VOLUME 2

PARSONS
GRAPHIC
DESIGN
PARSONS AAS /

WORK
GRAPHIC DESIGN /
WORK 2008 /
VOLUME 2

2008
AAS
typefaces owned
stat spread

13,968
Total number of typefaces owned
233
Total number of typefaces actually liked

PARSONS AAS GRAPHIC DESIGN WORK 2008:VOLUME 2

34.5

41.75
Wednesday

64.25
Friday

49
69.5
Tuesday

Thursday

Monday

Number of hours you spend in class each week

8 9
13 Ireland
2
8 5
United Kingdom
Alaska

Canada
Sweden
2 1
Russia

27 1
Estonia

2
Germany
5
6
France

6 7
Georgia

2 3
1
Spain Korea
PARSONS

4
United States Turkey
Italy China
Japan

3 4
3
Israel

2
India

4
Hawaii Mexico

1
1 2
Thailand Philippines
Puerto Rico
Sudan

3
2
Brazil
Kenya

31
Bolivia

2
Australia

Argentina

2 South Africa
New Zealand

Where are you from?

4 5
 FROM THE
stu-
DIRECTOR dent
AAS students learn early on that research and resourcefulness are the
best-kept secrets of any great designer. Truly understanding a project
is essential for innovation, whereas ignorance inevitably produces
the expected. Our students look at any situation openly, then dig ever
deeper within the substance of the problem, leaving behind the slow

wildly inventive and inspirational work. Designers cannot escape

social responsibility, and I am proud that our faculty pushes our
students to address both commercial and social problems, guiding
their responses to the challenges we confront every day. These young
designers leave ready to make their own way in the world, fusing their
In view of the role visual communications play in our world today,
it is exciting to present a graduating class that has produced such
NOTE

many ambitions with a hard-won sense of good design.

Cristopher Gedda Westrell

NOTE
NOTE
This year, the Graphic Design graduating class has once again produced
outstanding work. How is this consistently high level of creativity and
execution possible? We have terrific teachers and we’ve worked hard to

Natalie Waterbury
Jennifer Lankford
Hansul Amy Cho

Masakazu Okura
Monica Miranda
provide instruction that reflects the ongoing evolution in the industry,

Adam Headrick

Caloline Maher
Eileen Kinsella
Sharon Gamss

Tim Geesman

Aaron Gwirtz

Dan Hoffman

Shelly Suzuki
but these factors by themselves can’t account for the excellent work that

Ariel Lapidus
FROM THE

Farrah Fine

Kruti Joshi

Jon Lopkin
Ela Jacoby
students produce after only two or three semesters of study. The answer

Diana Lim

Aditi Rao
Yfat Eyal
has to be our students, themselves.

work
We know that students choose the best education they can, based on the

Katarzyna Gruda, Director

reputation of the school, the faculty, and the school’s connections to the

decay of “good enough.”

design industry. But, perhaps the most important factor in the learning
process itself is the caliber of the student in the next seat. AAS students

CHAIR
come from everywhere —Argentina, California, Alaska, Colorado, France,
Korea, Kenya, New York, Texas, and more. And in their previous lives
they’ve been everything: ballet dancers, attorneys, writers, engineers,
financial analysts, teachers, chefs, stockbrokers, fine artists and most
any other profession you can think of. This provides a rich and unique
learning environment because our students benefit from each other’s
informed opinions and approaches to design problems. They help each
other, compete with each other, and never stop until the solution is the
best available. We challenge them; they challenge us; and they challenge
themselves. From my side of the desk, it’s a thrilling, rewarding, and
breathtaking process.

