1
25
3
-
https://d1y502jg6fpugt.cloudfront.net/11079/archive/files/8959c0b9742317eb78ad74cb59572e0b.pdf?Expires=1792627200&Signature=OcKeHwkMSDvuX0kRcu5r7meiv3OHBxDFDDPw5pGHd5PqihpiUV4FcfklWAj1LpryzrY7CfShOQiBV3kFcjTbKQrPo-f6lvbmVH7Hw66XdLXSuDyC3uzsx2mLksgS8DRDBzfKZvHS0ikVp88PwZEKfUZwyRpKSRxSf8ZqirR0Z5lpTFVAJUZQ8y%7ERDXagUH-FtWsd7lkUTQYfp42XaIJr6FNN2jGs43xgnzJbAomEme7Puc3Guahr%7E3kBDPHtP3IBxnOvMGzbnzGBNiuSL88HCcNdOkFEBdtgCDqQDsoTDZMqgOGXROv1Z4OrZeRB8janQfZ4t0JX9zSAf1bPmMM4yw__&Key-Pair-Id=K6UGZS9ZTDSZM
b69ec3ee16f97a81370961db00d1bb93
PDF Text
Text
NESADSU Alumni Magazine
& Then
The
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
profession.
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
FACULTY
interview
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.
Sara
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.
EDITOR:
Sara Chadwick
design concept & DESIGN:
Kate McLean
CONTRIBUTING designer:
Rita Daly
contributing authors:
Molly Ferguson, Kate McLean
printing:
Reynolds DeWalt, New Bedford, MA
web site: www.suffolk.edu/nesad
Send updated contact information, questions or requests to Sara Chadwick at
schadwic@suffolk.edu or call (617) 994-4294 or use the new online form on the
Alumni page of the website.
cont.
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
NESADSU Fine Arts
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 http://content.monster.com.
�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
Pre-College?
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 http://bebebeard.com and for
information on the conference, please see
http://rhizome.org/announce/view/51012.
S.C. §
�Ov e r s e a s C or r e s p on d e n t
OVERSEAS
correspondent
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
punctuation?
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 (schadwic@suffolk.edu), or to me, Kate McLean
(mcleankate@mac.com).
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 §
pratique
• � ’Association des
L
diététiciens de
langue française
regroupe plus
de 2 000
professionnels et
propose
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 (schadwic@suffolk.edu) and we’ll
put you in touch.
Spring 2008
Please be sure to send your updated information
to Sara Chadwick at schadwic@suffolk.edu (for
our database and/or for publication) and also, if
you wish, to classnotes@suffolk.edu 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 dmccarron@wordtechcorp.com.
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 www.lynnefoy.com and get in
touch at lynne.foy@verizon.net.
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 bbrad4745@billbradbury.com.
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 (www.johnromanillustration.com)
currently shows one of his maps, though
shortly will display over sixty of them. Check
it out and contact John at john@johnromanillustration.com.
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 yuanablou@yahoo.com.
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
CLASS
notes
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@
comcast.net.
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 mmcbiondo@yahoo.com.
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
at carolann.howard@comcast.net.
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 illuminations@partners.org. You can also reach Paul at paulharrington@luminism.net.
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 coutu142@cox.net.
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 http://home.comcast.
net/~armando1965/abettencourthome.html
and contact him at armando1965@yahoo.
com.
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 myspace.com/markfishermusic). 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 mnfisher@verizon.net.
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
(www.divessi.com) 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 thetreehousegroup@yahoo.com.
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
Group,
Inc. (www.
holbekgroup.
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 jack_kacian@yahoo.com.
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.
nps.gov/grca/historyculture/ccc.htm. You can
reach James at James_Schenck@nps.gov.
Spring 2008
Please be sure to send your updated information
to Sara Chadwick at schadwic@suffolk.edu (for
our database and/or for publication) and also, if
you wish, to classnotes@suffolk.edu 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 donovan@oene.com.
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@
conquestdesigninc.com.
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.
com.
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 (www.softsoap.com).
You can send your congratulations to Melissa
and Ron at melissa@melissahorvath.com.
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 saraheankrom@yahoo.com.
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 kgarbs@aol.com.
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
nheigelmann@gmail.com.
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
shari331@gmail.com.
2002 – Patricia Ramos-Otero (Fine
Arts) has moved to Madrid and founded
an association to promote art and culture.
Called Espaciorojo (www.espaciorojo.com),
its website features, among other things, a
gallery of Patricia’s work. You can get in touch
with her at pitopato@hotmail.com.
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
CLASSotes
n
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 sullys04@norwoodlight.com.
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 kodiakstarr@gmail.com.
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
lhan42781@yahoo.com.
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@
hotmail.com.
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_
whitlock@mohawkind.com.
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 browne4@wit.edu.
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 jinkoh80@gmail.com.
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
at kmartypea@hotmail.com.
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 enright.timothy@gmail.com.
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 hannakimseda@gmail.com.
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 kaitlinpalaza@gmail.com.
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
hprincipio@yahoo.com.
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@
yahoo.com.
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
karenurosevich@hotmail.com.
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 (www.distilleryboston.com). 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 sleighted@gmail.com.
�DIRECTLY FROM AN E-MAIL
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
notes
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.
Cheers,
wearing many hats, designing mostly print mate-
Carl”
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 (www.spaziorosso.com),
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 http://www.boston.
com/lifestyle/food/articles/2008/02/06/small_plates_offers_eclectic_choice_of_nibbles/ or http://www.boston.
com/ae/food/restaurants/articles/2007/12/21/entcing_tapas_in_a_refined_room/. You can also see a menu at
www.smallplatesrestaurant.com. 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
ALUMNI
focus
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
exhibition.
“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
& Th e n
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
ALUMNI
focus
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
& Th e n
cont.
•
•
•
•
•
•
•
•
•
•
�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
GALLERY
schedule
Student Exhibitions 2008
Summer Exhibitions 2008
Work by current students of The New
England School of Art & Design at Suffolk
University
NESADSU White Box Gallery (Studio 208):
NESADSU Fine Arts Alum Critique Group
Foundation
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
Undergraduate)
May 5th to May 19th
Reception: Friday, May 9th 5-7pm
exhibition
Organized by Mish McIntyre and Jessie
Schloss
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
Thurston
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
�
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Suffolk University Records
Description
An account of the resource
The Suffolk University Records collection covers all aspects of the university's history and development from 1906 to today. The materials include: Presidents' records, photographs, audio and video recordings, memorabilia, and university publications. Learn more about the <a href="https://www.suffolk.edu/academics/libraries/moakley-archive-and-institute/collections/records-of-suffolk-university" target="_blank" rel="noreferrer noopener">collection</a> at our web site.<br /><br /><span>The digitized content from this collection has been moved to </span><a href="https://dc.suffolk.edu/surecords/" target="_blank" rel="noreferrer noopener">Digital Collections @ Suffolk.</a><span> </span>
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
And Then, NESAD alumni newsletter, no.14, Spring 2006
Date
A point or period of time associated with an event in the lifecycle of the resource
2006
Creator
An entity primarily responsible for making the resource
Suffolk University
Source
A related resource from which the described resource is derived
Suffolk University Records
Series SUG-001.007 Suffolk University Advancement and Alumni Newsletters, 1927-2010
Relation
A related resource
<p>Find out more about our collections on <a href="http://www.suffolk.edu/explore/24550.php">our website</a>.</p>
Rights
Information about rights held in and over the resource
Copyright Suffolk University. This item is made available for research and educational purposes by the Moakley Archive & Institute. Prior permission is required for any commercial use.
Type
The nature or genre of the resource
Text
Documents
Format
The file format, physical medium, or dimensions of the resource
PDF
Language
A language of the resource
English
Subject
The topic of the resource
Suffolk University -- Periodicals
Suffolk University
Identifier
An unambiguous reference to the resource within a given context
SU-1879
Alumni
NESAD
Suffolk Publications
-
https://d1y502jg6fpugt.cloudfront.net/11079/archive/files/5022cd6aef95519c0fff5453f06ca440.pdf?Expires=1792627200&Signature=IBlPf%7EPaOh2oYds7kI4li6wJrKrFtcoaZ025AgTeG%7EyFCnsLP4uOI76oXn0jGtGCRzUyp2QRlhurqBBySP9Ur9pIZFfFUFlTiy7Zo07Oiiu2SUtGA4%7EYir4K3%7Elv7pSXZXBP38BKlpPMWkEIWQyH7kprWi%7ERZaJh1clf9333K4VVh97zoQV63lPVrZ91FeTxpCHx5CXKvHwBl6%7E-roPssQEu6hLG6NRhOdmzEqOKIbCbQIc2SdHEsGZhm8eTO4obnyWoOYfPq2dxlUR11J9tu9TI4AWuNz6rjZdhvDrkTojEDr51JHux1etna-6tSU1%7EuuW58KgUpVl-9zJ%7EFPFb6g__&Key-Pair-Id=K6UGZS9ZTDSZM
62b2f3ffbf35f0fdc4ecc742b1067743
PDF Text
Text
NESADSU Alumni Newsletter
& Then
Fa l l 2 0 0 7 I s s u e # 13
85-Year-Old Graduate has Great
Success with Women…
And great success with the general public as well.
NESA alum John Burbidge (1948 Fashion Design) is
currently exhibiting his collection of 59 costumed
mannequins, made to scale, which he calls Les
Petites Dames de Mode, at Ventfort Hall in Lenox,
MA. The exhibition, which was to end in September,
has been extended until December 31st (2007) due
to the unprecedented numbers of visitors it has
attracted, including the likes of cellist Yo-Yo Ma who
dropped by in August.
The “Little Ladies”, as John calls them, must be seen
to be believed and that’s why I’m urging everyone
to make the trip to Lenox, in the Berkshires of
western Massachusetts, before the end of the year.
This interest was fueled by a chance wartime trip to the
Louvre in Paris.There he found on exhibit nearly 300
27-inch mannequins dressed by the leading Parisian
couturiers of the day.
The “Ladies” are 29 inches tall and are dressed in
historically correct costumes, all designed and executed by John, of the Victorian and Edwardian eras
(1855 to 1914). Wedding gowns, tea dresses, ball
gowns, traveling suits, all are meticulously crafted
and completely original. Tiny hats, parasols, fans, jewelry and other accessories complete each ensemble.
John, who was associated for 40 years with Priscilla
of Boston, perhaps the premier bridal company in
the country (he designed Tricia
Nixon’s wedding gown), decided,
upon retirement, to resolve
his “mid-life creative crisis” by
indulging his long-time interest in
period costuming. This interest
was fueled by a chance wartime
trip to the Louvre in Paris. There
he found on exhibit nearly 300
27-inch mannequins dressed by
the leading Parisian couturiers of
the day and designed to demA costume for Ascot Races circa 1907
onstrate that, despite the war, French couture was
alive and well. From this experience came John’s
life-long fascination with period costume.
In addition to the exhibition at Ventfort Hall, you
can see (and you will be amazed by) John’s work in
his book, Les Petites Dames de Mode, which is available at Ventfort Hall, in the NESADSU library, and
through bookstores or on line. The book details the
evolution of the “Ladies”, the history behind each
one, and John’s biography as well. Liberally illustrated with amazing photographs of each creation,
and of John at work, the book is a feast of history,
craftsmanship and inspiration.
John Burbidge at work
Though it’s subject for another article, John’s wife
of 57 years, Cile, also a 1948 graduate of NESA,
has also been intimately involved with the bridal
industry for over 50 years, not dressing brides, but
feeding them. To call her a “cake designer” would be
a gross understatement, like calling Michaelangelo
a painter. While John creates in fabric and lace, Cile
works her magic in flour and sugar, creating cakes
that boggle the imagination. But I’ll leave that for
another time.
“Les Petites Dames de Mode” is available for viewing until December 31, 2007.Ventfort Hall Mansion
and Gilded Age Museum is located in Lenox, MA
at 104 Walker
Street. For
information, telephone (413) 6373206 or email
info@gildedage.
org. S.C. §
Afternoon dressing circa 1910
Inside
Editor’s Note . . . . . . . . 2
Lost Alumni . . . . . . . . . 2
Whatever Happened to? . 3
Did You Know? . . . . . . . 3
News & Tidbits . . . . . . . . 4
Little Cultural
Differences . . . . . . . . . 8
Class Notes . . . . . . . . . 10
Feedback . . . . . . . . . . . 15
Alumni Focus . . . . . . . 16
Faculty Interview . . . . 18
Dinner gown circa 1883
Gallery Schedule . . . . 20
�When I first started this alumni magazine, I worried about whether I would
be able to fill an issue each semester. At
times I couldn’t imagine ever having
enough to write about, though should
have known better, after 29 years at the
school! So, here is the 13th issue, as large
as ever and still full of news I hope you
find interesting.
In this edition we offer you installment #2 of Kate McLean’s
series on the Paris design scene, called “Cultural Differences”,
along with a “Whatever Happened to…?” by its subject, former
faculty member Steve Lyons. Another welcome contributor is
Mish McIntyre, who, along with Jessie Schloss, has written about
a new collaborative effort among recent Fine Arts graduates.
(Part of the secret of filling this magazine is getting others to do
some of the writing…)
If you’re interested in finding out how our recent NASAD reaccreditation went, turn to page 5 for the verdict. And, as always,
check out the Class Notes, to find out what your friends are up
to. If you don’t see your name, it’s because I have no recent news
of you. C’mon, send it in!
Remember that this magazine exists for you, so please let me
know if there are things you’d like to see in it. If you feel like
contributing photographs or an article, let me know that too.
You can show off your work, talk about what you’re doing
design-wise, or write about something else that’s important to
you. If you just want to comment on something you’ve seen in a
previous issue, then Feedback is the section for you.
Lost Alumni
Does anyone know where I can find these NESA/D/SU alumni?
They’re no longer at the addresses I had for them and I haven’t been
able to trace them. If you know, please send me an email at
schadwic@suffolk.edu.
Many thanks, detectives!
Sara
P.S. Last time, this worked and I found Christine Jellow (Interior Design
1979), thanks to Laura Glen (Interior Design 2001).
Alyssa Weaver
Jessica (Chih Yun) Lu
Pedro Carrasquillo
Patricio Calderon
Rachel Lane (nee Miller)
Deborah (McCarthy) Richard
Aimee Whitlock
Interior Design
Interior Design
Graphic Design
Graphic Design
Interior Design
Graphic Design
Interior Design
2003
1995
1985
1989
1994
1982
2003
S.C. §
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.
So stay in touch and please let me know if you change your
address or your job.
Thanks and happy Fall,
Sara
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
Fa l l 2 0 0 7
A l u m n i N e w s l e t t e r, Fa l l 2 0 0 7 I s s u e # 13
& Th e n
2 3
EDITOR:
Sara Chadwick
design concept & DESIGN:
CONTRIBUTING designer:
special thanks:
Kate McLean
Rita Daly
Molly Ferguson, Suzanne McCarthy, Kate McLean, Mish McIntyre,
Jessie Schloss
printing:
Reynolds DeWalt, New Bedford, MA
web site: www.suffolk.edu/nesad
N e w s & Ti d b i t s
E d i t or ’ s N ot e
NEWS tidbits
&
Did You Know?
Whatever Happened To…?
Steve Lyons
“Upon leaving The New England School of Art & Design as an adjunct faculty
member in 1987, I went to work for the Boston office of Ligature, a Chicagobased educational development house. As a designer there, I worked with
editors and production staff conceptualizing and producing middle school and
high school textbooks for publishers including Houghton Mifflin and Holt,
Rinehart and Winston. I eventually became Managing Director of the Boston
office, overseeing a staff of 75 people. In 1991, I left Ligature with a colleague to
form DECODE, Inc., (www.decodeinc.com) a graphic design office dedicated to
providing creative services to the educational publishing market. DECODE has
produced textbooks for Houghton Mifflin, Glencoe/McGraw-Hill, Prentice Hall,
Silver Burdett and Ginn, and Holt, Rinehart and Winston, in a variety of content
areas including social studies, US and world history, science, math, literature, and
language arts.
“In 1994, my partner and I moved the company to Seattle, leasing space downtown on the 10th floor of a 14–story building overlooking Elliot Bay and ten
years later, along with other partners, I purchased a three–story, turn–of–the–
century brick building in historic Pioneer Square. DECODE has been operating
there with a staff of four ever since.
“In 2004, I co-founded Platform Gallery (www.platformgallery.com), a commercial contemporary art space dedicated to exhibiting sculpture, painting, works
on paper, installation, photography, and new media. The gallery works with artists
from Seattle, Los Angeles, Toronto, New York, Rhode Island, Wisconsin, and
Illinois. The gallery is located in the gallery district of Pioneer Square and is open
Thursdays to Saturdays, 11am to 5:30pm. One of the missions of Platform is to
take work beyond Seattle and we are participating in upcoming art fairs including
The Affair at the Jupiter Hotel in Portland, Oregon (Sept. 14-16),Year07, a fair
taking place in County Hall in London (Oct. 11-14), and Aqua Art Miami, the
Aqua Hotel, Miami Beach, Florida.
“And with all of that going on, I still maintain a
studio practice working on my own art. I’ve most
recently been working on conceptual drawings
and mixed media on paper and panel. I fondly
remember my teaching days in Boston and refuse
to believe that that part of my life was over 20
years ago!” Steve Lyons §
During the 2006-2007 school year, NESADSU
enrolled 426 art and design majors. 221 were
BFA candidates (108 in Interior Design, 82 in
Graphic Design, and 31 in Fine Arts) and 116
were graduate students (106 in the Master of
Arts program in Interior Design and 10 in the
MA program in Graphic Design). There were
also 12 Certificate students, one Diploma
candidate (the Diploma programs were discontinued in 2004), and 76 continuing education
students.
That same year, we spent $2,145,450 on fulland part-time faculty salaries.
We currently have in school 256 computers,
105 Macs and 151 PC’s, 36 in offices and the
rest in classrooms and other student areas.
Software is updated with every new release,
hardware every three years.
The cost of one roll of paper used in Foundation drawing classes is $60. We use about 30
rolls per school year. That’s $1800.
The NESADSU Library currently holds approximately 10,000 books, 53 periodical
subscriptions and 30,000 slides.
The retail price of one license for the
Adobe Creative Suite Premium Design CS3
is $1,700.00. NESADSU holds 50 licenses. At
retail this would equal $85,000 (yikes!).
The average cost of one ink cartridge is
$28.00. During the 2006-2007 academic year,
NESADSU spent $27,800 on ink and toner
(yikes again!).
The price of one AutoCAD license is $240.
NESADSU holds 75 licenses, costing $18,000
per year.
During the 2006-2007 academic year, we spent
$15,000 on models for figure drawing classes.
Last year, 84 art and design students took
advantage of workshops sponsored by the Ballotti Learning Center at NESADSU.
For 2006-2007, NESADSU’s operating budget
was $5,157,3000.
