MassArt Illustration

February 28, 2019
by alice.stanne
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Anthony Palocci in the MoMA Design Store

Congratulations to Visiting Lecturer Anthony Palocci, whose work is currently being featured in the Museum of Modern Art’s Design Store!

This MoMA Exclusive, original five-color screenprint, Voice-Operated, Hands-Free 5-Channel Walkie-Talkie with Headset Mic, was created by Anthony Palocci Jr. in 2019 as part of Kayrock’s limited edition FreshPrints! series. Palocci received his MFA from Pratt Institute, Brooklyn, New York in 2012 with a concentration in painting and drawing. 

“I found this walkie talkie while cleaning out my grandfather’s house in the woods of New Hampshire after he died. I like thinking about hiding in the woods and speaking to him on a two-way radio, ‘Ciao, Nonno. Is it time for supper?’ I am interested in the geometry of packaging and the architecture, structure and tactility of older technologies, I find their power as objects to be used, handled and manipulated a rich source of contemplation.” —Anthony Palocci Jr.

January 31, 2019
by alice.stanne
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Virtual Tableware

Popular new elective Virtual 3D Illustration has been serving up some incredible projects, including a recent assignment to make a set of crockery that could include vases, cups, bowls and plates. Students used a virtual lathe to extrude the shapes, assign a material and decorated with a painted motif if desired. The challenge of this project was to make a family of sculptures that all relate visually in some way. Students also had to consider the layout and placement of the group of objects as a virtual still life.

Virtual 3D Illustration - Crockery

January 31, 2019
by alice.stanne
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Illustration Senior Thesis Show

Please join the Massart Illustration Department in the first of their two Senior Thesis Exhibitions.

Opening Reception Tuesday Jan 29, 6:30 – 8:30PM

Show runs from Jan 28 to Feb 11
Gallery hours Monday – Friday
9:00 a.m. to 5:00 p.m.

Exhibition One Artists:

Abby Ouellette, Alicia Thurston, Andrew Burgess, Annelise Freund, Ariel Brenna, Aryn J. Tedstone, Brenna Tedesco, Brianna Bussiere, Callie Mastrianni, Cassie Sim, Christiana Antico, Devon Lachapelle, Elsa Brown, Emaleth Hernandez, Flolynda Jean, Huong Nguyen, Julia Madden, Justin Valliere, Katherine Shtudiner, Kathrine Roffe, Kathryn Burke, Lilli Vo, Maddie Sweet, Madeline Morizzo, Mary Kate Connors, Michelle Stevens, Olivia Sellers, Patrick MacNab, Sandra Gonzalez, Summer Hutchins, Suwichak Finneram, Zachary Herman


January 31, 2019
by alice.stanne
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Find Your Niche – The Artists Magazine

Visiting Lecturer John Roman’s article, “Find Your Niche: Narrowing your focus can actually widen your career horizon,” has been published in the current January/February 2019 issue of The Artists Magazine. The work of four MassArt Illustration alums are featured in the column: Emily Muller, Maria Palkon, Becca Cahan and Laura DeDonato Wiatt.
You can find the issue at any Barnes and Nobles and at most libraries (including the MassArt Library).

Emily Muller

Laura DeDonato Wiatt

January 3, 2019
by alice.stanne
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Experimental Illustration Collaboration with Improper Bostonian

This semester Robert Maloney’s Experimental Illustration class worked with the Improper Bostonian on an assignment about the Charles Playhouse Theater Company and it’s founding artistic director Michael Murray. In the decade of Murray’s tenure (1958-1969) the Charles launched the careers of several celebrity actors like Olympia Dukakis, John Cazale, Jane Alexander, Al Pacino, Ned Beatty, Jill Clayburgh as well as some famous musicians like Joe Raposa and even Sylvia Plath was a poet in residence.

Congratulations goes to Paul Seguin who’s piece was chosen and published in the December 26 issue of Improper Bostonian. Congratulations also goes to Hannah Businger and Elijah Watters who also had their pieces included in the online version.
Improper Bostonian

October 1, 2018
by alice.stanne
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Day of Dead Skulls – Virtual 3D Illustration

The first project of the semester for Wesley Bedrosian’s new class, Virtual 3D Illustration, was to sculpt and paint a skull celebrating the Day of the Dead. Models were sculpted in ZBrush and rendered using Keyshot.
 Details of the individual skulls can be seen in the slideshow below:

Virtual 3D Illustration Skulls

September 10, 2018
by alice.stanne
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AIFF Poster Contest

This year Robert Maloney’s Experimental Illustration class worked with the Arlington International Film Festival (AIFF) organizers to design a poster for the 2018 festival. Each student created a unique poster for the festival, with one student’s work selected as the winning design.

Congratulations to Rico St. Paul (BFA’19), whose poster was selected to represent the 2018 festival! Says Rico about the poster: “Yearning for spring, I approached this piece to commemorate the birthing of a new digital age. Using both traditional and digital materials, from micron pen to found branches to Photoshop blending modes, intended to communicate a directed unison of these methods of creation, both in the future of illustration and cinematic age.” 

 

AIFF even taped an interview with Rico about the winning poster!