Pamela Trought Klein

Associate Dean of Professional Studies

1 7

Number of cups of coffee or tea you drink a day

10 11
12
 1

2 3 4 5 6

Where From Israel; Previous Work Experience No 11 Studio; Resource Magazine;

Previous College Hadassah College, AAS in Photography; How many typefaces do
you own? Maybe 100
Sharon Gamss, continued Sharon Gamss, continued
1 Cookbook, Cuisine du Maroc, Dimensions: 10 x 10 in;
2 Movie Poster, In Transit, Dimensions: 27 x 40 in. 3–4 Poster, Program for Lecture Series, Dimensions: 20 x 28 in. 5–6 Poster, Program for Lecture Series, Dimensions: 20 x 28 in.

26 27 28 29 30 31

1 5

Where From Mishawaka, Indiana; Previous Work Experience Segal Savad; Sotheby’s;
LPL Financial Services; Previous College Ball State University, BS, Marketing major,
Journalism minor; How many typefaces do you own? Over 1,500
Tim Geesman, continued

1 Book, Dylan’s Muses, Dimensions: 6 x 9 in; 2 Fashion Look Books, Dimensions: 3 4 Logo/Identity for Restaurant (Logo, Menu, Folder, Letterhead, Notepad and Envelope);
5 x 7 in; 3 Logo/Identity, Clothing Line (Hang Tags and Labels) 5 Poster, Dimensions: 15 x 20 in.

38 39 40 41

1 2

Where From Hartford, Connecticut; Previous Work Experience Time Warner;

New York Parks Department; Previous College University of New Haven, BA Music;
How many hours do you spend in class each week? 20 or so

1 Book Cover, Packrat; 2 Book Cover, The Story is True

58 59
 MAY

> 4/28 6/21 >

When was the first day

of your last period?
May 25 08

Cycle Length
28 days
Mobile # for SMS
3 206 555 1557 Save
moontimewidget.com

1 2

Where From Seattle, Washington; Previous Work Experience Universal Music

Distribution Group; Eeboo!; CZ Design; Previous College BFA, Cornish College of
the Arts; How many typefaces that you own do you actually like? 15
1 Movie poster, Heavy Load, IFC documentary film, Dimensions: 26 x 40 in; Ariel Lapidus, continued
2 Poster, We Collect, exhibit of Vintage Vinyl at Seattle’s Experience Music Project,
Dimensions: 15 x 22 in. 3 Logo, Greennote Jazz Festival; 4 Apple Widget, Moontime

68 69 70 71

K S
ITC
6
HEN

5 7
9

Ariel Lapidus, continued Ariel Lapidus, continued

5 Silk screen Poster, Octopus; 6 Logo, Three Peas Kitchens 7 Poster; 8 Program; 9 Event Ticket, Incorporations: The Body as Source Lecture Series

72 73 74 75
 5

Where From Vancouver, Canada; Previous Work Experience Martha Stewart Living;
Ogilvy; Previous College University of British Columbia, BA, Psychology; How many
times a week do you take the stairs (instead of the elevator)? Depends on my mood
4 Diana Lim, continued

1 Photography Book, Richard Avedon, Dimensions: 5 x 7 in, with faux crocodile skin 5 Logo /Identity, Ceres Restaurant; 6 Letterhead & Envelope;
keepsake box; 2–4 Interior Spreads 7 Business Card; 8 Packaging, Cookies; 9 Packaging, Salad Dressing

76 77 78 79

10

11 12

13 14

Diana Lim, continued

Diana Lim, continued 13 Silk-screened Poster for a Cherry Blossom festival in Yokohama, Japan,
Dimensions: 18 x 24 in; 14 Silk-screened Poster for Knoll Office Chairs Exhibit,
10 Logo, Wattbusters Company; 11 Branding System; 12 Keychains Dimensions: 15 x 21 in.