Who knew? S.C. §
�N e w s & Ti d b i t s
NEWS tidbits
&
NESADSU Successfully Completes
Reaccreditation Process
G r a p h i c D e s i g n St u d e n t
Scores for Lupus
It was formally announced at the annual meeting of the National Association of Schools of Art and Design in Kansas City in October, that The New
England School of Art & Design at Suffolk University has been granted renewal of membership, for a ten-year period of accreditation.This decision
follows the March/April site visit described in the last edition of this magazine.
The focus in the Advertising Design (ADG S208)
course at NESADSU is to develop fully integrated
campaigns—a body of work with a cohesive brand
and campaign message and a look that seamlessly
translates into various print and interactive media
outlets. For their last class project of the Fall 2006
semester, students were tasked with developing
an integrated campaign for the Lupus Foundation
Event logo design by Stormi Knight.
the presentations with other partners within the
organization, Stormi Knight’s campaign was selected
to support the Fall 2007 efforts for the Walk on the
Charles. Her interactive campaign reached out nationally to those affected by Lupus by creating custom artwork to be used throughout the campaign,
and included a poster, booklet, website and banner
work. Knight was then able to work with the class
of New England, a campaign that would increase
awareness about Lupus, an autoimmune disease
affecting more than a million people in the U.S. and
millions more worldwide. Working from a written
strategy provided by the Foundation and detailing specific messaging goals, the students designed
posters, web banners, environmental design pieces,
booklets, and other support pieces to raise awareness about the disease, and to
promote the Lupus Walk on the
Charles supporting efforts towards
finding a cure.
instructor, the client, and various printing venders to
produce the campaign for publication.
Fa l l 2 0 0 7
& Th e n
•
The improvement of NESADSU faculty salaries, security and
advancement.
•
Well-maintained facilities with …many good studio spaces.
•
Arrangement attractive to students who are seeking the broad
resources of a university combined with the specialization of
art and design study.
•
A shared attitude toward student success and small freshman
classes.
•
Improved library support for NESADSU.
•
Expansion of cultural dimension to Suffolk University life.
•
A spirit of warm collegiality pervades both the University and
art/design school administration.
•
The wide-ranging liberal arts courses available to NESADSU
students.
•
NESADSU student access to University services, such as financial aid, counseling, learning center.
Suffolk University administrators including the Dean of
Arts and Sciences and the Provost appear very cognizant of
NESADSU needs and demonstrate willingness to advance the
integration of the art school within the University.”
The primary challenge cited in the Visitors’ Report involved the
need for additional facilities for NESADSU, to accommodate
increasing numbers of students, the specific needs of graduate students, and the need for work spaces for students outside of class.
In addition, the following challenges were mentioned:
NESADSU enjoys a loyal and dedicated faculty, highly committed to student success and who appear to work in a highly
cooperative manner.
Significant quantity of up-to-date computer hardware and software to support computer-dependent educational programs.
•
Evidence of high quality in undergraduate and graduate visual
arts education.
•
Poster design by Stormi Knight.
“The NESAD merger with Suffolk University made eleven
years ago appears to be a strongly supported integration
…(with) many positive results.
•
During the meeting, the Foundation
expressed to the presenting students how “beautiful”, “well thought
out” and “professional” all of the
campaigns were. After reviewing all
•
•
With congratulations to Stormi Knight, we present
her work here. Suzanne McCarthy, Instructor §
In hopes of giving at least some of
the students experience presenting
their work to clients, the instructor,
Suzanne McCarthy, contacted the
Lupus Foundation of New England
to request that the class’s best three
projects be considered for production. The class evaluated the work
produced and decided that the
campaigns designed by Nelia Brega,
Stormi Knight, and Megan Clarke
were the strongest for client review.
The students and instructor then
visited the Foundation in order to
present their choices.
4 5
The Visitors’ Report, presented to us in July, summarized the team’s
findings during their four-day visit, and, in all areas, it was stated that
NESADSU appeared “to meet all criteria for all applicable NASAD
standards”, as outlined in the NASAD handbook. The Visitor’s Report ended with a list of institutional strengths and challenges, the
former gratifyingly longer than the latter. We thought you might be
curious to know what they said. Among strengths, the team cited:
•
“The need to attend to the dichotomous views of faculty
and graduate students in regard to the mix of undergraduate
and graduate students in Graphic Design and Interior Design
classes. Grad students appear to view this as a negative aspect
to their programs; faculty members appear to feel that such
blending raises the quality bar for these classes.
•
The visiting team has concerns that the elastic completion time
for admitted MA students—from 30 to 99 credits—may be
unclear to graduate students and may compromise the stated
credit requirements for these graduate programs.
•
Need for further communication to address undergraduate
concerns about scheduling liberal arts requirements to mesh
with art and design classes in light of the University’s change to
4-credit courses.
•
Important to continue to improve art school’s ability to attract
art and design majors with demonstrated aptitude and accomplishment.”
As I said in the last article on the subject of reaccreditation, in the
Spring magazine, the reaccreditation process is long and exhausting and could not have been completed so successfully without the
cooperation of the entire NESADSU community, administrators,
faculty, students and alumni alike. The comments made by the Visiting Team, who have extensive experience reviewing the programs
of the country’s most prestigious art and design schools, should
make all of us—and you—very proud. S.C. §
�NEWS tidbits
&
Artists: Jessie Schloss, Eileen Umba-Neuwinger, and Ali Horeanopou-
NEWS & TIDBITS
NESADSU Preps
Tomorrow’s Students
e · mer · gence
1. the act or process of emerging.
2. an outgrowth, as a prickle, on the surface of a plant.
3. evolution.The appearance of new properties or species in
the course of development or evolution.
Fa l l 2 0 0 7
Arduous does not even begin to encompass the tremendous shift in life from student to practicing studio
artist. From developing resumes and portfolios, securing studio work/ live space to facilitating income, it is
not surprising that many compromise the production
of artwork for rent and food. Most critical is the loss of
the peer art community that graduating students have
come to depend upon during their education.
& Th e n
6 7
Recently, some of the past three years’ Fine Arts alumni
have attempted to overcome the stress and pressure
of the first years out of school by developing a critique
group based in the Fort Point area of Boston. This
group aims to support each member to enable the
continued practice of studio art and provide a place of
critical review and experimentation.
The range of subject, material, content and execution
varies greatly and to that end the critique group has
engaged in a collaborative effort to create new works
that require the exchange of work and authorship from
one artist to the next in an attempt to explore the
overall visual language of the community as a whole.
The resulting work is an examination of process and
content at a micro and macro level, so much so that
the work has taken on the distinct appearance of biological and ecological systems, some real, others imagined. The mixture of several artists per piece changes
the visual language of the individual into an emergent
communal discourse.
Emergence is both an examination of the real world
struggle for these artists to establish their studio practice in the Boston community and an introspection of
the micro community of the critique group as it grows
and develops beyond the NESADSU community.
For five weeks over this past summer a
group of twenty-two high school students
and incoming college freshmen participated
in NESADSU’s Pre-College Program.
Guided by professors and adjunct instructors Randal Thurston, Paul Andrade, Matt
Templeton and Bebe Beard, this group of
talented young students explored the visual
vocabulary of art and design while learning
the basics of portfolio preparation.
Working in the School’s studios, students
expanded their knowledge of drawing,
painting and the principles of two- and
three-dimensional design. Our ’07 Pre-College Program participants were introduced
to the vibrant cultural scene here in Boston
through field trips to area museums and
artists’ studios. The program culminated in
a student-organized exhibition highlighting
work produced over the summer.
Summer Class of 2007
Responding to the remarkable success of
and enthusiasm generated by this summer’s
program, Continuing Education has begun
offering Pre-College workshops during
the school year. Adjunct Instructor Matt
Templeton is teaching a five-week Pre-College Portfolio Preparation Workshop this
fall designed to help prepare students to
present their work at Boston’s National
Portfolio Day.
For more information regarding the School
of Art & Design’s Pre-College programs
please contact Karianne Noble, Director
of Continuing Education and Preparatory
Programs, at knoble@suffolk.edu or call
(617) 994-4233. Molly Ferguson §
An exhibition of the critique group’s work will be held
in the White Box Gallery (room 208) at NESADSU
from May 12th until June 27th, 2008. There will be an
opening reception, to which all are invited, on Friday,
May 16th from 5 to 7pm. Mish McIntyre and Jessie Schloss §
All work featured on this poster was created by high school students.
�Ov e r s e a s C or r e s p on d e n t
OVERSEAS
correspondent
Little Cultural Differences
Cultural differences are what make foreign
travel such a wonderful adventure, and they
are what make a country or a city unique
to work and live in. Here are some of the
cultural differences between Paris, France and
anywhere in the Anglo-Saxon world:
The working day. Parisians
Morning commute on the Paris métro.
really want to be Mediterranean. They love to
eat late and stay up late. The problem is waking
up; the morning métro is full of people still
soundly asleep despite being fully clothed for
work. The working day starts later here—usually between 9.00am and 10.00am—and
most people finish work between 6.00pm
and 7.00pm. The 35-hour working week only
applies to those employed by large companies
and government employees (who signed that
into law?). Most people work way in excess of
this figure. If you do the math it is clear something else must take up a part of the day…
The importance of
lunch. Lunch is a right.The French
Fa l l 2 0 0 7
Lunch time at the “Quatorze Juillet” bistro.
& Th e n
8 9
will happily work through later in the evenings
if a deadline is looming, but will absolutely not
skip lunch. It lasts between one and two hours,
often it is an event used to discuss business;
it is however sacrosanct. Indeed should you
munch a sandwich at your desk other people
will disparagingly refer to you as having lunch
“a ‘l’anglais” (like the English). At least a third
of Parisians lunch in restaurants and bistros
every day and the remainder of us bring in
creative options from home and stop work
to eat together. Lunch is a social occasion for
everybody and it is the height of bad manners
to start without asking your co-workers if they
are going to join you.
How to approach a
deadline. In December 2006
Anne-Claire and I shared the design work for a
program for an annual film festival. The overall
design was approved; all we were waiting for
was the copious copy to arrive as well as all
those small little program details such as name
of event, venue, time, price, etc., etc. for over
1000 events. The printing deadline was fixed, as
it had to piggyback on to another job so as to
save costs. We waited and we waited. Four days
before the printing deadline the text started to
trickle through… then even I started spotting
the spelling errors (yep, in French) and we
realized that none of the text had been proof
read. So the text went back to be checked and
a committee from the festival camped downstairs from our office fixing spelling errors on
the printed pages, meaning we had to correct
them electronically. In the end, with no leadership and even less organization Anne-Claire
and I worked from 9.00am to 11.00pm (without lunch) for three days to accommodate the
festival committee. This last minute approach
happens all the time. To deliver another project
on time another member of our team got on
his motorbike and sped through the streets of
Paris; he got the official stamp of receipt just 2
minutes before the deadline.
Fear of commitment.
The French fear of commitment and their
desire to leave everything open should suit my
personality very well, but as in all such cases
the most extreme party retains the behavior and forces the other party into inverse
behavior. I have been pushed to the inverse
as I try to work with Jean-Louis. One recent
project was (spéculatif of course) to develop a
POS for a company selling “Coffrets Cadeaux”
(www.wonderbox.fr). I did my research—I
photographed existing POS, looked at various
designs and came up with five or six options. I wanted, I needed, his direction. With
every design I showed him his response was
“pourqoui pas?” (why not?). I have to say I
found this distinctly unhelpful. In the end I
pushed and pushed and pushed for him to give
me a decision—he appeared to be in pain, and
immediately after making a decision went out
for lunch to forget all about it.
Fashion. Using public transport and
doing a lot of walking is my opportunity to
observe the latest fashions and styles. On the
métro and the bus I get to see the small but
essential details, mainly because the French
concept of personal space is non-existent. Thus
I have learned how to tie a scarf depending on
the time of year, what earrings are currently
fashionable and how to wear the collar of
a simple shirt so as to look decidedly chic.
A point to note is that Parisian women are
thinner than most, which of course aids their
ability to look good in almost everything. Two
other essential building blocks to acquiring
Parisian style are the requirement to wear
heels on your shoes (the sneaker-clad commuter is a rare sight) and to walk proudly with
a large designer bag and a good designer coat.
Ordinary French women do actually shop in
Hermes, Lancel and Chanel if only once every
five years. For the first time in my life my first
waking thought is what to wear, even at the
weekend!
POS proposal for “Wonderbox”, 2007
How much vacation?
As I write this (early September 2007) I, and
the majority of Parisians, have just returned
from a month of vacation. Everything you may
have heard is true. The city sleeps as millions
head for their second homes in the countryside or the coast. Until recently very few
French people ventured abroad, and if they
did it was to French-speaking places such as
the Reunion Islands near to Madagascar or
Martinique in the Caribbean. But this summer
has been a washout for northern Europe since
June and I heard much French being spoken as
I lay on the beach in very sunny Spain. Now,
after a month off work, we are all back, excited
to be in the city that has regained the buzz
but actively looking forward to the next main
vacation, which is Toussaint (a.k.a. Halloween). In total the French come second to the
Germans with an annual vacation entitlement
of 7.5 weeks. Being freelance I can take what
vacation I like, but there again if I don’t work
then I don’t earn any money to go on vacation!
Kate McLean §
“Polar dans laVille” film festival program
�1962 – Dan McCarron (Graphic
Design) continues to keep up a heady
schedule of design work for Harvard, his
former employer. “I am in the process of producing a book on decorated papers for the
Department of Graphic Arts at Houghton
Library at Harvard, which will be published
this fall and distributed by the Harvard
University Press. I am also working on an
exhibit that celebrates the 75th anniversary
of Memorial Church at Harvard as well as
the 400th birthday of John Harvard. … The
exhibit will be mounted at Pusey Library in
Harvard Yard this fall. Finally, I am producing a DVD to celebrate the 45th reunion of
the Class of 1962, Harvard College…..All
great projects that I truly enjoy working on!
Who knew that, when I sat in a Huntington
Avenue classroom at [NESA] in the early
sixties, I would get to do such interesting
projects for Harvard University 45 years
later!” You can rdach Dan at dmccaron@
wordtechcorp.com.
Please be sure to send your updated information
to Sara Chadwick at schadwic@suffolk.edu (for
our database and/or for publication) and also, if
you wish, to classnotes@suffolk.edu for the Suffolk
Alumni Magazine.
Fa l l 2 0 0 7
1971 – Millicent (Busse) Swaine (Advertising Design) got in touch with us the
other day, wondering what we were up to.
Millie worked in advertising for Sears after
graduating from NESA, then had three children so gave up work to stay home and care
for them. Now she keeps busy “doing the
décor for parties, theatre, CET-TV and nonprofit organizations. I have been doing wedding planning too. Keeps me busy. I would
love to hear what others have done…I’m
sure it’s great things!” You can reach Millie at
millieswaine@aol.com.
& Th e n
10 11
1973 – Ellyn (Greenberg) Moller
(Fashion Illustration) is currently the
Director of the Akillian Gallery at Massasoit
Community College in Canton. She has also
served on the Board of Trustees for the Milton Art Museum for the past eight years, the
last four as Chairman, and has been named
Event Chairman for the 2008 Arts Affair on
the Boardwalk at Marina Bay in Quincy. In
addition to all of this, Ellyn continues to take
on freelance design projects as well as manage her husband’s entertainment business,
at the same time taking courses toward her
degree at Massasoit. You can reach Ellyn at
emoller@massasoit.mass.edu.
1974 – Steve Hodgdon (Graphic
Design) recently organized a min-reunion
in August of some of the members of the
Class of 1974, who currently live in New
Hampshire. Gail (Herbert) Kimball (Fashion
Illustration) and Jim Hankard (Fine Arts) attended, though Fred Durham (Fine Arts) and
his wife Connie (Wadleigh) Durham (1973
Fashion Illustration) were not able to attend.
They all met at Steve’s house in Contoocook
“and had a wonderful afternoon. Sorry I
don’t have any pictures to attach…we were
having too much fun catching up!” Well, Gail
supplied us with this one, which is great. If
you can offer Steve information on any other
members of the Class of 1974 (see the three
below, located since), I’m sure there’ll be another get-together in the offing. Contact Steve
at shodgdon@comcast.net.
1974 – Ronald Holl (Graphic Design)
is the Director of Operations/Art Director at LSHD Advertising, of which he is a
partner, in Chicopee, MA. LSHD, in business
since 1986, is western Massachusetts’ largest
advertising agency. You can reach Ron at ron.
holl@lshd.com.
1974 – William Kenney (Graphic
Design) is the Vice President/Creative of
BrandEquity International, with headquarters
in Newton. BrandEquity is a visual marketing and brand communication firm, which
was established in 1960 and which has such
clients as Staples, Harvard Pilgrim Healthcare,
Au Bon Pain, Massachusetts General Hospital,
Sheraton and many others. Check them out
at www.brandequity.com and contact Bill at
kenneydesign@comcast.net.
1974 – Stephen Krupsky (Graphic
Design) is a partner in Adrenaline Design
in Manchester-by-the-Sea, MA. Adrenaline
Design is a marketing-oriented design firm
that specializes in brand identity, logo development, package design, web design, etc.
Check them out at www.adrenaline-design.
com and get in touch with Steve at stevek@
adrenaline-design.com.
1979 – Christine Jellow (Graphic
Design) has parlayed her years of graphic
design experience and her coursework in
the Masters program in Interior Design into
a position with Urban Archaeology in the
Boston Design Center. Urban Archaeology is
a high-end lighting, bath and tile manufacturer
and retailer, with a wide range of top-quality
and beautifully designed products. Check out
their website at www.urbanarchaeology.com
and contact Christine at c.jellow@comcast.net.
1981 – Eli Cedrone (General Art)
had three of her paintings accepted into
the Guild of Boston Artists show at their
Newbury Street gallery in August. This
regional, juried exhibition featured the best
of representational painting and sculpture by
both emerging and established artists living in
New England. In addition, Eli’s painting “Journey’s End” was awarded Best in Show at the
Pembroke (MA) Arts Festival, also in August.
You can contact Eli at artfulhand@comcast.
net. Also, check out her online newsletter at
www.elicedrone.com for classes, exhibitions,
etc. Lots of news!
1983 – John Gonnella (Graphic Design) left Digitas about a year-and-a-half ago
and is starting his own “web branding gig”,
called Truth and Soul, Inc. (www.truthandsoulinc.com). John will be moving shortly
to the South End, “to pursue my painting, in
downtime…I always bump into James Kraus
[1982 General Art] and also saw Audrey
Goldstein last week”. You can get in touch
with John at johnny.g@truthandsoulinc.com.
1983 – Paul Harrington (General
Art) had an exhibition of his hand-painted
silkscreens during the month of September
at The Savings Bank, Lakeside Office in Wakefield. Paul’s web gallery, of drawings, paintings and sculpture, can be found at www.
luminism.net. You can reach Paul at paulharrington@luminism.net.
