in Interior Design and became really excited by
the descriptions of the courses involved. I contacted NESADSU for
more information about the program requirements and was told
about an upcoming informational evening, so decided to attend.
I recall very clearly meeting Mark Brus at the event and sitting
around a table with him and other prospective students discussing
the courses and the fields of interior design and architecture. He
had a great passion for design and a dedication to the field that was
incredibly encouraging and inspiring. I owe him a great thank you
for convincing me to apply to NESADSU. So, I made my decision to
put in an application and thankfully was accepted. It was quite a big
leap of faith for me to leave Europe, my family and my life as I had
known it but the decision came very easily somehow. I felt great
excitement to be pushing my career in a new direction that still
remained rooted in my passion for the arts.
“I began my classes in the fall semester of 2004. I was immediately
excited by the possibilities and the complexity of interior architectural design. The professors were incredibly knowledgeable and
passionate about their subjects, which made for very enjoyable
educational experiences. I found a dedication to students and a
supportive network I believe was lacking in some of my previous
educational experiences. Students weren’t competing aggressively
with one another but rather actively engaging with each other,
exchanging ideas and stimulating creativity. I also began to find a
satisfaction in design that wasn’t supplied by my fine art endeavors.
I began to recognize the power of good design to infiltrate the
lives of people, affecting and inspiring in a multitude of ways, while
satisfying the creative and conceptual drives I had found in fine
art. Architectural design permitted me to express a creative voice,
then move that voice beyond the confines of the gallery and the
“During my time at NESADSU I continued with internships in
graphic design and interior design to support my education. While
entering my final year I heard about a graduate fellowship at
Suffolk’s Ballotti Learning Center. I approached Laureen Simonetti
[the BLC’s Educational Consultant attached to NESADSU] about
the position and was instantly excited by her enthusiasm and

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16 17

M a s t e r o f A rt s i n I n t e r i or D e s i g n 2 0 0 7

A l u m n i Fo c u s

Ciara Langley
dedication to the student body. I was awarded the fellowship and
worked closely with Laureen for my final year at NESADSU. This
was an incredibly rewarding learning experience for me. Laureen
provided me with every possible support to enable me to offer the
students at NESADSU the guidance and information to help them
excel in their studies. I worked with a dedicated and inspiring team
of tutors and greatly appreciate what the students I served with
offered me in return. The work itself was very demanding and quite
stressful on top of a full course load, but was an invaluable learning
experience. We offered our students group workshops on various
computer programs, specific skill sets and techniques as well as
support in difficult classes. We also offered one-on-one regular
tutoring sessions as well as study guides, informational handouts
and study groups.

“In my final semester at NESADSU I was invited by Nacer Benkaci
to work as a teaching assistant in his Contract Design Studio class.
Working alongside Nacer proved to be another fantastic experience at NESADSU.
He was a very de“  have become heavily involved in a major, multiI
manding professor
million pound retail development for a high profile
with high expectaclient in Cardiff, the capital ofWales.The work itself tions of his students
has become increasingly challenging but I am lucky but he taught in a
way that challenged
to have a director who puts great faith in my abilithem to produce
ties and the increasing responsibilities of my role.”
engaging, refreshing
design proposals. He
instilled in me great enthusiasm for the potential of teaching in this
field and I hope in the near future to be able to return to higher
education in a teaching capacity again.
“In the spring of 2007, I completed my Masters degree. I had spent
the best part of the past four years in Boston and had come to
love the city and make great friends and professional contacts

Spring 2008

The Houses of Parliament, London, UK

while there. As graduation approached, however, I felt the need to
address decisions about my future again and what path I wanted
to travel next. I felt that now was the time to continue with my
travels and push my career in a new direction. For some uncertain
reason London was enticing me in much the same way Boston and
NESADSU had. I woke one morning and just made the decision to
move to a wild and exciting city, filled with outstanding design firms
and unlimited potential.
“So, after graduation I returned to Europe, spending most of
the summer traveling around the continent and finally settling in
London in August. I found a fantastic apartment in Waterloo, a
very central area in the south of the city. It allows me to walk to
almost anywhere in central London in about thirty minutes and
the apartment itself is quirky and filled with great character. Within
two weeks I had sent out numerous applications and was offered a
job on my first interview with a firm called TTG Architects. They
sounded excited about my application and I was very attracted to
their genuine desire to provide me with a challenging and exciting
opportunity with the firm.
“I have now been working at TTG for seven months and with each
month that goes by I feel greater excitement and enthusiasm about
going to work. I have become heavily involved in a major, multi-million pound retail development for a high profile client in Cardiff, the
capital of Wales. The work itself has become increasingly challenging
but I am lucky to have a director who puts great faith in my abilities
and the increasing responsibilities of my role. My position is technically “assistant architect” rather than interior designer, but it is
giving me great experience in areas like construction and detailing
and I feel my knowledge base continue to explode after the strong
foundations provided by my education at NESADSU.”
With our thanks to Ciara for sharing her experiences – and our
best wishes for a bright future. S.C§.



     
            
          
 
      
      

         
        
         


      
    
    
     
    
     
     
       
      
    
     
    
    
     
         
       
        

The River Thames, London, UK

18 19

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The New England School of
Art & Design at Suffolk University
75 Arlington Street
Boston, MA 02116

G a l l e ry S c h e du l e

Student Exhibitions 2008

Summer Exhibitions 2008

Work by current students of The New
England School of Art & Design at Suffolk

NESADSU White Box Gallery (Studio 208):
NESADSU Fine Arts Alum Critique Group

March 24th to April 4th
Reception: Friday, March 28th 5-7pm

Graphic Design (Undergraduate)
April 7th to April 18th
Reception: Friday, April 11th 5-7pm

Fine Arts
April 22nd to May 2nd
Reception: Friday, April 25th 5-7pm

Interior Design (Graduate and
May 5th to May 19th
Reception: Friday, May 9th 5-7pm


Organized by Mish McIntyre and Jessie
May 12th to June 27th
Reception: Friday, May 16th 5-7pm

Main Gallery:
Prints and Related Drawings: Fine Arts
Faculty Print Portfolio
Organized by Assistant Professor Randal
May 27th to July 12th
Reception: Friday, June 27th 6-8pm

July exhibition:TBA

Fall Exhibitions 2008
Graphic Design Graduate Student Exhibition
September 2nd to September 13th
Reception: Friday, September 5th 6-8pm

String Theories
September 18th to October 25th
Reception: Thursday, September 18th 6-8pm

Pop Life
October 30th to November 30th
Reception: TBA

Please call (617) 573-8785 to confirm dates and times of
exhibitions and opening receptions.

Detachment, 2007 ClaraWolverton