80 81 82 83
 3
4

Where From Boston, Massachusetts; Previous Work Experience Madavor Media;

Bridger Conway; Previous College Boston University, BS, Communications;
How many cups of coffee do you drink in a day? 2
1 Poster for an annual comedy show at the Upright Citizens Brigade in Manhattan, Jon Lopkin, continued
Dimensions: 13 x 19 in; silkscreen, letterpress with wood type; 2 Poster, quote by
Paula Scher from her book Make It Bigger, Dimensions: 20 x 30 in. 3–5 Noguchi Museum T-shirt & Cubed Packaging 5

84 85 86 87

Language, Corporeal
Biorhythms
The Body as a Source

Lecture Series

The Body as a Source

October 12–14, 2007
Sensuality, Architecture:

The Body as a Source

The Body as a Source

The Cooper Union for

and Algorithms Living Spaces
the Advancement of
and Power

Incorporations:
Incorporations:

Incorporations:
Science and Art Friday October 13, 8:00 pm
Incorporations:

Manoela dePasão Saturday October 14, 3:00 pm

The Great Hall Thursday October 12, 8:00 pm
Heinrich Utenrraden
Claude Fouchy-Billancourt The Cooper Union for
1 Cooper Sq, NYC the Advancement of The Cooper Union for

[
The Cooper Union for
Three-lecture fee: $120 Individual lectures: $50
the Advancement of Science and Art the Advancement of

#@!(,
Cooper Union faculty and students attend free, but
must register in advance. Please provide your Union Science and Art The Great Hall Science and Art
faculty or student ID number to waive the registration fee.
The Great Hall 1 Cooper Sq, NYC The Great Hall

!
The lectures are open to the public. Advance reservations

> 1 Cooper Sq, NYC

234567
are required. Please call The Cooper Union Office of
Public Programs at 212.436.0187 or go online to 1 Cooper Sq, NYC

98

[>
www.cooper.edu/body to register.

(
1
The presentation will focus

[{
Language, Sensuality, and Power
on numeric sequencing systems

=
October 12, 8:00 pm
Claude Fouchy-Billancourt developed from biofeedback for
application in medical and robotic

[/
Biorhythms and Algorithms manufacturing computation
October 13, 2007, 8:00 pm
Manoela dePasão
Corporeal Architecture: Living Spaces
October 14, 2007, 3:00 pm
Heinrich Utenrraden

A discussion the physics of speech and cognition as related to the development of sexual power
Three-lecture fee: $120 Individual lectures: $50
Cooper Union faculty and students attend free, but A moderated panel of noted architects
must register in advance. Please provide your Union
faculty or student ID number to waive the registration fee.
Three-lecture fee: $120 Individual lectures: $50
Cooper Union faculty and students attend free, but
will discuss their explorations of user-centered
The lectures are open to the public. Advance reservations
. must register in advance. Please provide your Union
faculty or student ID number to waive the registration fee.
building in the context of a presentation on stylistic Mr. Utenrraden is a Professor Laureate of the
and functional trends of the past century
)

are required. Please call The Cooper Union Office of
Public Programs at 212.436.0187 or go online to The lectures are open to the public. Advance reservations
are required. Please call The Cooper Union Office of
www.cooper.edu/body to register. Public Programs at 212.436.0187 or go online to
www.cooper.edu/body to register.
Bern Architectural Academy in Switzerland.
Three-lecture fee: $120 Individual lectures: $50
Cooper Union faculty and students attend free, but
must register in advance. Please provide your Union

˚
Mr. Fouchy-Billancourt is a professor of linguistic anthropology faculty or student ID number to waive the registration fee.
at the University de la Sorbonne in Paris, France. He is a Ms. dePasão is a Fellow of the Instituto Mechanico The lectures are open to the public. Advance reservations
)

recognized authority on linguistic ideology. de São Paolo, Brazil, and a visiting chaired lecturer at are required. Please call The Cooper Union Office of
Harvard College’s School of Applied Mathematics Public Programs at 212.436.0187 or go online to
www.cooper.edu/body to register.