M o r e C l a s s N ot e s
C l a s s N ot e s
CLASS
notes
1985 – Merle Craig (Interior
Design) recently sent us a contribution to
NESADSU’s J.W.S. Cox Scholarship Fund, for
which we are very grateful! She is currently
on the faculty at Endicott College in Beverly,
as an Assistant Professor of Interior Design
(“I’m enjoying it very much”), and still owns
her own ID firm, Merle Craig Interiors in
Durham, NH. “I see quite a bit of Marge Lee
(1984 Interior Design) [also an Assistant
Professor at Endicott] and I also see Kris
Orr (1984 Interior Design) and Anne Lenox
(1987 Interior Design) occasionally. We
share the same birthdate and usually have
breakfast together sometime around September 11th. We discovered this when we
were assigned to the same ‘contract furniture
research committee’ in our sophomore year
and have gotten together many times since.”
You can reach Merle at mcraig@endicott.edu.
1987 – Deven Winters (Fine Arts)
emailed us In May to say he and his wife
were packing for a move back to Texas, this
time to Mesquite, where Deven will be taking a job at id Software, a pioneer in FPS PC
game titles. As a designer, he’ll be creating
levels, gameplay elements and some basic art
“for the artists to make beautiful. I want to
go there to be able to learn from the masters, develop my next gen art and become
even more well-rounded.” Deven also says
that he’ll be starting a children’s book this
fall with his wife as the writer. “The newest
member of our family is getting big…and is
almost as tall as his four-and-a-half-year-old
brother. My oldest son Joshua can read and
write a little bit. He also reconfigured my
X-Box to read Chinese and it took us two
hours to undo it. He’s is getting really good
at games and problem solving.” Deven is also
thinking of becoming a teacher of 3D graphics and perhaps starting his own company as
well. You can reach him at arxangel@gmail.
com and check out his website at www.
arxangel.net.
1989 – Dave Swanson (Graphic Design) recently got in touch with us, looking
for some freelance graphic design help for
the summer. (Editor’s Note: If you are interested in either full-time or freelance work,
please be sure to fill out the Alumni Update
Form on the NESADSU alumni page on
our website.) Dave, who is the Director of
Design for Fidelity Investments in Smithfield,
RI, lives in Foster with his wife and three
children, Zoe (2), Max (6) and Clara (4). As
Dave says, “Things are going well. We all have
our health and a routine. It’s just non-stop,
taking care of a house, a dog and three small
children, then trying to fit in my own stuff….
I’ve redefined patience. It’s not like the old
days when the world revolved around ME.
It has many more benefits but there was a
learning curve for me and still is to some
extent, but I’m getting better at it. I’m trying
not to forget the old worn out saying ‘They
grown up fast’. I remain conscious of that and
very much enjoy the simplicity of it all and
fostering good memories. Which reminds me
of another saying, ‘If I had a nickel” for every
time someone with grown children says that
to me, I’d be a millionaire!’ You can get in
touch with Dave at david.swanson@fmr.com.
1993 – Steinunn Jonsdottir (Interior
Design) returned to her native Iceland in
2004, bought
a farm in
northern
Iceland that
same year,
with an eye
toward starting an international art center there, earned
an MBA from Reykjavik University in 2006,
and started the Baer Art Center (www.baer.
is) in May of this year. She has since moved
into a new home and had a third child (Baldur, now one, brother to Nanna Katrin, now
13, and Jon Bragi, now 10). Take a look at the
Baer Art Center’s website and see whether
you might be interested in a residency. You
can also reach Steinunn at sj@sj.is.
1995 – Scott Truesdale (Graphic
Design) has left Malchow, Schlackman,
Hoppey, Cooper
Partners in Washington,
DC and has taken a
position as Vice President/Creative for the
Mack/Crounse Group
in Alexandria, VA. Both
are political advertising
firms, a field Scott has
been deeply involved in
for a number of years.
The Mack/Crounse
website cites Scott as
“one of the most experienced creative talents
in the political business.
He brings a unique and
fresh view to creative
and is a great addition
to our team.”. You can reach Scott at struesdale@mackcrounse.com.
1997 – Todd Fitz (Graphic Design)
is still living in Georgetown, MA and has a
design office in Newburyport. His former
company, Firecracker, has morphed into Fuel
73, which is heavily focused on the publishing industry, specifically magazines, and more
specifically Ocean Home Magazine (www.
oceanhomemag.com), northshore magazine (www.nshoremag.com), and Our Place
Magazine. You can reach Todd at todd@
fuel73.com.
1997 – Ken Harney (Graphic Design)
is still in New York, but is now the Deputy
Art Director for DNR Magazine, a Conde
Nast publication on men’s apparel, fashion
retailing and design. For fun he’s into Thai
boxing and is working on his blue belt in
Brazilian jiu-jitsu. That’s for exercise; he also
does yoga for relaxation. You can reach Ken
at kharney1@yahoo.com.
�1998 – Ann Borwick (Fine Arts) has
moved from Seattle across the lake to Bainbridge Island, where she now owns a B&B.
Called Furin-Oka (“Wind-Bell Hill”) Futon
& Breakfast, it occupies a private, detached
house and garden built in traditional Japanese
style at the rear of the property on which
she lives, accommodates two people, and has
a tatami room as well as a kitchenette and
a bath with a Japanese soaking tub. Check it
out at www.futonandbreakfast.com. Besides
all of that, Ann’s gotten heavily into gardening,
which the lush northwest climate makes a
pleasure. You can reach Ann at afborwick@
yahoo.com.
Please be sure to send your updated information
to Sara Chadwick at schadwic@suffolk.edu (for
our database and/or for publication) and also, if
you wish, to classnotes@suffolk.edu for the Suffolk
Alumni Magazine.
Fa l l 2 0 0 7
1998 – Melissa Horvath (Graphic
Design) started a new job in May, as Senior
Interactive Art Director at VML in New
York. VML is an interactive ad agency with
such clients as Colgate-Palmolive, which will
be Melissa’s main account, Burger King and
TurboTax. Part of the WPP network, they
collaborate with sister agency Y&R on crossmedia campaigns. In addition to the new job,
Melissa is also making plans for her November 9th wedding. Check out her website at
www.melissahorvath.com and get in touch
with her at melissa@melissahorvath.com.
& Th e n
12 13
1998 – Scott MacGillivray (Fine Arts)
has increased his family by one (son, Odin,
was born on March 19th) and moved them
all to Indiantown, FL, where they have a 60acre ranch. On said ranch are four children
(presumably not within fences), “and a whole
menagerie of animals, including four horses,
three goats, a llama, a pot-bellied pig, three
dogs, more cats then I care to count, and a
few other small critters”. Scott also started a
new job in August, “teaching graphic design
at a vocational high school in a maximumsecurity prison. It sounds like a challenge and
I’m excited.” Send congratulations to Scott at
smacdad101@aol.com.
2001 – Helen (Carroll) Johnson (Fine
Arts) recently wrote to tell us all her news.
“I was married in 2005 so my last name is
now Johnson. Directly after graduating Suffolk I worked at Kids Are People School, a
multicultural and inclusive school in Boston,
first as a teacher’s aide and then as a teacher.
I received my Masters from Lesley University in Art Education in 2006…and began
working at the Children’s Learning Center
in Dorchester as a pre-school teacher. April
20th I gave birth to a beautiful baby girl
Alexandria! She was born seven weeks early
so she had a scary start but is doing great
now. Just recently my husband and I were
accepted into the Salvation Army’s School
for Officers’ Training. After two years of
schooling we will be ordained ministers, so
we are currently preparing to move to New
York….The newsletters have been going to
my parents’ house for three years, but that
was fine because we’ve moved three times
in the last year and a half!…It’s great to see
how the school is growing and what is happening!” You can reach Helen at helen_johnson@mrmumu.net.
2001 – Laura Glen (Interior Design)
has returned to her roots in Louisiana, in the
wake of hurricane Katrina. “I’m still working
on projects throughout New England (with
one studio in Wellesley, MA) but have my
main studio back home in New Orleans.
Katrina was devastating to my family and
friends and I just need to be here to help
rebuild….If you ever need an article on New
Orleans and the rebirth, I would be happy to
provide my insight, having evacuated, rebuilt
and worked with clients there.” We’re taking
Laura up on her kind offer and hope to have
an article for you in the next edition of “And
Then”. In the meantime, you can get in touch
with Laura at lauraglen@comcast.net.
2002 – Erin Fay (Graphic Design) has
moved to North Hampton, NH and is working as a kindergarten teacher at the Keystone
School in Chelmsford, MA. You can reach
Erin at erin_fay@msn.com.
2002 – Jonathan Hoysradt (Graphic
Design) emailed Jen Fuchel the other day
with an update on what he’s been doing
since leaving his first job, at 360Kid, after
graduation. “My quest for full-time work led
me to several non-design-related positions
including the mailroom of a financial company, the processing center for a mortgage
company, and a bouncer at a biker bar (just
kidding about that last one!). Oddly enough, I
found my niche at a computer company that
originally hired me as a temp to manage the
sales database. They found out I had some
design skills and asked me to update their
website (which, I think, was originally composed by a blind man using PowerPoint), so it
was uphill from there. …Soon enough I was
the graphic designer for the company…I’ve
also become the “Web Manager”, “Marketing
Manager”, and “Email Manager”. They hired
another graphic designer to work under me
[though] I’m still responsible for designing
most of the printed material. And while the
other designer manages the website, I do
all the Flash animation.” As Jonathan says, it’s
been a good way to gain a lot of experience
in a lot of different areas, especially management and computers. You can reach Jonathan
at jhoysradt02@comcast.net.
2002 – Nicole Wang (Graphic Design)
has relocated to Emeryville, CA and has
taken a position with Arc Worldwide in San
Francisco. Arc Worldwide deals in promotional, interactive, direct and shopper marketing, and is owned by the Publicis Group
which also owns Digitas, Nicole’s former employer. Nicole’s move followed a two-month
European vacation (“After working three
years straight in a fast-paced agency like that,
I felt I really needed a loooong vacation!”).
You can reach her at nwang@macbox.com.
2003 - Kseniya Galper (Graphic
Design) had her acrylic painting “Eugene”
chosen as Best in Show at the Quincy Art
Association’s Artsfest in September. There
were over 250 entries for this annual juried
show and it was the first time that she had
ever submitted her work anywhere, “so I was
N e a r l y 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
CLASSotes
n
absolutely shocked when I was told that I’d
won “Best in Show :)”. Kseniya and Eugene
have just spent two weeks in Rome (“overwhelmingly beautiful”), perhaps celebrating
her success. You can reach her at kgalper@
gmail.com.
2004 – Juliana Abislaiman (Graphic
Design) has a new job with McCann
Erickson in Puerto Rico, having left Arteaga &
Arteaga Advertising. Contact her at abislaimanjuliana@hotmail.com.
2004 – Maryam Beydoun
(Graphic Design) caught up
with our designer Kate McLean
(2004 Graphic Design) in Paris
in July. Maryam was with Promoseven, a design firm in Jeddah, Saudi Arabia, then moved
to McCann Erickson, but has
since left and is freelancing while
she decides whether to return
to school. Maryam spends several weeks a year in France, with
some time for shopping in Paris.
She and Kate had breakfast, “then wandered
down to the Musee Quai Branly to take
photos”. You can reach Maryam at maryambeydoun@mac.com.
2004 – Victoria Masters (Graphic
Design) has left Charity Folks and is now a
Junior Creative Director at Creative Gorillas,
also in New York. Creative Gorillas is an advertising and marketing firm with a number
of clients in the real estate and development field. Check out their work at www.
creativegorillas.com and get in touch with Vic
at vicmasters@gmail.com. You can also see
both her professional work and her stunning
photography at www.victoriamasters.com.
2005 – Peter Ferreira (Graphic
Design) is working as a Senior Graphic
Designer for Cox Communications in West
Warwick, RI. In addition, he has his own
design firm, called Kemelyen Media Lab, with
two freelance artists working with him on
various projects in print, multimedia, corporate and web design. Check their website
at www.kmedialab.com and email Peter at
peter.ferreira@cox.com.
2005 – Jennifer Kokx (MA in Interior
Design) has taken a position with the Boston design firm Gauthier-Stacy, a residential
interiors firm with clients around the country.
You can reach Jennifer at jkokx@comcast.net.
2006 – Debra Folz (Interior Design)
has left her job at Tsoi/Kobus & Associates
in Cambridge and has enrolled in the MFA
program in Furniture Design at Rhode Island
School of Design in Providence. Deb’s hoping to teach furniture design one day, perhaps
at NESADSU. You can get in touch with her
at debba5@aol.com.
2006 – Jill Garzik (Interior Design)
has recently taken a position with the
architectural and interiors firm Tsoi/Kobus &
Associates in Harvard Square, where she is
currently working on a project for Children’s
Hospital. At TKA, she joins Laura Nathanson
(2006 Graphic Design) who is a graphic
designer for the firm. You can reach Jill at
jgarzik@hotmail.com.
2006 – Kelly Ginn (Interior Design) is
working for the Architectural Heritage Foundation, located in Old City Hall in Boston.
AHF is an historic preservation development
firm and a pioneer in adaptive reuse since its
founding in 1966. You can get in touch with
Kelly at keli2342@aol.com.
2006 – Meaghan Moynahan (Interior
Design) has left the Patterson Group and
is now a Project Manager at Kitchen Living in
the Boston Design Center. You can reach her
at meaghanm@kitchen-living.com.
2006 – Kelly Pearson (Fine Arts)
was among a group of artists featured in
a sculpture show at the Aaron Gallery in
Washington, DC. Her steelwork sculpture,
Exterior no. 7 (2005), was on exhibit during
the month of October. You can reach Kelly at
kmartypea@hotmail.com.
2006 – Lisa Sobolewski (Interior
Design) moved to New York in June and
is currently working at Dupoux Design, a
firm with “cross-market expertise in the
fields of hospitality, real estate, construction
management and brand identity”. Dupoux
has recently expanded their operations to
include the Asia market, opening Dupoux
Design Asia in Taipei. Check out their website
at www.dupouxdesign.com and contact Lisa
at yasuadio@yahoo.com.
2007 – Jessica Aponte (Interior Design) is currently working at Eric Nelson Architects in Charlestown, a firm that provides
a wide range of design services for both new
buildings and significant renovations. You can
reach Jessica at skittja22@yahoo.com.
2007 – Billie Jo Baril (BFA Fine Arts
2000, MA in Interior Design) is working
as an interior designer at Eric Roseff Designs
in Boston. Eric Roseff is a full-service residential and commercial design firm. You can
reach Billie Jo at barilb@hotmail.com.
2007 – Erica Edwards (Interior Design) is NESADSU’s latest addition to the
workforce at Duffy Design Group in Boston,
where Atsu Ishikawa (Interior Design 2000)
was before she left to join Kahila Hogarth
(Interior Design 2006) at Nannette Lewis
Design in Chestnut Hill. You can reach Erica
at lordy7_7@hotmail.com, Atsu at superatsu@hotmail.com, and Kahila at kahila329@
hotmail.com.
2007 – Rebecca Emanuel (Interior
Design) has joined Barbara Sherman (Interior Design 1994) at Wilson Butler Architects,
a Boston firm specializing in designing for
the arts and entertainment. You can reach
Rebecca at raemanuel@gmail.com.
2007 – Nico Flannery-Pitcher (MA in
Interior Design) is currently working
at Steffian Bradley Architects in Boston. In
addition, Nico was recently married to Dave
Pitcher, an industrial designer with Rose
Displays Ltd. in Salem. Dave, who designs
signage hardware, and Nico have bought and
are currently renovating a house in Swampscott and hope to be in by October. Send
your congratulations to Nico and Dave at
nicoflannery@hotmail.com.
�2007 – Jade Jump (Graphic Design) has
landed a job at the Design Studio at Monitor in Cambridge, where she is a graphic
designer. The Design Studio has such clients
as MIT, Brandeis and Innovation Management
Inc., providing such services as marketing,
illustration, web design, logos and book
design. Check them out at www.designstudioatmonitor.com and get in touch with Jade
at jadejump@hotmail.com.
Fa l l 2 0 0 7
2007 – Kimberly Kelly (Interior Design) and Danielle Tappis (MA in Interior Design) have both joined the Boston
office of Perkins & Will, the internationally-based design firm offering “innovations
in architecture, planning, interiors, branded
environments and strategy”. You can reach
Kim at kimakelly@gmail.com and Danielle at
danielle_paige@hotmail.com.
& Th e n
14 15
2007 – Jessica Koff (MA in Interior
Design) has taken a position as an interior
designer with Bergmeyer in Boston. As such,
she is continuing another long-time tradition
with NESADSU graduates, many of whom
have passed through Bergmeyer’s door in
recent years. You can reach Jessie at jesskoff@
gmail.com.
2007 – Courtney Mitchell (Graphic
Design) has moved to New York and taken
a job as a Art Assistant at Women’s Wear
Daily, a division of Conde Nast and Fairchild
Publications. Women’s Wear Daily is a fashion
and business newspaper and “we also put
out dozens of magazines and supplements
every year. I deal primarily with the trafficking
of all the artwork and I also have been able
to design quite a lot so far. I wanted to thank
you [Laura Golly, to whom the email was
sent] because after I took your electronic
publications class I realized how much I love
publication design!” You can reach Courtney
at coumitch@verizon.net.
brown.com, Allison at allisonwrig@gmail.com,
Eduardo at eduardo_meza@gensler.com, and
Vy at vlan0525@yahoo.com.
2007 – Julianna Mongello (MA in Interior Design) and Pamela Muldowney
(MA in Interior Design) have both taken
positions with Cannon Design, an architectural, engineering and planning firm in Boston. You can reach Julianna at juliemongello@
hotmail.com and Pamela at pmuldowney@
mac.com.
2007 – Kaitlin Palaza (Interior Design)
has taken a job at Duncan Hughes Interiors
in Boston. Duncan Hughes is a full service
interior design firm specializing in commercial
and residential design. You can contact Kaitlin
at kaitlinpalaza@gmail.com.
2007 – Andrea Morin (Graphic
Design) is a Regional Marketing Coordinator at Great Source Education Group in
Wilmington, MA. Great Source, a division
of Houghton Mifflin Company, publishes
alternative, resource-based K-12 educational
materials. You can contact her at andrea_morin@hmco.com.
2007 – Naomi Nottingham (MA
in Interior Design) has joined fellow
NESADSU alumni Erika Brown (MA in
Interior Design 2004), Allison Wright (MA in
Interior Design 2006), Eduardo Meza (MA in
Interior Design 2003), and Vy Horwood (Interior Design 2003) at Gensler (all in Boston
except for Vy who is in the Arlington, VA office). With offices around the world, Gensler
is a multi-faceted firm that handles design
problems of all kinds, from city planning to
interior and graphic design. Check them out
at www.gensler.com. Contact Naomi at
naomi74@earthlink.net, Erika at riki@riki-
2007 – Elizabeth Olver (Interior
Design) has taken a position with TMD
Designs, a recently established firm in North
Hampton, NH. You can reach Liz at liz.olver@
gmail.com.
2007 – Helen Principio (Interior
Design) is a kitchen and bath designer at
the Expo Design Center in Burlington, MA.
You can reach her at hprincipio@yahoo.com.
2007 – Caitlin Ryan (Interior Design)
is an interior designer with JFS Design Studio
in Boston. JFS specializes in residential and
hospitality design. You can reach Caitlin there,
at caitlin@jfsdesignstudio.com.
2007 – Karen Urosevich (MA in
Interior Design) has joined the residential
design firm of Leslie Fine Interiors in Boston’s
Back Bay. You can reach Karen at karenurosevich@hotmail.com.
2007 – Shauna Wymyczak (Interior
Design) has taken a position at ADD, Inc. in
Cambridge, a firm that specializes in architecture, interior design, planning and branding.You
can reach Shauna at wymyczak@yahoo.com
SO SAD
TWO MORE CHILDREN
I just got the spring newsletter today and I am so sad
Olympia was considered a kook while she was at-
“I’ve been thinking about you guys over at NESA and
because I didn’t know Charles Giuliano retired! I was
tending BU’s theater arts school…but she was a good
realized I haven’t sent you a picture of the kids yet
reading the gallery schedule and I totally would have
actress. I was amazed when she suddenly started
gone to the reception. I was wondering why I would
appearing in movies, etc. Everyone from BU and
have just gotten the newsletter now?
NESA used to take a morning break and have lunch in
This came from Amy Joyce (Graphic Design
the cafeteria….I don’t remember anyone socializing
2000) and arrived on July 5th
with her except for a Greek girl who was in fashion
I had a feeling I was going to have to answer
for this and you all have my deepest apologies.
We have never had a firm publication deadline
for the newsletter (just sometime during the fall
and spring semesters) and all I can say is that
this semester several things conspired to make the
newsletter late in getting to you. First of all, the
NASAD reaccreditation took up an enormous
amount of time. I not only researched and wrote
the entire self-study (way over 300 pages of text
plus exhibits), but planned and saw to completion the three-day site visit. By the time that
was all over, we were into April.Then I got sick,
perhaps because the site visit coincided with the
first symptoms and there was no way I could stay
home and sleep! So I was out for a couple of
weeks and way behind on everything else by the
time I got back.Then Kate McLean, our designer,
was enjoying a very busy schedule herself. So,
one thing led to another and we were late. I’m
especially sorry as I know there are probably a
number of you who would have attended Charles’
party and did not know about it. At this late
date, all I can offer you is his email address
(charles_giuliano@yahoo.com) so that you can
write him and tell him….well, whatever you
wish to tell him.
design at NESA. I think her name was Athena.” [Good
THANKS FOR THE BLURB
said ‘Let’s skip this afternoon and go to the ball game.’
memory, James. That was probably Athena Doukakes,
class of 1957 and a Fashion Design major.)
“I was one of the ex-GI’s who were attending
NESA….Four of us lived together on Huntington
Avenue: Frank Raneo, Joe Almasian, Dick LaRoche and
me. Frank was one of the most talented of anyone I
went to school with. He was working for Remick’s
of Quincy while he was going to school, doing all the
newspaper ads for them. [Actress] Lee Remick was
the owner’s daughter. Frank promised to tell us when
she was around and set it up so we could meet her.
Never happened…. I always remember Frank had a
great sense of style. He always looked like one of his
ads. He’d also give us a critique when we dressed up
to go out. He also said two sport coats and three pair
of pants were all you need. I’m still using his advice!”
“Our life and anatomy instructor was John DanaBastian. He looked like Picasso. His favorite remark
gratulate you and the staff on the great articles and
work that you all continue to do. I’ve been busy taking care of the kids at home and also doing interior
design work. I just completed a Hookah Bar/Lounge
in Allston, the Nile Lounge…. It was a lot of fun creating and implementing the design.” George is also now
working as a teacher’s aide in the kindergarten at the
he took all of my watercolor brushes away from me
so I would ‘loosen up’…. I had a JWS Cox original
[watercolor]. Too bad I threw it out when I packed
to come home for the summer!… I bought a book
about Bill last summer. I never knew until then how
famous he had become. He had some of his work in
the Museum of Fine Arts when I was in school.”
“During my first year at NESA one of my classmates
I got my latest newsletter the other day and just
That was the first major league game I ever saw.
got the chance to sit down and read it. Another
September 1954. I was a Yankees fan at the time….
top-notch edition. Thanks for the blurb [a class note].
and used to go to the games when the Yankees were
The wording was perfect. I should have gotten to it
in town. Then, rather than risk getting beaten up by
[writing it myself] but the good news is I have been
Boston fans, I changed sides.
Bleacher seats were $1.50 at the time and Pinky Higgins was the manager…. Sometimes there were only
mer is going well and see you soon.
a few thousand people at the game…I remember
James Kraus (General Art 1982)
Mickey Mantle coming onto the field and talking to
the fans in the bleachers. I don’t think there is a Major
Barbara (Paine) Lyons of the NESA class of 1943 (Fashion
Illustration). Barbara was one of five alumnae, graduates of 1943
and 1944, who were honored at NESADSU’s 75th anniversary gala at
the Institute of Contemporary Art in November of 1998. Barbara was
originally from Randolph, MA. After graduating from NESA, she worked
as a fashion illustrator for a Boston department store, where she met her
future husband, Richard Lyons. She retired from Raytheon Corporation’s
publications department in 1989. Barbara is survived by two sons, Jeffrey
and Frederic Lyons, eight grandchildren and four great grandchildren.
I also just got the new newsletter and wanted to con-
favorite instructors was JWS Cox. I remember that
volunteer work that I never got to it. Hope the sum-
It is with great sadness that we announce the death of
[Editor’s Note: George and his partner, Joe (Suffolk
MPA 1998, JD 2000), adopted two more children
from Liberia in 2005. Now their family is made up
of Luke (age 5) and Noelle (4 1/2), plus Noah (4)
and Jocasta (2), who arrived in August of 2006.]
was ‘Make it go ‘round! Make it go ‘round!’ One of my
so busy with work, Little League [coaching] and other
Pa s s ag e s
T h e L a s t o f t h e C l a s s N ot e s
2007 – Jakob Grauds (Graphic Design)
took a job in June as a Graphic Designer
for Private Label Brands at CVS Corporate
Headquarters in Woonsocket, RI. “The job is
incredible, I get to be creative every day, and
I am learning an immense amount (not to
mention I now have a huge name like CVS
on my resume).” Before finishing at NESADSU, Jake worked as a Contributing Editor
on the new College of Arts and Sciences
magazine at Suffolk, contributing artwork and
photography along with past and present
students Jade Jump, Alison Balcanoff, Kevin
Banks, Colleen Barrett, Jeannie Belozersky,
Margaret Furlong, Matteo Gulla, Catherine
Headen, Kayla Hicks, Fanny Lau, Laura
Nathanson, Lisa Raad, Jessie Schloss, Eileen
Umba and Joanna Winters. You can reach
Jake at inhousejake@yahoo.com.
Fe e d b ac k : N ot e s F rom You
FEEDBACKfrom you
notes
CLASSotes
n
EVERYDAY LIFE…
I’ve also been emailing back and forth with
James Towslee (Advertising Design 1957), who
found us on the web and has been filling me in
on things he remembers from his days at NESA.
Here, from several emails, are some tidbits:
“Have any of the students from my era mentioned
that we used to have coffee every morning with a
future Academy Award winner, Olympia Dukakis?…
Leaguer today who would be able to get out of the
locker room, much less play, with the pain he must
have endured. I saw a picture of him once after he
had been taped up so he could play. He looked like a
mummy!… At least I’ve lived long enough to see the
Sox win a World Series.”
James Towslee (Advertising Design 1957)
Johnson School in Nahant, where the children are
enrolled. He would love to hear from classmates so
please email him at gsyrigos@comcast.net.
George Syrigos (Interior Design 2002)
THANKS AGAIN
“Just wanted to drop a note and say thanks again for
including us in the last alumni newsletter. It’s always a
kick to see our stuff in print! Thanks for the support!”
Lianne and Paul (and Gryffin) Stoddard
(Graphic Design 1992), regarding the article
in the Spring alumni magazine on Swirly
Designs and Yankee magazine publicity.
�A l u m n i I n t e rv i e w
ALUMNI
focus
N E S A A l u m na S e rv e s H e r C ou n t ry: N ot i n I r aq
bu t i n Wor l d Wa r I I
S e c r e t i s ou t: S h e pu t I wo J i m a on t h e m a p
Local veteran was a mapmaker for the U.S. Navy in World War II
By James A. Kimble, Staff writer
SALEM, N.H. — Her role in helping to capture Iwo Jima was something she never told her husband or three children.
Now 83, a humble and soft-spoken Mary Habib still is reluctant to
go on about it. Her husband, Al, 86, shakes his head that he’s only
now learning how important his wife’s role was in World War II.
“She didn’t like to brag to the family,” he said, sitting at the couple’s
kitchen table. “I didn’t know about this until three weeks ago. We’ve
been married since 1950.”
Mary Habib softly adds with a smirk, “There’s some things I don’t tell.”
Mary Habib worked on a map used by the U.S. military in the critical
battle for Iwo Jima.That invasion ended with one of the most famous
moments in World War II, when five Marines and a sailor raised an
American flag atop the island’s highest point, Mount Suribachi.
Photographer Joe Rosenthal immortalized the flag raising with his
famous, posed, photograph — which became a topic of the recent
Clint Eastwood movie “Flags of Our Fathers.” While seeing a commercial for the movie on television, Mary Habib mentioned in front
of her oldest son, Bill, 55, she had worked on the Navy’s map for
the invasion.
Fa l l 2 0 0 7
Mary (McCluskey) Habib, NESA class of 1943.
& Th e n
16 17
This summer I had a call from former NESAD faculty member, Ed Germano, who told me that he had seen, on Fox TV, a story about a woman
who had served her country in World War II, by drawing maps for the invasion of Iwo Jima. Ed had noticed, while the story was being told, that the
camera had panned over a NESA diploma and he let me know he was going
to investigate. After a little detective work, through the mediums of both
television and newspaper, we found the story of Mary (McCluskey) Habib, a
1943 graduate of NESA. We are reprinting her story with the kind permission of the Eagle-Tribune Publishing Company and Mary Habib.
It was an incredible revelation for Bill Habib of North Andover,
who began peppering his mother with questions. “Then she went
into the next room and came out with a book and scrapbook,” Bill
Habib said. “That was the first time I ever saw it. I knew generally
of her naval background, her deployment and that she served as
a naval officer, but I didn’t know the extent of it.” The surprises
then came like one gigantic wave after another. Despite her years
of silence, Mary Habib kept a detailed record of her two and a half
years working as a Navy petty officer in the Washington, D.C., area.
Upon being honorably discharged from the Navy on July 22, 1946,
she was given a replica of the map of Iwo Jima she helped create
with her name embossed on it.
A ringed binder holds dozens of black-and-white photographs and
cartoon sketches she made of her office mates. They detail sightseeing around the city, too, serving as a guide to her memories.
One sketch shows a face, with eyebrows raised, looking down from
the top of the Washington Monument.
“I don’t like heights,” Habib said.
As the scrapbook reveals, it’s a dislike she overcame at times. A
half-dozen photos she took from a New York City rooftop give a
bird’s-eye view of a phalanx of soldiers marching down the street
in what seems like an endless parade. “It’s funny when you wear a
uniform, you can get in anywhere,” she said. “The funny thing about
a uniform is that it gives you a lot of courage.”
The highly detailed process of mapmaking was serious business,
but Mary Habib said workers in the cartography office were still
able to have fun. A favorite practical joke sailors played on newbies
was placing a fake blob of ink on top of a new girl’s work table
when they went to the bathroom, she recalled. “There was a lot of
civilian workers there, too. We had a good time. Those sailors were
quite the teasers,” Habib said.
A native of Lowell, Habib (then Mary Margaret McCluskey) enlisted
in an all-female division of the U.S. Navy known as WAVES, Women
Accepted for Volunteer Emergency Services. She graduated from
the New England College [School] of Art trained in graphic and
commercial design. The Navy sent her to Hunter College in New
York before she was assigned to the Pentagon’s Hydro-Graphics
Office in Suitland, Md. Mary Habib said in the 1940s mapmaking
was highly detailed but not what she expected when she first got
her assignment. “I was surprised,” she said. “There actually wasn’t
too much drawing. It was fine work. We did the coastline about
three miles in. The Air Force took pictures of the island, which we
had on a big drafting table.”
Houses were noted with spots the size of a pinhead. Precise details
of cliffs, craggy rocks and sandy areas were crucial so ship commanders would know where and how close vessels could approach
the shoreline. Habib said she was assigned to the WAVES not long
after it was formed. She worked there for two-and-a-half years
between 1944 to just after the war in 1946. A memorable highlight
from her stint in Washington, D.C., was an afternoon when Eleanor
Roosevelt invited Habib and female co-workers in the cartography office to tea at the White House. They spent time in the Blue
Room, one of three state parlors at the home of the president, and
later had punch and cakes in the dining room. “She was a lovely
woman,” Habib said of Roosevelt.
Like many families during the war, everyone in Habib’s family
contributed. Habib’s brother, Richard Jr., and sister, Kathleen, both
enlisted. Her mother, a nurse, worked part time in a parachute factory when not working her shifts at a hospital.
Habib said she had no idea the map she was helping create would
lead to such a significant turning point in the war. It wasn’t until
much later, when Rosenthal’s photograph of the flag raising on the
island became famous that she realized the significance of her con-
tribution to the war effort. Still, she refrained from speaking about
it. It simply wasn’t her way. “After the raising of the flag, I said to
myself, ‘OK, I was part of that,’” Habib said. “But I didn’t realize how
important it was at the time.”
Moved by his mother’s service, Bill Habib recently wrote a detailed
summary of her military career, which was displayed for Memorial Day with photographs of World War II veterans at St. Monica’s
Church in Methuen. “She’s not inclined to boast of herself,” Bill
Habib said. “Her humility is one of her many fine virtues. She would
consider talking about it bragging. That’s not her style.”
After the war, she married in 1950 and became a stay-at-home
mother raising three children. Her daughter, Mary Lee Pare, 50,
lives in Salem, N.H. Her youngest son, Michael, 45, lives in Methuen.
She worked briefly at General Electric and the Internal Revenue
Service, and only kept drawing as a hobby. She remains an active
member of American Legion Post 417, one of the few all-female Legion chapters in the area. The family lived in Methuen for 40 years.
Al and Mary Habib moved to Salem, N.H., about 10 years ago.
Al Habib has long been a fan of Mary’s artwork. He proudly shows
off drawings and sketches Mary etches in a room at the end of a
hallway inside their Azarian Road home. Bill Habib is thankful that
he’s finally learned the details of his mother’s military service. He
now believes there was greater meaning behind the television commercial being played.
“I don’t believe in coincidence anymore,” Bill Habib said. “I’m so
pleased and to a greater extent proud of her, even at this late stage
in life. If it was up to her, I think it would have remained hidden.”
Copyright © 2007 by Eagle-Tribune Publishing Company
Reprinted with permission S.C.
�Fac u lt y I n t e rv i e w
FACULTY
interview
A n I n t e rv i e w w i t h Nac e r B e n k ac i
Nacer Benkaci joined the NESADSU faculty as an adjunct instructor
in 2004, then was a Visiting Assistant
Professor before being elevated to
tenure-track status in 2006. Nacer
was born in Algeria and came to the
States in 1984, to pursue his studies
in architecture and design. He holds
a Diplome d’etat d’Architect (the
equivalent of a Bachelor’s degree
in Architecture) from the Ecole Polytechnique d’Architecture et
d’Urbanisme in Algiers, as well as Masters degrees in Architecture
and Urban Planning from the University of Southern California
in Los Angeles. With over 20 years of experience in architectural
practice in the U.S., Nacer has worked on both commercial and
residential projects here and abroad.
Fa l l 2 0 0 7
Q. Let’s start with a bit of history. Tell us more about yourself.
I was born in 1959 in a small town by the sea, a few miles from
Algiers. My childhood was essentially marked by the Mediterranean
Sea which was a few feet from my parents’ home. Summer was the
occasion to literally live in it and be absorbed by its vast scale and
its potential to trigger a
multitude of voyages. The
I was surrounded by the large scale of the sea,
horizon was very close
the sky, and the mountains and that was in
to us at that time and we
dwelled in it as if it were
direct contrast with the smaller scale of the
part of our everyday lives.
homes and buildings along the edge of the sea.
It is perhaps why I still
I was interested in that relationship and the
have a keen interest in
forms, accidental or planned, that it generated. the concept and reality of
scale. I was surrounded by
the large scale of the sea,
the sky, and the mountains and that was in direct contrast with the
smaller scale of the homes and buildings along the edge of the sea.
I was interested in that relationship and the forms, accidental or
planned, that it generated.
& Th e n
18 19
that some of the meaningful architects had on me. I was very
interested in the work of Corbusier, Louis Kahn and the “modern
movement” in general. Later I grew to appreciate some of the less
known architects and took their works as a source of inspiration
for my own work.
Q. How did you decide on the U.S. for graduate school and what
path brought you to Boston?
I wanted to learn more about architecture and design and pursuing
my studies is one way to do that. At that time, some of the most
influential ideas about architecture were being generated by prominent U.S. architects and thinkers and I wanted to experience that
first hand. I first came to Boston to study English, then to California
for architecture and urban design. I have always been interested
by the city in general and I felt the need to learn more about the
formulation of its shape. Urban planning became obvious for me as
I sought to understand the other forces that shape our cities. I had
some friends that invited me back to Boston; subsequently I was
offered a job. Fall in this area is my favorite season and I wanted to
stick around for a while. I stayed ever since!
Q. Talk a little about your professional experience. Where did you
work and what kind of work did you do?
After my graduation, I sought work in Boston. I worked for several
companies in the area and the work ranged from residential and
commercial to institutional and retail. I learned a great deal and I
believe that experience made me a better architect.
Q. Why do you teach (besides the paycheck!)?
I taught while working professionally. I enjoy very much the
academic work and the exchange of ideas and processes. Also, stu-
“Indoor/Outdoor Museum Study” by Nacer Benkaci
dents are coming out with ingenious ways to resolve old problems
of design; perhaps the technology at their disposal allows them to
tackle issues from a different angle and make new uninvestigated
associations, new ways to manipulate space. Some of the projects
are just a leap forward in design thinking and I very much like being
a part of that. Teaching in reality goes both ways.
Q. How did you wind up at NESADSU? What do you like best
about the school and what keeps you here?
I first was invited to teach as an adjunct professor by Nancy [CoProgram Director Nancy Hackett]. She and I worked together on
several projects in the Boston area. Subsequently I have been hired
as a full time Assistant Professor.