1 2 3 4

“?%&,˜˚{[>*@\”
Where From Puerto Rico; Previous Work Experience Taught at Fieldston School in
NY; Previous College Sarah Lawrence College; Where do you plan to live after
graduating? Same apartment I have now.
Monica Miranda, continued

1–2 Poster, Incorporations: The Body as Source Lecture Series, Dimensions: 20 x 28 in. 3–4 Poster, Incorporations: The Body as Source Lecture Series, Dimensions: 20 x 28 in.

94 95 96 97
 2

3
Where From Japan; Previous Work Experience FutureBrand NY; How many
typefaces do you own? About 100

1 Poster; 2–3 Book Jackets (Front & Back)

102 103

10
2

11
3
1

Where From Kailua, Hawaii; Previous Work Experience Advertising Account Service
at Laird Christianson Advertising, John Duarte Design Group and Team Vision in
Honolulu, Hawaii. Design Internships at Y Interact, Windup Design (New York, NY)
and Red Rover Creative; Design Job at Basik Group (New York, NY); 12
Previous College Claremont Mckenna College, BA, Economics & Psychology;
Shelly Suzuki, continued
How many typefaces do you own? 659 4
1 Book Design, Pollution3: Air, land and water pollution in New York City; 8–9 Cookbook Design (Front & Back Cover), Deconstructing the Hawaiian Plate Lunch,
2–4 Interior Spreads Dimensions: 10 x 10 in; 10–12 Interior Spreads

110 111 114 115

 1 2

Where From San Francisco, California; Previous Work Experience Nylon Magazine;
HDR Architects, Inc; Previous College Northwestern University, BS, Radio /TV/Film;
How many typefaces do you own? 5,000

1 Poster, Bangaluru 2007 Digital Film Festival; 2 Poster, A Retrospective

120 121

12 13

3 4

Natalie Waterbury, continued Natalie Waterbury, continued

3–4 Logo/Identity System, Good Soles Shoes 12 Logo/ Identity System, Manhattan Vintage Car Show; 13 Package Design, Mustard

122 123 128 129

1 2 3 4

5 6 7 8

9 10 11
Average number of blocks
walked to get to school

130 131
collaboration
RELEASE MAGAZINE 2 4 6 8

The Eugene Lang College literary magazine Release is the product of a three-year
collaboration between students and faculty from Lang and Parsons School of
Design. This innovative partnership, in which writing students at Lang edited the
magazine and students from the Parsons AAS program designed and produced
it, has represented the best of the cross-disciplinary possibilities offered at The
New School. By combining the creative literary talent of Lang’s writing students
with the Parsons’ students’ innovative design vision and expertise, Release has
become a first-rate, professional publication. Producing it has enriched students
in both schools, offering them real-world publishing experience while also
yielding extraordinary educational benefits—honing skills as writers, editors
and designers, and, as important, fostering a creative community engaged in
productive dialogue around a meaningful project.

Neil Gordon
Professor, Literary Studies
Dean of Eugene Lang College The New School for Liberal Arts 1

3 5 7 9

1 Release 2008 Cover 2 Release 2008 Front & Back Cover; 3 –5 Release 2008 Interior Spreads 6–9 Release 2008 Interior Spreads

132 133 134 135 136 137

collaboration
11 13 16

10 15

12 14 17

10 Release 2007 Cover; 11–12 Release 2007 Interior Spreads 13–14 Release 2007 Interior Spreads; 15 Release 2006 Cover 16–17 Release 2006 Interior Spreads

138 139 140 141 142 143

144
FEATURED

1 Claudia Brandenburg
FACULTY
Begin with a clever concept. Finish with flawless typography. In between
consider your client, your audience, and your printing budget. Or, in school,
consider your teacher, your class, and your ink jet.

I love printing. I’ve saved stacks of press sheets. I sniff the ink in new books. I
wanted to be a graphic designer when I first worked a printing press. During
my work-study summer job at RISD’s Type Shop I learned about type and
printing while sorting and supervising. Not only could I recognize a 9-point
letterform backwards in lead, but I became obsessed with creating many
instead of just one. From then on, a single mock-up was not enough. My
school projects were about quantity, series and multiples.