One of the most impressive parts of the program in interior
design at NESADSU in my view is the fact that the ID department
is within a school of art and design. This association with art and
graphic design has a potential benefit for interior design students.
Interior architecture and architecture have always been inspired
by other disciplines and exposing students to a mutual influence is
enriching. The potential for innovation is greater.
Q. Why did you decide to become an architect?
I have always loved to draw and the landscape around me was
prone to that. Just think of the seascape. Obviously, this is just the
premise because as I was studying my passion for architecture
grew stronger. I found in architecture a total freedom of expression and a highly sophisticated creative process that embodies the
entire social, political, and economical issues that humans in general
face. I felt it was important. I also was interested by the theoretical
discourse that was developing in the profession and the influence
Another part that I appreciate greatly is the cooperative nature of the
faculty and the scholastic and pedagogical environment and the standard of care for the students’ progress. It really sets the school apart.
“Indoor/Outdoor Museum Study” by Nacer Benkaci
“House Study, Algiers” by Nacer Benkaci
�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
GALLERY
schedule
2007
2008
Never Been Seen: Susan Nichter
2008 Student Exhibitions
Recent paintings by a NESADSU faculty member.
October 11th to November 10th
Reception: Friday, October 12th 6 – 8pm
Work by current students of The New England School of
Art & Design at Suffolk University
Ozspirations
Art Inspired by The Wizard of Oz, curated by Associate
Professor of Graphic Design Jennifer Fuchel.
November 15th to December 22nd
Reception: Friday, November 16th 6 – 8pm
2008
The 2007 Stephen D. Paine Scholarship
Award Winners and Honorable Mentions
exhibition
January 14th to February 9th
Reception: Friday, January 18th 5 – 7pm
Foundation
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
Undergraduate)
Interventions and Objects: New Work
by Bebe Beard and Liz Nofziger
May 5th to May 16th
Reception: Friday, May 9th 5 – 7pm
February 14th to March 15th
Reception: Thursday, February 14th 6 – 8pm
Summer exhibition:TBA
Graphic Design (Graduate)
September 2nd to September 14th
Reception: TBA
Please call (617) 573-8785 to confirm dates and times of
exhibitions and opening receptions.
�
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Suffolk University Records
Description
An account of the resource
The Suffolk University Records collection covers all aspects of the university's history and development from 1906 to today. The materials include: Presidents' records, photographs, audio and video recordings, memorabilia, and university publications. Learn more about the <a href="https://www.suffolk.edu/academics/libraries/moakley-archive-and-institute/collections/records-of-suffolk-university" target="_blank" rel="noreferrer noopener">collection</a> at our web site.<br /><br /><span>The digitized content from this collection has been moved to </span><a href="https://dc.suffolk.edu/surecords/" target="_blank" rel="noreferrer noopener">Digital Collections @ Suffolk.</a><span> </span>
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
And Then, NESAD alumni newsletter, no.10, Spring 2006
Date
A point or period of time associated with an event in the lifecycle of the resource
2006
Creator
An entity primarily responsible for making the resource
Suffolk University
Source
A related resource from which the described resource is derived
Suffolk University Records
Series SUG-001.007 Suffolk University Advancement and Alumni Newsletters, 1927-2010
Relation
A related resource
<p>Find out more about our collections on <a href="http://www.suffolk.edu/explore/24550.php">our website</a>.</p>
Rights
Information about rights held in and over the resource
Copyright Suffolk University. This item is made available for research and educational purposes by the Moakley Archive & Institute. Prior permission is required for any commercial use.
Type
The nature or genre of the resource
Text
Dcouments
Format
The file format, physical medium, or dimensions of the resource
PDF
Language
A language of the resource
English
Subject
The topic of the resource
Suffolk University
Suffolk University -- Periodicals
Identifier
An unambiguous reference to the resource within a given context
SU-1877
Alumni
NESAD
Suffolk Publications
-
https://d1y502jg6fpugt.cloudfront.net/11079/archive/files/81a142695f31b532bcf29a69badf7a55.pdf?Expires=1792627200&Signature=OOJ%7E8hnWP4gL-6WHHtBQ2QroXje4kDYnMxsW0vaV3by7g2X0-2YumrSzYufBljwUZTIKcJJ0GtfD1T8pSvWYqMumON0OVRHZZ8HXP1lUrAVBRLrQNrHA48lacg%7E%7EJKNjBAOWlCX7pI%7EnvL6u%7Eibk9xx61Ep6AX4jqENQSGz1OXnnvfVzLlzQ0yNB84xYFBsPJ9HS4Sj9v5XoEys%7ERSkvaGK1fYczKkuB1tL0cuIBGGkBRQV28H3s7had2mmtEPIDCB%7EE46z4mWUznYlzOerpFGdxWybJMgs9P5NWzY9zgy5uTKC%7EH8bCpfAbHIakLYjUB%7ErlauHw7DNKEb1xe4lSdQ__&Key-Pair-Id=K6UGZS9ZTDSZM
62b2f3ffbf35f0fdc4ecc742b1067743
PDF Text
Text
NESADSU Alumni Newsletter
& Then
Fa l l 2 0 0 7 I s s u e # 13
85-Year-Old Graduate has Great
Success with Women…
And great success with the general public as well.
NESA alum John Burbidge (1948 Fashion Design) is
currently exhibiting his collection of 59 costumed
mannequins, made to scale, which he calls Les
Petites Dames de Mode, at Ventfort Hall in Lenox,
MA. The exhibition, which was to end in September,
has been extended until December 31st (2007) due
to the unprecedented numbers of visitors it has
attracted, including the likes of cellist Yo-Yo Ma who
dropped by in August.
The “Little Ladies”, as John calls them, must be seen
to be believed and that’s why I’m urging everyone
to make the trip to Lenox, in the Berkshires of
western Massachusetts, before the end of the year.
This interest was fueled by a chance wartime trip to the
Louvre in Paris.There he found on exhibit nearly 300
27-inch mannequins dressed by the leading Parisian
couturiers of the day.
The “Ladies” are 29 inches tall and are dressed in
historically correct costumes, all designed and executed by John, of the Victorian and Edwardian eras
(1855 to 1914). Wedding gowns, tea dresses, ball
gowns, traveling suits, all are meticulously crafted
and completely original. Tiny hats, parasols, fans, jewelry and other accessories complete each ensemble.
John, who was associated for 40 years with Priscilla
of Boston, perhaps the premier bridal company in
the country (he designed Tricia
Nixon’s wedding gown), decided,
upon retirement, to resolve
his “mid-life creative crisis” by
indulging his long-time interest in
period costuming. This interest
was fueled by a chance wartime
trip to the Louvre in Paris. There
he found on exhibit nearly 300
27-inch mannequins dressed by
the leading Parisian couturiers of
the day and designed to demA costume for Ascot Races circa 1907
onstrate that, despite the war, French couture was
alive and well. From this experience came John’s
life-long fascination with period costume.
In addition to the exhibition at Ventfort Hall, you
can see (and you will be amazed by) John’s work in
his book, Les Petites Dames de Mode, which is available at Ventfort Hall, in the NESADSU library, and
through bookstores or on line. The book details the
evolution of the “Ladies”, the history behind each
one, and John’s biography as well. Liberally illustrated with amazing photographs of each creation,
and of John at work, the book is a feast of history,
craftsmanship and inspiration.
John Burbidge at work
Though it’s subject for another article, John’s wife
of 57 years, Cile, also a 1948 graduate of NESA,
has also been intimately involved with the bridal
industry for over 50 years, not dressing brides, but
feeding them. To call her a “cake designer” would be
a gross understatement, like calling Michaelangelo
a painter. While John creates in fabric and lace, Cile
works her magic in flour and sugar, creating cakes
that boggle the imagination. But I’ll leave that for
another time.
“Les Petites Dames de Mode” is available for viewing until December 31, 2007.Ventfort Hall Mansion
and Gilded Age Museum is located in Lenox, MA
at 104 Walker
Street. For
information, telephone (413) 6373206 or email
info@gildedage.
org. S.C. §
Afternoon dressing circa 1910
Inside
Editor’s Note . . . . . . . . 2
Lost Alumni . . . . . . . . . 2
Whatever Happened to? . 3
Did You Know? . . . . . . . 3
News & Tidbits . . . . . . . . 4
Little Cultural
Differences . . . . . . . . . 8
Class Notes . . . . . . . . . 10
Feedback . . . . . . . . . . . 15
Alumni Focus . . . . . . . 16
Faculty Interview . . . . 18
Dinner gown circa 1883
Gallery Schedule . . . . 20
�When I first started this alumni magazine, I worried about whether I would
be able to fill an issue each semester. At
times I couldn’t imagine ever having
enough to write about, though should
have known better, after 29 years at the
school! So, here is the 13th issue, as large
as ever and still full of news I hope you
find interesting.
In this edition we offer you installment #2 of Kate McLean’s
series on the Paris design scene, called “Cultural Differences”,
along with a “Whatever Happened to…?” by its subject, former
faculty member Steve Lyons. Another welcome contributor is
Mish McIntyre, who, along with Jessie Schloss, has written about
a new collaborative effort among recent Fine Arts graduates.
(Part of the secret of filling this magazine is getting others to do
some of the writing…)
If you’re interested in finding out how our recent NASAD reaccreditation went, turn to page 5 for the verdict. And, as always,
check out the Class Notes, to find out what your friends are up
to. If you don’t see your name, it’s because I have no recent news
of you. C’mon, send it in!
Remember that this magazine exists for you, so please let me
know if there are things you’d like to see in it. If you feel like
contributing photographs or an article, let me know that too.
You can show off your work, talk about what you’re doing
design-wise, or write about something else that’s important to
you. If you just want to comment on something you’ve seen in a
previous issue, then Feedback is the section for you.
Lost Alumni
Does anyone know where I can find these NESA/D/SU alumni?
They’re no longer at the addresses I had for them and I haven’t been
able to trace them. If you know, please send me an email at
schadwic@suffolk.edu.
Many thanks, detectives!
Sara
P.S. Last time, this worked and I found Christine Jellow (Interior Design
1979), thanks to Laura Glen (Interior Design 2001).
Alyssa Weaver
Jessica (Chih Yun) Lu
Pedro Carrasquillo
Patricio Calderon
Rachel Lane (nee Miller)
Deborah (McCarthy) Richard
Aimee Whitlock
Interior Design
Interior Design
Graphic Design
Graphic Design
Interior Design
Graphic Design
Interior Design
2003
1995
1985
1989
1994
1982
2003
S.C. §
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.
So stay in touch and please let me know if you change your
address or your job.
Thanks and happy Fall,
Sara
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
Fa l l 2 0 0 7
A l u m n i N e w s l e t t e r, Fa l l 2 0 0 7 I s s u e # 13
& Th e n
2 3
EDITOR:
Sara Chadwick
design concept & DESIGN:
CONTRIBUTING designer:
special thanks:
Kate McLean
Rita Daly
Molly Ferguson, Suzanne McCarthy, Kate McLean, Mish McIntyre,
Jessie Schloss
printing:
Reynolds DeWalt, New Bedford, MA
web site: www.suffolk.edu/nesad
N e w s & Ti d b i t s
E d i t or ’ s N ot e
NEWS tidbits
&
Did You Know?
Whatever Happened To…?
Steve Lyons
“Upon leaving The New England School of Art & Design as an adjunct faculty
member in 1987, I went to work for the Boston office of Ligature, a Chicagobased educational development house. As a designer there, I worked with
editors and production staff conceptualizing and producing middle school and
high school textbooks for publishers including Houghton Mifflin and Holt,
Rinehart and Winston. I eventually became Managing Director of the Boston
office, overseeing a staff of 75 people. In 1991, I left Ligature with a colleague to
form DECODE, Inc., (www.decodeinc.com) a graphic design office dedicated to
providing creative services to the educational publishing market. DECODE has
produced textbooks for Houghton Mifflin, Glencoe/McGraw-Hill, Prentice Hall,
Silver Burdett and Ginn, and Holt, Rinehart and Winston, in a variety of content
areas including social studies, US and world history, science, math, literature, and
language arts.
“In 1994, my partner and I moved the company to Seattle, leasing space downtown on the 10th floor of a 14–story building overlooking Elliot Bay and ten
years later, along with other partners, I purchased a three–story, turn–of–the–
century brick building in historic Pioneer Square. DECODE has been operating
there with a staff of four ever since.
“In 2004, I co-founded Platform Gallery (www.platformgallery.com), a commercial contemporary art space dedicated to exhibiting sculpture, painting, works
on paper, installation, photography, and new media. The gallery works with artists
from Seattle, Los Angeles, Toronto, New York, Rhode Island, Wisconsin, and
Illinois. The gallery is located in the gallery district of Pioneer Square and is open
Thursdays to Saturdays, 11am to 5:30pm. One of the missions of Platform is to
take work beyond Seattle and we are participating in upcoming art fairs including
The Affair at the Jupiter Hotel in Portland, Oregon (Sept. 14-16),Year07, a fair
taking place in County Hall in London (Oct. 11-14), and Aqua Art Miami, the
Aqua Hotel, Miami Beach, Florida.
“And with all of that going on, I still maintain a
studio practice working on my own art. I’ve most
recently been working on conceptual drawings
and mixed media on paper and panel. I fondly
remember my teaching days in Boston and refuse
to believe that that part of my life was over 20
years ago!” Steve Lyons §
During the 2006-2007 school year, NESADSU
enrolled 426 art and design majors. 221 were
BFA candidates (108 in Interior Design, 82 in
Graphic Design, and 31 in Fine Arts) and 116
were graduate students (106 in the Master of
Arts program in Interior Design and 10 in the
MA program in Graphic Design). There were
also 12 Certificate students, one Diploma
candidate (the Diploma programs were discontinued in 2004), and 76 continuing education
students.
That same year, we spent $2,145,450 on fulland part-time faculty salaries.
We currently have in school 256 computers,
105 Macs and 151 PC’s, 36 in offices and the
rest in classrooms and other student areas.
Software is updated with every new release,
hardware every three years.
The cost of one roll of paper used in Foundation drawing classes is $60. We use about 30
rolls per school year. That’s $1800.
The NESADSU Library currently holds approximately 10,000 books, 53 periodical
subscriptions and 30,000 slides.
The retail price of one license for the
Adobe Creative Suite Premium Design CS3
is $1,700.00. NESADSU holds 50 licenses. At
retail this would equal $85,000 (yikes!).
The average cost of one ink cartridge is
$28.00. During the 2006-2007 academic year,
NESADSU spent $27,800 on ink and toner
(yikes again!).
The price of one AutoCAD license is $240.
NESADSU holds 75 licenses, costing $18,000
per year.
During the 2006-2007 academic year, we spent
$15,000 on models for figure drawing classes.
Last year, 84 art and design students took
advantage of workshops sponsored by the Ballotti Learning Center at NESADSU.
For 2006-2007, NESADSU’s operating budget
was $5,157,3000.
Who knew? S.C. §
�N e w s & Ti d b i t s
NEWS tidbits
&
NESADSU Successfully Completes
Reaccreditation Process
G r a p h i c D e s i g n St u d e n t
Scores for Lupus
It was formally announced at the annual meeting of the National Association of Schools of Art and Design in Kansas City in October, that The New
England School of Art & Design at Suffolk University has been granted renewal of membership, for a ten-year period of accreditation.This decision
follows the March/April site visit described in the last edition of this magazine.
The focus in the Advertising Design (ADG S208)
course at NESADSU is to develop fully integrated
campaigns—a body of work with a cohesive brand
and campaign message and a look that seamlessly
translates into various print and interactive media
outlets. For their last class project of the Fall 2006
semester, students were tasked with developing
an integrated campaign for the Lupus Foundation
Event logo design by Stormi Knight.
the presentations with other partners within the
organization, Stormi Knight’s campaign was selected
to support the Fall 2007 efforts for the Walk on the
Charles. Her interactive campaign reached out nationally to those affected by Lupus by creating custom artwork to be used throughout the campaign,
and included a poster, booklet, website and banner
work. Knight was then able to work with the class
of New England, a campaign that would increase
awareness about Lupus, an autoimmune disease
affecting more than a million people in the U.S. and
millions more worldwide. Working from a written
strategy provided by the Foundation and detailing specific messaging goals, the students designed
posters, web banners, environmental design pieces,
booklets, and other support pieces to raise awareness about the disease, and to
promote the Lupus Walk on the
Charles supporting efforts towards
finding a cure.
instructor, the client, and various printing venders to
produce the campaign for publication.
Fa l l 2 0 0 7
& Th e n
•
The improvement of NESADSU faculty salaries, security and
advancement.
•
Well-maintained facilities with …many good studio spaces.
•
Arrangement attractive to students who are seeking the broad
resources of a university combined with the specialization of
art and design study.
•
A shared attitude toward student success and small freshman
classes.
•
Improved library support for NESADSU.
•
Expansion of cultural dimension to Suffolk University life.
•
A spirit of warm collegiality pervades both the University and
art/design school administration.
•
The wide-ranging liberal arts courses available to NESADSU
students.
•
NESADSU student access to University services, such as financial aid, counseling, learning center.
Suffolk University administrators including the Dean of
Arts and Sciences and the Provost appear very cognizant of
NESADSU needs and demonstrate willingness to advance the
integration of the art school within the University.”
The primary challenge cited in the Visitors’ Report involved the
need for additional facilities for NESADSU, to accommodate
increasing numbers of students, the specific needs of graduate students, and the need for work spaces for students outside of class.
In addition, the following challenges were mentioned:
NESADSU enjoys a loyal and dedicated faculty, highly committed to student success and who appear to work in a highly
cooperative manner.
Significant quantity of up-to-date computer hardware and software to support computer-dependent educational programs.
•
Evidence of high quality in undergraduate and graduate visual
arts education.
•
Poster design by Stormi Knight.
“The NESAD merger with Suffolk University made eleven
years ago appears to be a strongly supported integration
…(with) many positive results.
•
During the meeting, the Foundation
expressed to the presenting students how “beautiful”, “well thought
out” and “professional” all of the
campaigns were. After reviewing all
•
•
With congratulations to Stormi Knight, we present
her work here. Suzanne McCarthy, Instructor §
In hopes of giving at least some of
the students experience presenting
their work to clients, the instructor,
Suzanne McCarthy, contacted the
Lupus Foundation of New England
to request that the class’s best three
projects be considered for production. The class evaluated the work
produced and decided that the
campaigns designed by Nelia Brega,
Stormi Knight, and Megan Clarke
were the strongest for client review.
The students and instructor then
visited the Foundation in order to
present their choices.
4 5
The Visitors’ Report, presented to us in July, summarized the team’s
findings during their four-day visit, and, in all areas, it was stated that
NESADSU appeared “to meet all criteria for all applicable NASAD
standards”, as outlined in the NASAD handbook. The Visitor’s Report ended with a list of institutional strengths and challenges, the
former gratifyingly longer than the latter. We thought you might be
curious to know what they said. Among strengths, the team cited:
•
“The need to attend to the dichotomous views of faculty
and graduate students in regard to the mix of undergraduate
and graduate students in Graphic Design and Interior Design
classes. Grad students appear to view this as a negative aspect
to their programs; faculty members appear to feel that such
blending raises the quality bar for these classes.
•
The visiting team has concerns that the elastic completion time
for admitted MA students—from 30 to 99 credits—may be
unclear to graduate students and may compromise the stated
credit requirements for these graduate programs.
•
Need for further communication to address undergraduate
concerns about scheduling liberal arts requirements to mesh
with art and design classes in light of the University’s change to
4-credit courses.
•
Important to continue to improve art school’s ability to attract
art and design majors with demonstrated aptitude and accomplishment.”
As I said in the last article on the subject of reaccreditation, in the
Spring magazine, the reaccreditation process is long and exhausting and could not have been completed so successfully without the
cooperation of the entire NESADSU community, administrators,
faculty, students and alumni alike. The comments made by the Visiting Team, who have extensive experience reviewing the programs
of the country’s most prestigious art and design schools, should
make all of us—and you—very proud. S.C. §
�NEWS tidbits
&
Artists: Jessie Schloss, Eileen Umba-Neuwinger, and Ali Horeanopou-
NEWS & TIDBITS
NESADSU Preps
Tomorrow’s Students
e · mer · gence
1. the act or process of emerging.
2. an outgrowth, as a prickle, on the surface of a plant.
3. evolution.The appearance of new properties or species in
the course of development or evolution.
Fa l l 2 0 0 7
Arduous does not even begin to encompass the tremendous shift in life from student to practicing studio
artist. From developing resumes and portfolios, securing studio work/ live space to facilitating income, it is
not surprising that many compromise the production
of artwork for rent and food. Most critical is the loss of
the peer art community that graduating students have
come to depend upon during their education.
& Th e n
6 7
Recently, some of the past three years’ Fine Arts alumni
have attempted to overcome the stress and pressure
of the first years out of school by developing a critique
group based in the Fort Point area of Boston. This
group aims to support each member to enable the
continued practice of studio art and provide a place of
critical review and experimentation.
The range of subject, material, content and execution
varies greatly and to that end the critique group has
engaged in a collaborative effort to create new works
that require the exchange of work and authorship from
one artist to the next in an attempt to explore the
overall visual language of the community as a whole.
The resulting work is an examination of process and
content at a micro and macro level, so much so that
the work has taken on the distinct appearance of biological and ecological systems, some real, others imagined. The mixture of several artists per piece changes
the visual language of the individual into an emergent
communal discourse.
Emergence is both an examination of the real world
struggle for these artists to establish their studio practice in the Boston community and an introspection of
the micro community of the critique group as it grows
and develops beyond the NESADSU community.
For five weeks over this past summer a
group of twenty-two high school students
and incoming college freshmen participated
in NESADSU’s Pre-College Program.
Guided by professors and adjunct instructors Randal Thurston, Paul Andrade, Matt
Templeton and Bebe Beard, this group of
talented young students explored the visual
vocabulary of art and design while learning
the basics of portfolio preparation.
Working in the School’s studios, students
expanded their knowledge of drawing,
painting and the principles of two- and
three-dimensional design. Our ’07 Pre-College Program participants were introduced
to the vibrant cultural scene here in Boston
through field trips to area museums and
artists’ studios. The program culminated in
a student-organized exhibition highlighting
work produced over the summer.
Summer Class of 2007
Responding to the remarkable success of
and enthusiasm generated by this summer’s
program, Continuing Education has begun
offering Pre-College workshops during
the school year. Adjunct Instructor Matt
Templeton is teaching a five-week Pre-College Portfolio Preparation Workshop this
fall designed to help prepare students to
present their work at Boston’s National
Portfolio Day.
For more information regarding the School
of Art & Design’s Pre-College programs
please contact Karianne Noble, Director
of Continuing Education and Preparatory
Programs, at knoble@suffolk.edu or call
(617) 994-4233. Molly Ferguson §
An exhibition of the critique group’s work will be held
in the White Box Gallery (room 208) at NESADSU
from May 12th until June 27th, 2008. There will be an
opening reception, to which all are invited, on Friday,
May 16th from 5 to 7pm. Mish McIntyre and Jessie Schloss §
All work featured on this poster was created by high school students.
�Ov e r s e a s C or r e s p on d e n t
OVERSEAS
correspondent
Little Cultural Differences
Cultural differences are what make foreign
travel such a wonderful adventure, and they
are what make a country or a city unique
to work and live in. Here are some of the
cultural differences between Paris, France and
anywhere in the Anglo-Saxon world:
The working day. Parisians
Morning commute on the Paris métro.
really want to be Mediterranean. They love to
eat late and stay up late. The problem is waking
up; the morning métro is full of people still
soundly asleep despite being fully clothed for
work. The working day starts later here—usually between 9.00am and 10.00am—and
most people finish work between 6.00pm
and 7.00pm. The 35-hour working week only
applies to those employed by large companies
and government employees (who signed that
into law?). Most people work way in excess of
this figure. If you do the math it is clear something else must take up a part of the day…
The importance of
lunch. Lunch is a right.The French
Fa l l 2 0 0 7
Lunch time at the “Quatorze Juillet” bistro.
& Th e n
8 9
will happily work through later in the evenings
if a deadline is looming, but will absolutely not
skip lunch. It lasts between one and two hours,
often it is an event used to discuss business;
it is however sacrosanct. Indeed should you
munch a sandwich at your desk other people
will disparagingly refer to you as having lunch
“a ‘l’anglais” (like the English). At least a third
of Parisians lunch in restaurants and bistros
every day and the remainder of us bring in
creative options from home and stop work
to eat together. Lunch is a social occasion for
everybody and it is the height of bad manners
to start without asking your co-workers if they
are going to join you.
How to approach a
deadline. In December 2006
Anne-Claire and I shared the design work for a
program for an annual film festival. The overall
design was approved; all we were waiting for
was the copious copy to arrive as well as all
those small little program details such as name
of event, venue, time, price, etc., etc. for over
1000 events. The printing deadline was fixed, as
it had to piggyback on to another job so as to
save costs. We waited and we waited. Four days
before the printing deadline the text started to
trickle through… then even I started spotting
the spelling errors (yep, in French) and we
realized that none of the text had been proof
read. So the text went back to be checked and
a committee from the festival camped downstairs from our office fixing spelling errors on
the printed pages, meaning we had to correct
them electronically. In the end, with no leadership and even less organization Anne-Claire
and I worked from 9.00am to 11.00pm (without lunch) for three days to accommodate the
festival committee. This last minute approach
happens all the time. To deliver another project
on time another member of our team got on
his motorbike and sped through the streets of
Paris; he got the official stamp of receipt just 2
minutes before the deadline.
Fear of commitment.
The French fear of commitment and their
desire to leave everything open should suit my
personality very well, but as in all such cases
the most extreme party retains the behavior and forces the other party into inverse
behavior. I have been pushed to the inverse
as I try to work with Jean-Louis. One recent
project was (spéculatif of course) to develop a
POS for a company selling “Coffrets Cadeaux”
(www.wonderbox.fr). I did my research—I
photographed existing POS, looked at various
designs and came up with five or six options. I wanted, I needed, his direction. With
every design I showed him his response was
“pourqoui pas?” (why not?). I have to say I
found this distinctly unhelpful. In the end I
pushed and pushed and pushed for him to give
me a decision—he appeared to be in pain, and
immediately after making a decision went out
for lunch to forget all about it.
Fashion. Using public transport and
doing a lot of walking is my opportunity to
observe the latest fashions and styles. On the
métro and the bus I get to see the small but
essential details, mainly because the French
concept of personal space is non-existent. Thus
I have learned how to tie a scarf depending on
the time of year, what earrings are currently
fashionable and how to wear the collar of
a simple shirt so as to look decidedly chic.
A point to note is that Parisian women are
thinner than most, which of course aids their
ability to look good in almost everything. Two
other essential building blocks to acquiring
Parisian style are the requirement to wear
heels on your shoes (the sneaker-clad commuter is a rare sight) and to walk proudly with
a large designer bag and a good designer coat.
Ordinary French women do actually shop in
Hermes, Lancel and Chanel if only once every
five years. For the first time in my life my first
waking thought is what to wear, even at the
weekend!
POS proposal for “Wonderbox”, 2007
How much vacation?
As I write this (early September 2007) I, and
the majority of Parisians, have just returned
from a month of vacation. Everything you may
have heard is true. The city sleeps as millions
head for their second homes in the countryside or the coast. Until recently very few
French people ventured abroad, and if they
did it was to French-speaking places such as
the Reunion Islands near to Madagascar or
Martinique in the Caribbean. But this summer
has been a washout for northern Europe since
June and I heard much French being spoken as
I lay on the beach in very sunny Spain. Now,
after a month off work, we are all back, excited
to be in the city that has regained the buzz
but actively looking forward to the next main
vacation, which is Toussaint (a.k.a. Halloween). In total the French come second to the
Germans with an annual vacation entitlement
of 7.5 weeks. Being freelance I can take what
vacation I like, but there again if I don’t work
then I don’t earn any money to go on vacation!
Kate McLean §
“Polar dans laVille” film festival program
�1962 – Dan McCarron (Graphic
Design) continues to keep up a heady
schedule of design work for Harvard, his
former employer. “I am in the process of producing a book on decorated papers for the
Department of Graphic Arts at Houghton
Library at Harvard, which will be published
this fall and distributed by the Harvard
University Press. I am also working on an
exhibit that celebrates the 75th anniversary
of Memorial Church at Harvard as well as
the 400th birthday of John Harvard. … The
exhibit will be mounted at Pusey Library in
Harvard Yard this fall. Finally, I am producing a DVD to celebrate the 45th reunion of
the Class of 1962, Harvard College…..All
great projects that I truly enjoy working on!
Who knew that, when I sat in a Huntington
Avenue classroom at [NESA] in the early
sixties, I would get to do such interesting
projects for Harvard University 45 years
later!” You can rdach Dan at dmccaron@
wordtechcorp.com.
Please be sure to send your updated information
to Sara Chadwick at schadwic@suffolk.edu (for
our database and/or for publication) and also, if
you wish, to classnotes@suffolk.edu for the Suffolk
Alumni Magazine.
Fa l l 2 0 0 7
1971 – Millicent (Busse) Swaine (Advertising Design) got in touch with us the
other day, wondering what we were up to.
Millie worked in advertising for Sears after
graduating from NESA, then had three children so gave up work to stay home and care
for them. Now she keeps busy “doing the
décor for parties, theatre, CET-TV and nonprofit organizations. I have been doing wedding planning too. Keeps me busy. I would
love to hear what others have done…I’m
sure it’s great things!” You can reach Millie at
millieswaine@aol.com.
& Th e n
10 11
1973 – Ellyn (Greenberg) Moller
(Fashion Illustration) is currently the
Director of the Akillian Gallery at Massasoit
Community College in Canton. She has also
served on the Board of Trustees for the Milton Art Museum for the past eight years, the
last four as Chairman, and has been named
Event Chairman for the 2008 Arts Affair on
the Boardwalk at Marina Bay in Quincy. In
addition to all of this, Ellyn continues to take
on freelance design projects as well as manage her husband’s entertainment business,
at the same time taking courses toward her
degree at Massasoit. You can reach Ellyn at
emoller@massasoit.mass.edu.
1974 – Steve Hodgdon (Graphic
Design) recently organized a min-reunion
in August of some of the members of the
Class of 1974, who currently live in New
Hampshire. Gail (Herbert) Kimball (Fashion
Illustration) and Jim Hankard (Fine Arts) attended, though Fred Durham (Fine Arts) and
his wife Connie (Wadleigh) Durham (1973
Fashion Illustration) were not able to attend.
They all met at Steve’s house in Contoocook
“and had a wonderful afternoon. Sorry I
don’t have any pictures to attach…we were
having too much fun catching up!” Well, Gail
supplied us with this one, which is great. If
you can offer Steve information on any other
members of the Class of 1974 (see the three
below, located since), I’m sure there’ll be another get-together in the offing. Contact Steve
at shodgdon@comcast.net.
1974 – Ronald Holl (Graphic Design)
is the Director of Operations/Art Director at LSHD Advertising, of which he is a
partner, in Chicopee, MA. LSHD, in business
since 1986, is western Massachusetts’ largest
advertising agency. You can reach Ron at ron.
holl@lshd.com.
1974 – William Kenney (Graphic
Design) is the Vice President/Creative of
BrandEquity International, with headquarters
in Newton. BrandEquity is a visual marketing and brand communication firm, which
was established in 1960 and which has such
clients as Staples, Harvard Pilgrim Healthcare,
Au Bon Pain, Massachusetts General Hospital,
Sheraton and many others. Check them out
at www.brandequity.com and contact Bill at
kenneydesign@comcast.net.
1974 – Stephen Krupsky (Graphic
Design) is a partner in Adrenaline Design
in Manchester-by-the-Sea, MA. Adrenaline
Design is a marketing-oriented design firm
that specializes in brand identity, logo development, package design, web design, etc.
Check them out at www.adrenaline-design.
com and get in touch with Steve at stevek@
adrenaline-design.com.
1979 – Christine Jellow (Graphic
Design) has parlayed her years of graphic
design experience and her coursework in
the Masters program in Interior Design into
a position with Urban Archaeology in the
Boston Design Center. Urban Archaeology is
a high-end lighting, bath and tile manufacturer
and retailer, with a wide range of top-quality
and beautifully designed products. Check out
their website at www.urbanarchaeology.com
and contact Christine at c.jellow@comcast.net.
1981 – Eli Cedrone (General Art)
had three of her paintings accepted into
the Guild of Boston Artists show at their
Newbury Street gallery in August. This
regional, juried exhibition featured the best
of representational painting and sculpture by
both emerging and established artists living in
New England. In addition, Eli’s painting “Journey’s End” was awarded Best in Show at the
Pembroke (MA) Arts Festival, also in August.
You can contact Eli at artfulhand@comcast.
net. Also, check out her online newsletter at
www.elicedrone.com for classes, exhibitions,
etc. Lots of news!
1983 – John Gonnella (Graphic Design) left Digitas about a year-and-a-half ago
and is starting his own “web branding gig”,
called Truth and Soul, Inc. (www.truthandsoulinc.com). John will be moving shortly
to the South End, “to pursue my painting, in
downtime…I always bump into James Kraus
[1982 General Art] and also saw Audrey
Goldstein last week”. You can get in touch
with John at johnny.g@truthandsoulinc.com.
1983 – Paul Harrington (General
Art) had an exhibition of his hand-painted
silkscreens during the month of September
at The Savings Bank, Lakeside Office in Wakefield. Paul’s web gallery, of drawings, paintings and sculpture, can be found at www.
luminism.net. You can reach Paul at paulharrington@luminism.net.
M o r e C l a s s N ot e s
C l a s s N ot e s
CLASS
notes
1985 – Merle Craig (Interior
Design) recently sent us a contribution to
NESADSU’s J.W.S. Cox Scholarship Fund, for
which we are very grateful! She is currently
on the faculty at Endicott College in Beverly,
as an Assistant Professor of Interior Design
(“I’m enjoying it very much”), and still owns
her own ID firm, Merle Craig Interiors in
Durham, NH. “I see quite a bit of Marge Lee
(1984 Interior Design) [also an Assistant
Professor at Endicott] and I also see Kris
Orr (1984 Interior Design) and Anne Lenox
(1987 Interior Design) occasionally. We
share the same birthdate and usually have
breakfast together sometime around September 11th. We discovered this when we
were assigned to the same ‘contract furniture
research committee’ in our sophomore year
and have gotten together many times since.”
You can reach Merle at mcraig@endicott.edu.
1987 – Deven Winters (Fine Arts)
emailed us In May to say he and his wife
were packing for a move back to Texas, this
time to Mesquite, where Deven will be taking a job at id Software, a pioneer in FPS PC
game titles. As a designer, he’ll be creating
levels, gameplay elements and some basic art
“for the artists to make beautiful. I want to
go there to be able to learn from the masters, develop my next gen art and become
even more well-rounded.” Deven also says
that he’ll be starting a children’s book this
fall with his wife as the writer. “The newest
member of our family is getting big…and is
almost as tall as his four-and-a-half-year-old
brother. My oldest son Joshua can read and
write a little bit. He also reconfigured my
X-Box to read Chinese and it took us two
hours to undo it. He’s is getting really good
at games and problem solving.” Deven is also
thinking of becoming a teacher of 3D graphics and perhaps starting his own company as
well. You can reach him at arxangel@gmail.
com and check out his website at www.
arxangel.net.
1989 – Dave Swanson (Graphic Design) recently got in touch with us, looking
for some freelance graphic design help for
the summer. (Editor’s Note: If you are interested in either full-time or freelance work,
please be sure to fill out the Alumni Update
Form on the NESADSU alumni page on
our website.) Dave, who is the Director of
Design for Fidelity Investments in Smithfield,
RI, lives in Foster with his wife and three
children, Zoe (2), Max (6) and Clara (4). As
Dave says, “Things are going well. We all have
our health and a routine. It’s just non-stop,
taking care of a house, a dog and three small
children, then trying to fit in my own stuff….
I’ve redefined patience. It’s not like the old
days when the world revolved around ME.
It has many more benefits but there was a
learning curve for me and still is to some
extent, but I’m getting better at it. I’m trying
not to forget the old worn out saying ‘They
grown up fast’. I remain conscious of that and
very much enjoy the simplicity of it all and
fostering good memories. Which reminds me
of another saying, ‘If I had a nickel” for every
time someone with grown children says that
to me, I’d be a millionaire!’ You can get in
touch with Dave at david.swanson@fmr.com.
1993 – Steinunn Jonsdottir (Interior
Design) returned to her native Iceland in
2004, bought
a farm in
northern
Iceland that
same year,
with an eye
toward starting an international art center there, earned
an MBA from Reykjavik University in 2006,
and started the Baer Art Center (www.baer.
is) in May of this year. She has since moved
into a new home and had a third child (Baldur, now one, brother to Nanna Katrin, now
13, and Jon Bragi, now 10). Take a look at the
Baer Art Center’s website and see whether
you might be interested in a residency. You
can also reach Steinunn at sj@sj.is.
1995 – Scott Truesdale (Graphic
Design) has left Malchow, Schlackman,
Hoppey, Cooper
Partners in Washington,
DC and has taken a
position as Vice President/Creative for the
Mack/Crounse Group
in Alexandria, VA. Both
are political advertising
firms, a field Scott has
been deeply involved in
for a number of years.
The Mack/Crounse
website cites Scott as
“one of the most experienced creative talents
in the political business.
He brings a unique and
fresh view to creative
and is a great addition
to our team.”. You can reach Scott at struesdale@mackcrounse.com.