For the past three Spring semesters I’ve taken my Publication Design class on–
press for the printing of Release. After critiquing washed-out ink jet pages for
15 weeks, the actual florescent and metallic inks are mesmerizing. Watching
the sheet forms roll off the press is dizzying. Seeing the student’s attention
and awe, I recognize the beginning of a long and healthy obsession.

145
 4 8

5 9

2 Sleeve Box; 3 Cover; 4 –6 Interior Spreads

The Andy Warhol Foundation for the Visual Arts 20-Year Report, 1987–2007,
6
The Andy Warhol Foundation for the Visual Arts 7 Cover; 8–10 Interior Spreads
3 Publications & Sleeve Box, 10 x 10 in, 96 Pages Each Long Island City: Connecting the Arts. The Design Trust for Public 10
All artworks © The Andy Warhol Foundation for the Visual Arts Space, Case Study Publication, 7.5 x 11 in, 88 Pages

146 147 148 149

12

13

11

15

14
11 Cover; 12–14 Interior Spreads 15 Fold-out Spread; 16–19 Covers,
Make It Now: New Sculpture in New York. SculptureCenter Exhibition The Center of It All, Abrons Arts Center Seasonal Event Program &
Publication, 6.5 x 9.25 in, 96 Pages Calendar, 9.5 x 13 in, 8 Pages 16 17 18 19

150 151 152 153

FEATURED
ALUMNA
My undergraduate degree in liberal arts was from Indiana University.
After three and a half years working first on the account management
and then production side in various big-name advertising agencies, I
changed my focus to the creative side of the industry.

Parsons’ Associate Degree Program was the perfect catalyst for such a
change. After an intense year and a half of “design boot camp” at Parsons,
I felt very prepared to reenter the professional world. The mentors I
found in the AAS faculty raised my expectations of the type of people I
chose to work with right out of school, and that I continue to choose to
this day —people such as Lina Kutsovskaya and Charles Churchward,
with whom I was lucky enough to work with while he was still directing
Vogue magazine on the book Vogue Living: Houses, Gardens, People.

Redesigns seem to greet me wherever I go. With Lina, I was a part of

the redesign of Teen Vogue. From there I moved to the beauty industry
where I helped drive the redesign of the Almay brand. Most recently,
I have redesigned the beauty section for Glamour magazine, which
debuted in its September 2008 issue. There is a ton of process involved
in redesigning a brand and /or magazine and I feel very lucky to have
had the strong foundation and understanding of design process, color
theory, typography and use of photography that I received at Parsons.
1

1 Emily Wardwell

158 159
 5

2 4

2 Teen Vogue Magazine Opening Spread 4 Cover Design, Open Magazine; 5–6 Open Magazine Interior Spreads

160 161 164 165

8
best
beauty
buys
of
2008
24
A record 106,627
of you voted in
this year’s Glammy
awards, and these
are your winners—
photographs by James woJcik

THE WINNING LIP GLOSSES

Why it’s
still a champ: It looks “rich,” voters
say, but it’s never gloppy.

Comes in 30“delicious”
flavors and has a “sexy sheen.”

the makeup, hair

and skin-care
products Glamour
readers just
can’t live without. w in every single one! enter at glamour.com.

Find your new

favorites here!

314

13 15 16

14 17 18

10
7 Vouge Living: Houses, Gardens, People (Front & Back Cover); 8–10 Interior Spreads 13 Glamour Magazine Opener Spread; 14 Follow-up Spread; 15–18 Glamour Magazine Pages