1997 – Todd Fitz (Graphic Design)
is still living in Georgetown, MA and has a
design office in Newburyport. His former
company, Firecracker, has morphed into Fuel
73, which is heavily focused on the publishing industry, specifically magazines, and more
specifically Ocean Home Magazine (www.
oceanhomemag.com), northshore magazine (www.nshoremag.com), and Our Place
Magazine. You can reach Todd at todd@
fuel73.com.
1997 – Ken Harney (Graphic Design)
is still in New York, but is now the Deputy
Art Director for DNR Magazine, a Conde
Nast publication on men’s apparel, fashion
retailing and design. For fun he’s into Thai
boxing and is working on his blue belt in
Brazilian jiu-jitsu. That’s for exercise; he also
does yoga for relaxation. You can reach Ken
at kharney1@yahoo.com.
�1998 – Ann Borwick (Fine Arts) has
moved from Seattle across the lake to Bainbridge Island, where she now owns a B&B.
Called Furin-Oka (“Wind-Bell Hill”) Futon
& Breakfast, it occupies a private, detached
house and garden built in traditional Japanese
style at the rear of the property on which
she lives, accommodates two people, and has
a tatami room as well as a kitchenette and
a bath with a Japanese soaking tub. Check it
out at www.futonandbreakfast.com. Besides
all of that, Ann’s gotten heavily into gardening,
which the lush northwest climate makes a
pleasure. You can reach Ann at afborwick@
yahoo.com.
Please be sure to send your updated information
to Sara Chadwick at schadwic@suffolk.edu (for
our database and/or for publication) and also, if
you wish, to classnotes@suffolk.edu for the Suffolk
Alumni Magazine.
Fa l l 2 0 0 7
1998 – Melissa Horvath (Graphic
Design) started a new job in May, as Senior
Interactive Art Director at VML in New
York. VML is an interactive ad agency with
such clients as Colgate-Palmolive, which will
be Melissa’s main account, Burger King and
TurboTax. Part of the WPP network, they
collaborate with sister agency Y&R on crossmedia campaigns. In addition to the new job,
Melissa is also making plans for her November 9th wedding. Check out her website at
www.melissahorvath.com and get in touch
with her at melissa@melissahorvath.com.
& Th e n
12 13
1998 – Scott MacGillivray (Fine Arts)
has increased his family by one (son, Odin,
was born on March 19th) and moved them
all to Indiantown, FL, where they have a 60acre ranch. On said ranch are four children
(presumably not within fences), “and a whole
menagerie of animals, including four horses,
three goats, a llama, a pot-bellied pig, three
dogs, more cats then I care to count, and a
few other small critters”. Scott also started a
new job in August, “teaching graphic design
at a vocational high school in a maximumsecurity prison. It sounds like a challenge and
I’m excited.” Send congratulations to Scott at
smacdad101@aol.com.
2001 – Helen (Carroll) Johnson (Fine
Arts) recently wrote to tell us all her news.
“I was married in 2005 so my last name is
now Johnson. Directly after graduating Suffolk I worked at Kids Are People School, a
multicultural and inclusive school in Boston,
first as a teacher’s aide and then as a teacher.
I received my Masters from Lesley University in Art Education in 2006…and began
working at the Children’s Learning Center
in Dorchester as a pre-school teacher. April
20th I gave birth to a beautiful baby girl
Alexandria! She was born seven weeks early
so she had a scary start but is doing great
now. Just recently my husband and I were
accepted into the Salvation Army’s School
for Officers’ Training. After two years of
schooling we will be ordained ministers, so
we are currently preparing to move to New
York….The newsletters have been going to
my parents’ house for three years, but that
was fine because we’ve moved three times
in the last year and a half!…It’s great to see
how the school is growing and what is happening!” You can reach Helen at helen_johnson@mrmumu.net.
2001 – Laura Glen (Interior Design)
has returned to her roots in Louisiana, in the
wake of hurricane Katrina. “I’m still working
on projects throughout New England (with
one studio in Wellesley, MA) but have my
main studio back home in New Orleans.
Katrina was devastating to my family and
friends and I just need to be here to help
rebuild….If you ever need an article on New
Orleans and the rebirth, I would be happy to
provide my insight, having evacuated, rebuilt
and worked with clients there.” We’re taking
Laura up on her kind offer and hope to have
an article for you in the next edition of “And
Then”. In the meantime, you can get in touch
with Laura at lauraglen@comcast.net.
2002 – Erin Fay (Graphic Design) has
moved to North Hampton, NH and is working as a kindergarten teacher at the Keystone
School in Chelmsford, MA. You can reach
Erin at erin_fay@msn.com.
2002 – Jonathan Hoysradt (Graphic
Design) emailed Jen Fuchel the other day
with an update on what he’s been doing
since leaving his first job, at 360Kid, after
graduation. “My quest for full-time work led
me to several non-design-related positions
including the mailroom of a financial company, the processing center for a mortgage
company, and a bouncer at a biker bar (just
kidding about that last one!). Oddly enough, I
found my niche at a computer company that
originally hired me as a temp to manage the
sales database. They found out I had some
design skills and asked me to update their
website (which, I think, was originally composed by a blind man using PowerPoint), so it
was uphill from there. …Soon enough I was
the graphic designer for the company…I’ve
also become the “Web Manager”, “Marketing
Manager”, and “Email Manager”. They hired
another graphic designer to work under me
[though] I’m still responsible for designing
most of the printed material. And while the
other designer manages the website, I do
all the Flash animation.” As Jonathan says, it’s
been a good way to gain a lot of experience
in a lot of different areas, especially management and computers. You can reach Jonathan
at jhoysradt02@comcast.net.
2002 – Nicole Wang (Graphic Design)
has relocated to Emeryville, CA and has
taken a position with Arc Worldwide in San
Francisco. Arc Worldwide deals in promotional, interactive, direct and shopper marketing, and is owned by the Publicis Group
which also owns Digitas, Nicole’s former employer. Nicole’s move followed a two-month
European vacation (“After working three
years straight in a fast-paced agency like that,
I felt I really needed a loooong vacation!”).
You can reach her at nwang@macbox.com.
2003 - Kseniya Galper (Graphic
Design) had her acrylic painting “Eugene”
chosen as Best in Show at the Quincy Art
Association’s Artsfest in September. There
were over 250 entries for this annual juried
show and it was the first time that she had
ever submitted her work anywhere, “so I was
N e a r l y 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
CLASSotes
n
absolutely shocked when I was told that I’d
won “Best in Show :)”. Kseniya and Eugene
have just spent two weeks in Rome (“overwhelmingly beautiful”), perhaps celebrating
her success. You can reach her at kgalper@
gmail.com.
2004 – Juliana Abislaiman (Graphic
Design) has a new job with McCann
Erickson in Puerto Rico, having left Arteaga &
Arteaga Advertising. Contact her at abislaimanjuliana@hotmail.com.
2004 – Maryam Beydoun
(Graphic Design) caught up
with our designer Kate McLean
(2004 Graphic Design) in Paris
in July. Maryam was with Promoseven, a design firm in Jeddah, Saudi Arabia, then moved
to McCann Erickson, but has
since left and is freelancing while
she decides whether to return
to school. Maryam spends several weeks a year in France, with
some time for shopping in Paris.
She and Kate had breakfast, “then wandered
down to the Musee Quai Branly to take
photos”. You can reach Maryam at maryambeydoun@mac.com.
2004 – Victoria Masters (Graphic
Design) has left Charity Folks and is now a
Junior Creative Director at Creative Gorillas,
also in New York. Creative Gorillas is an advertising and marketing firm with a number
of clients in the real estate and development field. Check out their work at www.
creativegorillas.com and get in touch with Vic
at vicmasters@gmail.com. You can also see
both her professional work and her stunning
photography at www.victoriamasters.com.
2005 – Peter Ferreira (Graphic
Design) is working as a Senior Graphic
Designer for Cox Communications in West
Warwick, RI. In addition, he has his own
design firm, called Kemelyen Media Lab, with
two freelance artists working with him on
various projects in print, multimedia, corporate and web design. Check their website
at www.kmedialab.com and email Peter at
peter.ferreira@cox.com.
2005 – Jennifer Kokx (MA in Interior
Design) has taken a position with the Boston design firm Gauthier-Stacy, a residential
interiors firm with clients around the country.
You can reach Jennifer at jkokx@comcast.net.
2006 – Debra Folz (Interior Design)
has left her job at Tsoi/Kobus & Associates
in Cambridge and has enrolled in the MFA
program in Furniture Design at Rhode Island
School of Design in Providence. Deb’s hoping to teach furniture design one day, perhaps
at NESADSU. You can get in touch with her
at debba5@aol.com.
2006 – Jill Garzik (Interior Design)
has recently taken a position with the
architectural and interiors firm Tsoi/Kobus &
Associates in Harvard Square, where she is
currently working on a project for Children’s
Hospital. At TKA, she joins Laura Nathanson
(2006 Graphic Design) who is a graphic
designer for the firm. You can reach Jill at
jgarzik@hotmail.com.
2006 – Kelly Ginn (Interior Design) is
working for the Architectural Heritage Foundation, located in Old City Hall in Boston.
AHF is an historic preservation development
firm and a pioneer in adaptive reuse since its
founding in 1966. You can get in touch with
Kelly at keli2342@aol.com.
2006 – Meaghan Moynahan (Interior
Design) has left the Patterson Group and
is now a Project Manager at Kitchen Living in
the Boston Design Center. You can reach her
at meaghanm@kitchen-living.com.
2006 – Kelly Pearson (Fine Arts)
was among a group of artists featured in
a sculpture show at the Aaron Gallery in
Washington, DC. Her steelwork sculpture,
Exterior no. 7 (2005), was on exhibit during
the month of October. You can reach Kelly at
kmartypea@hotmail.com.
2006 – Lisa Sobolewski (Interior
Design) moved to New York in June and
is currently working at Dupoux Design, a
firm with “cross-market expertise in the
fields of hospitality, real estate, construction
management and brand identity”. Dupoux
has recently expanded their operations to
include the Asia market, opening Dupoux
Design Asia in Taipei. Check out their website
at www.dupouxdesign.com and contact Lisa
at yasuadio@yahoo.com.
2007 – Jessica Aponte (Interior Design) is currently working at Eric Nelson Architects in Charlestown, a firm that provides
a wide range of design services for both new
buildings and significant renovations. You can
reach Jessica at skittja22@yahoo.com.
2007 – Billie Jo Baril (BFA Fine Arts
2000, MA in Interior Design) is working
as an interior designer at Eric Roseff Designs
in Boston. Eric Roseff is a full-service residential and commercial design firm. You can
reach Billie Jo at barilb@hotmail.com.
2007 – Erica Edwards (Interior Design) is NESADSU’s latest addition to the
workforce at Duffy Design Group in Boston,
where Atsu Ishikawa (Interior Design 2000)
was before she left to join Kahila Hogarth
(Interior Design 2006) at Nannette Lewis
Design in Chestnut Hill. You can reach Erica
at lordy7_7@hotmail.com, Atsu at superatsu@hotmail.com, and Kahila at kahila329@
hotmail.com.
2007 – Rebecca Emanuel (Interior
Design) has joined Barbara Sherman (Interior Design 1994) at Wilson Butler Architects,
a Boston firm specializing in designing for
the arts and entertainment. You can reach
Rebecca at raemanuel@gmail.com.
2007 – Nico Flannery-Pitcher (MA in
Interior Design) is currently working
at Steffian Bradley Architects in Boston. In
addition, Nico was recently married to Dave
Pitcher, an industrial designer with Rose
Displays Ltd. in Salem. Dave, who designs
signage hardware, and Nico have bought and
are currently renovating a house in Swampscott and hope to be in by October. Send
your congratulations to Nico and Dave at
nicoflannery@hotmail.com.
�2007 – Jade Jump (Graphic Design) has
landed a job at the Design Studio at Monitor in Cambridge, where she is a graphic
designer. The Design Studio has such clients
as MIT, Brandeis and Innovation Management
Inc., providing such services as marketing,
illustration, web design, logos and book
design. Check them out at www.designstudioatmonitor.com and get in touch with Jade
at jadejump@hotmail.com.
Fa l l 2 0 0 7
2007 – Kimberly Kelly (Interior Design) and Danielle Tappis (MA in Interior Design) have both joined the Boston
office of Perkins & Will, the internationally-based design firm offering “innovations
in architecture, planning, interiors, branded
environments and strategy”. You can reach
Kim at kimakelly@gmail.com and Danielle at
danielle_paige@hotmail.com.
& Th e n
14 15
2007 – Jessica Koff (MA in Interior
Design) has taken a position as an interior
designer with Bergmeyer in Boston. As such,
she is continuing another long-time tradition
with NESADSU graduates, many of whom
have passed through Bergmeyer’s door in
recent years. You can reach Jessie at jesskoff@
gmail.com.
2007 – Courtney Mitchell (Graphic
Design) has moved to New York and taken
a job as a Art Assistant at Women’s Wear
Daily, a division of Conde Nast and Fairchild
Publications. Women’s Wear Daily is a fashion
and business newspaper and “we also put
out dozens of magazines and supplements
every year. I deal primarily with the trafficking
of all the artwork and I also have been able
to design quite a lot so far. I wanted to thank
you [Laura Golly, to whom the email was
sent] because after I took your electronic
publications class I realized how much I love
publication design!” You can reach Courtney
at coumitch@verizon.net.
brown.com, Allison at allisonwrig@gmail.com,
Eduardo at eduardo_meza@gensler.com, and
Vy at vlan0525@yahoo.com.
2007 – Julianna Mongello (MA in Interior Design) and Pamela Muldowney
(MA in Interior Design) have both taken
positions with Cannon Design, an architectural, engineering and planning firm in Boston. You can reach Julianna at juliemongello@
hotmail.com and Pamela at pmuldowney@
mac.com.
2007 – Kaitlin Palaza (Interior Design)
has taken a job at Duncan Hughes Interiors
in Boston. Duncan Hughes is a full service
interior design firm specializing in commercial
and residential design. You can contact Kaitlin
at kaitlinpalaza@gmail.com.
2007 – Andrea Morin (Graphic
Design) is a Regional Marketing Coordinator at Great Source Education Group in
Wilmington, MA. Great Source, a division
of Houghton Mifflin Company, publishes
alternative, resource-based K-12 educational
materials. You can contact her at andrea_morin@hmco.com.
2007 – Naomi Nottingham (MA
in Interior Design) has joined fellow
NESADSU alumni Erika Brown (MA in
Interior Design 2004), Allison Wright (MA in
Interior Design 2006), Eduardo Meza (MA in
Interior Design 2003), and Vy Horwood (Interior Design 2003) at Gensler (all in Boston
except for Vy who is in the Arlington, VA office). With offices around the world, Gensler
is a multi-faceted firm that handles design
problems of all kinds, from city planning to
interior and graphic design. Check them out
at www.gensler.com. Contact Naomi at
naomi74@earthlink.net, Erika at riki@riki-
2007 – Elizabeth Olver (Interior
Design) has taken a position with TMD
Designs, a recently established firm in North
Hampton, NH. You can reach Liz at liz.olver@
gmail.com.
2007 – Helen Principio (Interior
Design) is a kitchen and bath designer at
the Expo Design Center in Burlington, MA.
You can reach her at hprincipio@yahoo.com.
2007 – Caitlin Ryan (Interior Design)
is an interior designer with JFS Design Studio
in Boston. JFS specializes in residential and
hospitality design. You can reach Caitlin there,
at caitlin@jfsdesignstudio.com.
2007 – Karen Urosevich (MA in
Interior Design) has joined the residential
design firm of Leslie Fine Interiors in Boston’s
Back Bay. You can reach Karen at karenurosevich@hotmail.com.
2007 – Shauna Wymyczak (Interior
Design) has taken a position at ADD, Inc. in
Cambridge, a firm that specializes in architecture, interior design, planning and branding.You
can reach Shauna at wymyczak@yahoo.com
SO SAD
TWO MORE CHILDREN
I just got the spring newsletter today and I am so sad
Olympia was considered a kook while she was at-
“I’ve been thinking about you guys over at NESA and
because I didn’t know Charles Giuliano retired! I was
tending BU’s theater arts school…but she was a good
realized I haven’t sent you a picture of the kids yet
reading the gallery schedule and I totally would have
actress. I was amazed when she suddenly started
gone to the reception. I was wondering why I would
appearing in movies, etc. Everyone from BU and
have just gotten the newsletter now?
NESA used to take a morning break and have lunch in
This came from Amy Joyce (Graphic Design
the cafeteria….I don’t remember anyone socializing
2000) and arrived on July 5th
with her except for a Greek girl who was in fashion
I had a feeling I was going to have to answer
for this and you all have my deepest apologies.
We have never had a firm publication deadline
for the newsletter (just sometime during the fall
and spring semesters) and all I can say is that
this semester several things conspired to make the
newsletter late in getting to you. First of all, the
NASAD reaccreditation took up an enormous
amount of time. I not only researched and wrote
the entire self-study (way over 300 pages of text
plus exhibits), but planned and saw to completion the three-day site visit. By the time that
was all over, we were into April.Then I got sick,
perhaps because the site visit coincided with the
first symptoms and there was no way I could stay
home and sleep! So I was out for a couple of
weeks and way behind on everything else by the
time I got back.Then Kate McLean, our designer,
was enjoying a very busy schedule herself. So,
one thing led to another and we were late. I’m
especially sorry as I know there are probably a
number of you who would have attended Charles’
party and did not know about it. At this late
date, all I can offer you is his email address
(charles_giuliano@yahoo.com) so that you can
write him and tell him….well, whatever you
wish to tell him.
design at NESA. I think her name was Athena.” [Good
THANKS FOR THE BLURB
said ‘Let’s skip this afternoon and go to the ball game.’
memory, James. That was probably Athena Doukakes,
class of 1957 and a Fashion Design major.)
“I was one of the ex-GI’s who were attending
NESA….Four of us lived together on Huntington
Avenue: Frank Raneo, Joe Almasian, Dick LaRoche and
me. Frank was one of the most talented of anyone I
went to school with. He was working for Remick’s
of Quincy while he was going to school, doing all the
newspaper ads for them. [Actress] Lee Remick was
the owner’s daughter. Frank promised to tell us when
she was around and set it up so we could meet her.
Never happened…. I always remember Frank had a
great sense of style. He always looked like one of his
ads. He’d also give us a critique when we dressed up
to go out. He also said two sport coats and three pair
of pants were all you need. I’m still using his advice!”
“Our life and anatomy instructor was John DanaBastian. He looked like Picasso. His favorite remark
gratulate you and the staff on the great articles and
work that you all continue to do. I’ve been busy taking care of the kids at home and also doing interior
design work. I just completed a Hookah Bar/Lounge
in Allston, the Nile Lounge…. It was a lot of fun creating and implementing the design.” George is also now
working as a teacher’s aide in the kindergarten at the
he took all of my watercolor brushes away from me
so I would ‘loosen up’…. I had a JWS Cox original
[watercolor]. Too bad I threw it out when I packed
to come home for the summer!… I bought a book
about Bill last summer. I never knew until then how
famous he had become. He had some of his work in
the Museum of Fine Arts when I was in school.”