166 167 170 171

PAMELA KLEIN, Chair /
Associate Professor
Degree(s) MFA, BFA, Pratt Institute
Course(s) Color Theory
KATARZYNA GRUDA, Director /
Associate Professor
Degree(s) MFA, Yale University School
of Art; BS, Architecture, City College of
New York
Course(s) Process & Skills, Graphic
Design, Silkscreen & Letterpress;
Silkscreen Printing
THOMAS BOSKET, Coordinator /
Associate Professor
Degree(s) MFA, Yale University School
of Art; BFA, Parsons School of Design
Course(s) Color Theory, Drawing
ROLF ANDERSEN
Degree(s) MPS, New York University;
Tisch School of the Arts; BFA, Teknolo-
gisk Institut, Copenhagen, Denmark
Website www.rolf-design.com
Work Digital Artist, 2D & 3D, Graphic /
Web Designer and Educator
Course(s) Digital Layout 1
JASON BOOHER
Degree(s) BA, Princeton University;
AAS, Parsons School of Design,
Graphic Design
Work Designer, Alfred A. Knopf
Course(s) History of Graphic Design
CLAUDIA BRANDENBURG
Degree(s) BFA, Rhode Island School of
Design
Website www.languagearts-ny.com
Work Principal, Language Arts
Course(s) Typography 1, Publication
Design
174
SARAH GEPHART
Degree(s) MFA, Yale University School
of Art; BA, Oberlin College
Website www.mgmtdesign.com
Work Partner, MGMT Design
Course(s) Typography 1 & 2
JONATHAN J. GOUTHIER
Degree(s) BFA, Hartford Art School,
University of Hartford
Website www.gouthier.com
Work Principal / Creative Director,
Gouthier Design
Course(s) Graphic Design 1 & 2
ANDREW GRABER
Degree(s) BS, SUNY, Binghamton
Work Graphic Designer, Photoeditor
Course(s) Digital Layout, Advanced
Digital Layout
BRETT GROVES
Degree(s) BFA, Pratt Institute
Work Master Printer, Axelle Fine Art
Prints, Freelance Bookbinder
Course(s) Silkscreen Printing
JULIA GORTON
Degree(s) BA, Parsons School of
Design
Work Children’s Book Illustrator & Designer
Course(s) Graphic Design 1
DMITRY KRASNY
Degree(s) MFA, Yale University School
of Art; BFA, The Cooper Union School
of Art
Website www.dekadesign.com
Work Principal, Deka Design
Course(s) Typography 2
MARA KURTZ
Degree(s) MA, The New School, Media
Studies; BA, New York University;
AAS, Parsons School of Design
Website www.marakurtzstudio.com
Work Graphic Designer, Photographer,
Photo/Illustrator
Course(s) Graphic Design 1, History of
Graphic Design (online)
JOHN MALCOLMSON
Degree(s) MFA (honors), Rhode Island
School of Design; BFA, University of
Canterbury, New Zealand
Website www.teamproam.com
Work Partner, Team Pro-Am
Course(s) Graphic Design 3
TAMARA MALETIC
Degree(s) MFA, Yale University School
of Art; Post-baccalaureate Certificate,
The Art Institute of Chicago; BA,
Université des Sciences Humaines,
Strasbourg, France
Website www.linkedbyair.net
Work Partner, Linked by Air
Course(s) Typography 1
TED MAUSETH
Degree(s) MFA, Tyler School of Art,
Temple University; BA, Michigan State
University
Work Principal, Mauseth Design
Course(s) Graphic Design 3
MARTIN MAZORRA
Degree(s) MFA, American University,
Washington DC; BFA, West Virginia
University
Website www.cannonballpress.com;
www.martinmazorra.com
Work Director, Cannonball Press
Course(s) Photo Lithography & Graphic
Design, Silkscreen & Letterpress
SUSAN MOLNAR
Degree(s) BFA, Tufts University; Diploma, Symbols, Graphic Design, Silkscreen &
School of the Musuem of Fine Arts
Work Principal, SuMo Design NYC
FACULTY
FACULTY
Course(s) Digital Layout 1