“During my first year at NESA one of my classmates
I got my latest newsletter the other day and just
That was the first major league game I ever saw.
got the chance to sit down and read it. Another
September 1954. I was a Yankees fan at the time….
top-notch edition. Thanks for the blurb [a class note].
and used to go to the games when the Yankees were
The wording was perfect. I should have gotten to it
in town. Then, rather than risk getting beaten up by
[writing it myself] but the good news is I have been
Boston fans, I changed sides.
Bleacher seats were $1.50 at the time and Pinky Higgins was the manager…. Sometimes there were only
mer is going well and see you soon.
a few thousand people at the game…I remember
James Kraus (General Art 1982)
Mickey Mantle coming onto the field and talking to
the fans in the bleachers. I don’t think there is a Major
Barbara (Paine) Lyons of the NESA class of 1943 (Fashion
Illustration). Barbara was one of five alumnae, graduates of 1943
and 1944, who were honored at NESADSU’s 75th anniversary gala at
the Institute of Contemporary Art in November of 1998. Barbara was
originally from Randolph, MA. After graduating from NESA, she worked
as a fashion illustrator for a Boston department store, where she met her
future husband, Richard Lyons. She retired from Raytheon Corporation’s
publications department in 1989. Barbara is survived by two sons, Jeffrey
and Frederic Lyons, eight grandchildren and four great grandchildren.
I also just got the new newsletter and wanted to con-
favorite instructors was JWS Cox. I remember that
volunteer work that I never got to it. Hope the sum-
It is with great sadness that we announce the death of
[Editor’s Note: George and his partner, Joe (Suffolk
MPA 1998, JD 2000), adopted two more children
from Liberia in 2005. Now their family is made up
of Luke (age 5) and Noelle (4 1/2), plus Noah (4)
and Jocasta (2), who arrived in August of 2006.]
was ‘Make it go ‘round! Make it go ‘round!’ One of my
so busy with work, Little League [coaching] and other
Pa s s ag e s
T h e L a s t o f t h e C l a s s N ot e s
2007 – Jakob Grauds (Graphic Design)
took a job in June as a Graphic Designer
for Private Label Brands at CVS Corporate
Headquarters in Woonsocket, RI. “The job is
incredible, I get to be creative every day, and
I am learning an immense amount (not to
mention I now have a huge name like CVS
on my resume).” Before finishing at NESADSU, Jake worked as a Contributing Editor
on the new College of Arts and Sciences
magazine at Suffolk, contributing artwork and
photography along with past and present
students Jade Jump, Alison Balcanoff, Kevin
Banks, Colleen Barrett, Jeannie Belozersky,
Margaret Furlong, Matteo Gulla, Catherine
Headen, Kayla Hicks, Fanny Lau, Laura
Nathanson, Lisa Raad, Jessie Schloss, Eileen
Umba and Joanna Winters. You can reach
Jake at inhousejake@yahoo.com.
Fe e d b ac k : N ot e s F rom You
FEEDBACKfrom you
notes
CLASSotes
n
EVERYDAY LIFE…
I’ve also been emailing back and forth with
James Towslee (Advertising Design 1957), who
found us on the web and has been filling me in
on things he remembers from his days at NESA.
Here, from several emails, are some tidbits:
“Have any of the students from my era mentioned
that we used to have coffee every morning with a
future Academy Award winner, Olympia Dukakis?…
Leaguer today who would be able to get out of the
locker room, much less play, with the pain he must
have endured. I saw a picture of him once after he
had been taped up so he could play. He looked like a
mummy!… At least I’ve lived long enough to see the
Sox win a World Series.”
James Towslee (Advertising Design 1957)
Johnson School in Nahant, where the children are
enrolled. He would love to hear from classmates so
please email him at gsyrigos@comcast.net.
George Syrigos (Interior Design 2002)
THANKS AGAIN
“Just wanted to drop a note and say thanks again for
including us in the last alumni newsletter. It’s always a
kick to see our stuff in print! Thanks for the support!”
Lianne and Paul (and Gryffin) Stoddard
(Graphic Design 1992), regarding the article
in the Spring alumni magazine on Swirly
Designs and Yankee magazine publicity.
�A l u m n i I n t e rv i e w
ALUMNI
focus
N E S A A l u m na S e rv e s H e r C ou n t ry: N ot i n I r aq
bu t i n Wor l d Wa r I I
S e c r e t i s ou t: S h e pu t I wo J i m a on t h e m a p
Local veteran was a mapmaker for the U.S. Navy in World War II
By James A. Kimble, Staff writer
SALEM, N.H. — Her role in helping to capture Iwo Jima was something she never told her husband or three children.
Now 83, a humble and soft-spoken Mary Habib still is reluctant to
go on about it. Her husband, Al, 86, shakes his head that he’s only
now learning how important his wife’s role was in World War II.
“She didn’t like to brag to the family,” he said, sitting at the couple’s
kitchen table. “I didn’t know about this until three weeks ago. We’ve
been married since 1950.”
Mary Habib softly adds with a smirk, “There’s some things I don’t tell.”
Mary Habib worked on a map used by the U.S. military in the critical
battle for Iwo Jima.That invasion ended with one of the most famous
moments in World War II, when five Marines and a sailor raised an
American flag atop the island’s highest point, Mount Suribachi.
Photographer Joe Rosenthal immortalized the flag raising with his
famous, posed, photograph — which became a topic of the recent
Clint Eastwood movie “Flags of Our Fathers.” While seeing a commercial for the movie on television, Mary Habib mentioned in front
of her oldest son, Bill, 55, she had worked on the Navy’s map for
the invasion.
Fa l l 2 0 0 7
Mary (McCluskey) Habib, NESA class of 1943.
& Th e n
16 17
This summer I had a call from former NESAD faculty member, Ed Germano, who told me that he had seen, on Fox TV, a story about a woman
who had served her country in World War II, by drawing maps for the invasion of Iwo Jima. Ed had noticed, while the story was being told, that the
camera had panned over a NESA diploma and he let me know he was going
to investigate. After a little detective work, through the mediums of both
television and newspaper, we found the story of Mary (McCluskey) Habib, a
1943 graduate of NESA. We are reprinting her story with the kind permission of the Eagle-Tribune Publishing Company and Mary Habib.
It was an incredible revelation for Bill Habib of North Andover,
who began peppering his mother with questions. “Then she went
into the next room and came out with a book and scrapbook,” Bill
Habib said. “That was the first time I ever saw it. I knew generally
of her naval background, her deployment and that she served as
a naval officer, but I didn’t know the extent of it.” The surprises
then came like one gigantic wave after another. Despite her years
of silence, Mary Habib kept a detailed record of her two and a half
years working as a Navy petty officer in the Washington, D.C., area.
Upon being honorably discharged from the Navy on July 22, 1946,
she was given a replica of the map of Iwo Jima she helped create
with her name embossed on it.
A ringed binder holds dozens of black-and-white photographs and
cartoon sketches she made of her office mates. They detail sightseeing around the city, too, serving as a guide to her memories.
One sketch shows a face, with eyebrows raised, looking down from
the top of the Washington Monument.
“I don’t like heights,” Habib said.
As the scrapbook reveals, it’s a dislike she overcame at times. A
half-dozen photos she took from a New York City rooftop give a
bird’s-eye view of a phalanx of soldiers marching down the street
in what seems like an endless parade. “It’s funny when you wear a
uniform, you can get in anywhere,” she said. “The funny thing about
a uniform is that it gives you a lot of courage.”
The highly detailed process of mapmaking was serious business,
but Mary Habib said workers in the cartography office were still
able to have fun. A favorite practical joke sailors played on newbies
was placing a fake blob of ink on top of a new girl’s work table
when they went to the bathroom, she recalled. “There was a lot of
civilian workers there, too. We had a good time. Those sailors were
quite the teasers,” Habib said.
A native of Lowell, Habib (then Mary Margaret McCluskey) enlisted
in an all-female division of the U.S. Navy known as WAVES, Women
Accepted for Volunteer Emergency Services. She graduated from
the New England College [School] of Art trained in graphic and
commercial design. The Navy sent her to Hunter College in New
York before she was assigned to the Pentagon’s Hydro-Graphics
Office in Suitland, Md. Mary Habib said in the 1940s mapmaking
was highly detailed but not what she expected when she first got
her assignment. “I was surprised,” she said. “There actually wasn’t
too much drawing. It was fine work. We did the coastline about
three miles in. The Air Force took pictures of the island, which we
had on a big drafting table.”
Houses were noted with spots the size of a pinhead. Precise details
of cliffs, craggy rocks and sandy areas were crucial so ship commanders would know where and how close vessels could approach
the shoreline. Habib said she was assigned to the WAVES not long
after it was formed. She worked there for two-and-a-half years
between 1944 to just after the war in 1946. A memorable highlight
from her stint in Washington, D.C., was an afternoon when Eleanor
Roosevelt invited Habib and female co-workers in the cartography office to tea at the White House. They spent time in the Blue
Room, one of three state parlors at the home of the president, and
later had punch and cakes in the dining room. “She was a lovely
woman,” Habib said of Roosevelt.
Like many families during the war, everyone in Habib’s family
contributed. Habib’s brother, Richard Jr., and sister, Kathleen, both
enlisted. Her mother, a nurse, worked part time in a parachute factory when not working her shifts at a hospital.
Habib said she had no idea the map she was helping create would
lead to such a significant turning point in the war. It wasn’t until
much later, when Rosenthal’s photograph of the flag raising on the
island became famous that she realized the significance of her con-
tribution to the war effort. Still, she refrained from speaking about
it. It simply wasn’t her way. “After the raising of the flag, I said to
myself, ‘OK, I was part of that,’” Habib said. “But I didn’t realize how
important it was at the time.”
Moved by his mother’s service, Bill Habib recently wrote a detailed
summary of her military career, which was displayed for Memorial Day with photographs of World War II veterans at St. Monica’s
Church in Methuen. “She’s not inclined to boast of herself,” Bill
Habib said. “Her humility is one of her many fine virtues. She would
consider talking about it bragging. That’s not her style.”
After the war, she married in 1950 and became a stay-at-home
mother raising three children. Her daughter, Mary Lee Pare, 50,
lives in Salem, N.H. Her youngest son, Michael, 45, lives in Methuen.
She worked briefly at General Electric and the Internal Revenue
Service, and only kept drawing as a hobby. She remains an active
member of American Legion Post 417, one of the few all-female Legion chapters in the area. The family lived in Methuen for 40 years.
Al and Mary Habib moved to Salem, N.H., about 10 years ago.
Al Habib has long been a fan of Mary’s artwork. He proudly shows
off drawings and sketches Mary etches in a room at the end of a
hallway inside their Azarian Road home. Bill Habib is thankful that
he’s finally learned the details of his mother’s military service. He
now believes there was greater meaning behind the television commercial being played.
“I don’t believe in coincidence anymore,” Bill Habib said. “I’m so
pleased and to a greater extent proud of her, even at this late stage
in life. If it was up to her, I think it would have remained hidden.”
Copyright © 2007 by Eagle-Tribune Publishing Company
Reprinted with permission S.C.
�Fac u lt y I n t e rv i e w
FACULTY
interview
A n I n t e rv i e w w i t h Nac e r B e n k ac i
Nacer Benkaci joined the NESADSU faculty as an adjunct instructor
in 2004, then was a Visiting Assistant
Professor before being elevated to
tenure-track status in 2006. Nacer
was born in Algeria and came to the
States in 1984, to pursue his studies
in architecture and design. He holds
a Diplome d’etat d’Architect (the
equivalent of a Bachelor’s degree
in Architecture) from the Ecole Polytechnique d’Architecture et
d’Urbanisme in Algiers, as well as Masters degrees in Architecture
and Urban Planning from the University of Southern California
in Los Angeles. With over 20 years of experience in architectural
practice in the U.S., Nacer has worked on both commercial and
residential projects here and abroad.
Fa l l 2 0 0 7
Q. Let’s start with a bit of history. Tell us more about yourself.
I was born in 1959 in a small town by the sea, a few miles from
Algiers. My childhood was essentially marked by the Mediterranean
Sea which was a few feet from my parents’ home. Summer was the
occasion to literally live in it and be absorbed by its vast scale and
its potential to trigger a
multitude of voyages. The
I was surrounded by the large scale of the sea,
horizon was very close
the sky, and the mountains and that was in
to us at that time and we
dwelled in it as if it were
direct contrast with the smaller scale of the
part of our everyday lives.
homes and buildings along the edge of the sea.
It is perhaps why I still
I was interested in that relationship and the
have a keen interest in
forms, accidental or planned, that it generated. the concept and reality of
scale. I was surrounded by
the large scale of the sea,
the sky, and the mountains and that was in direct contrast with the
smaller scale of the homes and buildings along the edge of the sea.
I was interested in that relationship and the forms, accidental or
planned, that it generated.
& Th e n
18 19
that some of the meaningful architects had on me. I was very
interested in the work of Corbusier, Louis Kahn and the “modern
movement” in general. Later I grew to appreciate some of the less
known architects and took their works as a source of inspiration
for my own work.
Q. How did you decide on the U.S. for graduate school and what
path brought you to Boston?
I wanted to learn more about architecture and design and pursuing
my studies is one way to do that. At that time, some of the most
influential ideas about architecture were being generated by prominent U.S. architects and thinkers and I wanted to experience that
first hand. I first came to Boston to study English, then to California
for architecture and urban design. I have always been interested
by the city in general and I felt the need to learn more about the
formulation of its shape. Urban planning became obvious for me as
I sought to understand the other forces that shape our cities. I had
some friends that invited me back to Boston; subsequently I was
offered a job. Fall in this area is my favorite season and I wanted to
stick around for a while. I stayed ever since!
Q. Talk a little about your professional experience. Where did you
work and what kind of work did you do?
After my graduation, I sought work in Boston. I worked for several
companies in the area and the work ranged from residential and
commercial to institutional and retail. I learned a great deal and I
believe that experience made me a better architect.
Q. Why do you teach (besides the paycheck!)?
I taught while working professionally. I enjoy very much the
academic work and the exchange of ideas and processes. Also, stu-
“Indoor/Outdoor Museum Study” by Nacer Benkaci
dents are coming out with ingenious ways to resolve old problems
of design; perhaps the technology at their disposal allows them to
tackle issues from a different angle and make new uninvestigated
associations, new ways to manipulate space. Some of the projects
are just a leap forward in design thinking and I very much like being
a part of that. Teaching in reality goes both ways.
Q. How did you wind up at NESADSU? What do you like best
about the school and what keeps you here?
I first was invited to teach as an adjunct professor by Nancy [CoProgram Director Nancy Hackett]. She and I worked together on
several projects in the Boston area. Subsequently I have been hired
as a full time Assistant Professor.
One of the most impressive parts of the program in interior
design at NESADSU in my view is the fact that the ID department
is within a school of art and design. This association with art and
graphic design has a potential benefit for interior design students.
Interior architecture and architecture have always been inspired
by other disciplines and exposing students to a mutual influence is
enriching. The potential for innovation is greater.
Q. Why did you decide to become an architect?
I have always loved to draw and the landscape around me was
prone to that. Just think of the seascape. Obviously, this is just the
premise because as I was studying my passion for architecture
grew stronger. I found in architecture a total freedom of expression and a highly sophisticated creative process that embodies the
entire social, political, and economical issues that humans in general
face. I felt it was important. I also was interested by the theoretical
discourse that was developing in the profession and the influence
Another part that I appreciate greatly is the cooperative nature of the
faculty and the scholastic and pedagogical environment and the standard of care for the students’ progress. It really sets the school apart.
“Indoor/Outdoor Museum Study” by Nacer Benkaci
“House Study, Algiers” by Nacer Benkaci
�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
GALLERY
schedule
2007
2008
Never Been Seen: Susan Nichter
2008 Student Exhibitions
Recent paintings by a NESADSU faculty member.
October 11th to November 10th
Reception: Friday, October 12th 6 – 8pm
Work by current students of The New England School of
Art & Design at Suffolk University
Ozspirations
Art Inspired by The Wizard of Oz, curated by Associate
Professor of Graphic Design Jennifer Fuchel.
November 15th to December 22nd
Reception: Friday, November 16th 6 – 8pm
2008
The 2007 Stephen D. Paine Scholarship
Award Winners and Honorable Mentions
exhibition
January 14th to February 9th
Reception: Friday, January 18th 5 – 7pm
Foundation
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
Undergraduate)
Interventions and Objects: New Work
by Bebe Beard and Liz Nofziger
May 5th to May 16th
Reception: Friday, May 9th 5 – 7pm
February 14th to March 15th
Reception: Thursday, February 14th 6 – 8pm
Summer exhibition:TBA
Graphic Design (Graduate)
September 2nd to September 14th
Reception: TBA
Please call (617) 573-8785 to confirm dates and times of
exhibitions and opening receptions.
�
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Suffolk University Records
Description
An account of the resource
The Suffolk University Records collection covers all aspects of the university's history and development from 1906 to today. The materials include: Presidents' records, photographs, audio and video recordings, memorabilia, and university publications. Learn more about the <a href="https://www.suffolk.edu/academics/libraries/moakley-archive-and-institute/collections/records-of-suffolk-university" target="_blank" rel="noreferrer noopener">collection</a> at our web site.<br /><br /><span>The digitized content from this collection has been moved to </span><a href="https://dc.suffolk.edu/surecords/" target="_blank" rel="noreferrer noopener">Digital Collections @ Suffolk.</a><span> </span>
Document
A resource containing textual data. Note that facsimiles or images of texts are still of the genre text.
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Identifier
An unambiguous reference to the resource within a given context
SU-1876
Title
A name given to the resource
And Then, NESAD alumni newsletter, no.13, Fall 2007
Date
A point or period of time associated with an event in the lifecycle of the resource
2007
Source
A related resource from which the described resource is derived
Suffolk University Records
Series SUG-001.007 Suffolk University Advancement and Alumni Newsletters, 1927-2010
Creator
An entity primarily responsible for making the resource
Suffolk University
Type
The nature or genre of the resource
Text
Documents
Format
The file format, physical medium, or dimensions of the resource
PDF
Language
A language of the resource
English
Subject
The topic of the resource
Suffolk University
Suffolk University--College of Arts and Sciences
Suffolk University -- Periodicals
Rights
Information about rights held in and over the resource
Copyright Suffolk University. This item is made available for research and educational purposes by the Moakley Archive & Institute. Prior permission is required for any commercial use.
Relation
A related resource
<p>Find out more about our collections on <a href="http://www.suffolk.edu/explore/24550.php">our website</a>.</p>
Alumni
NESAD
Suffolk Publications