CHRISTINE MOOG
Degree(s) MFA, Yale University School
of Art; MA, University of Toronto; BA,
Sarah Lawrence College; AAS, Parsons
School of Design;
Work Creative Director, Little Spoons Inc.
Course(s) Portfolio & Process, History
of Graphic Design
WILLIAM MORRISEY
Degree(s) BFA, Rhode Island School of
Design; BA, University of Colorado
Website www.wmwmwm.com
Work Principal, wmwmwm
Course(s) Graphic Design, Silkscreen &
Letterpress
RENDA MORTON
Degree(s) BFA, Minneapolis College of
Art and Design
Website www.rumors-online.com
Work Partner, Rumors Studios
Course(s) Interactive Web Design
MARK MULLIN
Degree(s) AAS, Parsons School of Design
Work Manager of Creative Services and
Graphic Designer, Cleary Gottlieb Steen
& Hamilton LLP
Course(s) Process & Skills
ALExA NOSAL
Degree(s) BFA, Montclair University;
BA Montclair University
Work Creative Director, Leap
Course(s) Typography 1, Designing
Letterpress
175
ANDY PRESSMAN MUSHON ZER-AVIV
Degree(s) BFA, Cooper Union School Degree(s) MPS, New York University,;
of Art Tisch School of the Arts; BDS, Bezalel
Website www.andypressman.com Academy of Art and Design, Jerusalem
Work Partner, Rumors Studios Website www.shual.com
Course(s) Graphic Design 2, Work Co-founder, Shual Design Studio
Process & Skills Course(s) Interactive Web Design 1 & 2
JEFF RAMSEY TIMOTHY SAMARA
Degree(s) MFA, The Werkplaats Degree(s) BA, University of the Arts,
Typografie, Netherlands; BFA, The Philadelphia
Savannah College of Art and Design Work Principal, Stim Visual Communication
Website www.jefframsey.net Course(s) Graphic Design 3
Work Advertising Manager / Designer,
The Museum of Modern Art (MoMA) DIEGO VAINESMAN
Course(s) Portfolio & Process Degree(s) BFA, Parsons School of Design
Diploma, Art Institute of Boston
PAUL ROERAADE Website www.40N47Design.com
Degree(s) MA, Grafiska Institutet; Royal Work Principal, 40N47 Design
Instititute of Techonology, Sweden; AAS, Course(s) Graphic Design 2
Parsons School of Design;
Website www.windup-design.com
Work Principal, Windup Design
Course(s) Interactive Web Design 1 & 2
WILLIAM VAN RODEN
Degree(s) BA, Graphic Design,
Rhode Island School of Design
Work AVP Art Director of Books and Special
Projects, Martha Stewart Living Omnimedia
Course(s) Typography 2, Portfolio & Process
ALEx W. WHITE
Degree(s) MFA, Syracuse University;
BFA, Graphic Design, Kent State
University
Work Design Consultant and Author
of Graphic Design Books
Course(s) Graphic Design 1 & 2,
Portfolio & Process
176
 PRODUCTION
Alix Sorrell
DIRECTOR / EDITOR /
PHOTOGRAPHER
Katarzyna Gruda

SPECIAL THANKS
Thomas Bosket
Jim O’Connor
Larry Jackson
Denise Wallner
ART DIRECTOR Annemieke Beemster Leverentz
Claudia Brandenburg

TYPEFACES
Akzidenz Grotesk (Designed by
Günter Gerhard Lange),
Archer (Designed by Heofler & Frere-Jones
Type Foundry)

DESIGNER / DESIGNER
PRODUCTION DIRECTOR
Shelly Suzuki
Brian McDermott

PRINTER
Fernando Luciano,
Credits and Acknowledgments Project 44, Long Island City, NY

178 179

46%
29%
13% Typography

Digital Layout

Publication Design

8%
Process & Skills

Digital Imaging

180
4% The most crucial skill obtained while
studying at Parsons

181
WORK
80
70
60

2008
50
40
30
20

VOLUME
10
Number of hours
spent on this book Director Art Director Designers Administration Production Printing Delivery

182 183