The additional designs created for the poster can be seen in the slideshow below:

AIFF Poster Competition

September 5, 2018
by alice.stanne
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What Can You Do with One Week and $80?

Q&A with Illustration major, Jenny Whipple

by Assistant Professor Lisa Kennedy

You Must Be Artificial from Chris K. Daniels on Vimeo.

With just $80 and one week, MassArt Illustration major, Jenny Whipple and film major, Chris Daniels created an award winning short film, “You Must Be Artificial,” which was shown this summer at the Cannes FilmFestival in France. Their film was made for the Campus Movie Fest, a worldwide competition that challenges college students to make a five minute film in a week. Jenny tells us more about the competition and how she works.

The film was made under extreme limitations, such as a week of time and an $80 budget. What was your strategy and attitude in dealing with these types of constraints? Did you have to work with any other limitations?
JW: The limitations created more than a stressful work environment; they created a space in which each member of the team could gain experience in working quickly yet efficiently. The budget felt like the least of our worries, because Chris and I are very used to working with little to no funding for our projects as I’m sure most college students are! I feel the biggest limitation for myself specifically was probably the stress of seeing our shot list and knowing we had to get it done with enough time for Chris to edit it all.

How did these restrictions influence the work in that, how did they enhance it? How were they limiting?
JW: Since every CMF team faced these limitations, I feel as though the limitations were a mostly positive thing. They allow each team to show their core strengths in such an unpolished way, allowing every entry to be really interesting and full of raw potential.

How many hours did it take to make? How did you scheduled the time along with your schoolwork?
JW: Roughly 32 hours for the whole process — Scheduling along with classes was pretty tough, but not impossible. Being in the illustration dept. Made it a bit tougher I feel, since I had my separate workload that didn’t intercept much with the You Must Be Artificial project. It was a lot of late nights talking about the shot list and filming scenes.

What advice can you give to other students and creatives facing time and budget restraints in their work?
JW: I’m definitely not an expert at facing time restraints, but my advice would be to try and stay positive about it. I’ve found that stressing out just wastes more time than necessary. Allow yourself some time to decompress and do something you enjoy, but try not to dwell on how much you have backlogged and instead, make a plan and steadily work your way through it. Budget restraints are as simple as calling in favors and scouting for locations where you are pretty sure they won’t kick you out before you can grab the shot you need!

Are you self taught in filmmaking? How did you learn? What tips can you give to illustrators wanting to work in film?
JW: Just throw yourself into it. Find someone passionate and take anything they can teach you. Chris actually started me out in film back in high school by essentially forcing me to film for him when he didn’t have a camera op, and I just fell in love with it. He started asking my opinion on shots more frequently and we just went from there. Having another person who is passionate about what you want to learn is the most helpful commodity. That and wasting days watching other people’s amazing camerawork and studying up on terminology and famous scenes.

As the cinematographer, what was your role?
JW: For this short film in particular, I assisted with the shot list, lighting and manned the camera for the majority of the shoot (though Chris can’t seem to keep his hands off the camera for 100% of the shots) With such a limited team, we all did more than our job title says, between setting up the room to film in and helping a squirming cast put their contacts in I felt more like a cinematographer and assistant director by the end.

Is there a correlation between your illustration and filmmaking? How so?
JW: There’s definitely a huge correlation. Illustration teaches you to think a lot about composition and how a viewer’s eye will move through a piece, and cinematography focuses on that same composition throughout a scene. I have had the most fun in cinematography when I consciously connect it to problems I have faced in illustration, and particularly enjoy the struggle of thinking about the composition of thousands of frames of video in a single shot.

What inspired the short, “You Must Be Artificial?”
JW: in Chris’ words: “I find the growing development and evolution of Artificial Intelligence in our real world right now incredibly interesting. Though with that, I’ve always been drawn to taking something from the real world and adding a “what if” element to twist and fictionalize things. So with this short, in the very limited amount of time I had to make it, I wanted to create a strongly human and mysterious element to the question of what defines humanity versus artificial beings. I thought the most interesting, compelling way of doing that would be to have two individuals trying to evoke emotion out of each other with a series of intensely personal questions”

How has attending Cannes changed your perspective on filmmaking?
JW: The Cannes Film Festival was the first time I thought about film/video as a potentially viable career path for myself. Before, I saw it as a passion to keep on the side of my illustration, however, after coming back home I’m starting to see all the ways I can incorporate both into a potential career. Whether it’s through set design, concept art, background work, or just as simple as using my illustration work to influence my shot setup and composition, I’m excited to see where the mixing of these two mediums can get me.

Has attending the festival opened up any unexpected opportunities and connections yet?
JW: The most important connections were all of the other inspired filmmakers who were in the short film corner alongside us. I have made some lifelong friends during my time in Cannes and have learned a lot already from their experiences. The craziest opportunities were the networking parties I attended, it was exciting to see the extravagant events held by producers, financiers, and sales agents. My favorite encounter was at a party held in a castle overlooking Cannes where I met a man who told me he punched Harvey Weinstein in the face and knocked him to the ground!

What was the best piece of advice you received at Cannes?
JW: I think the best advice I received was simply to always be working. Even when you feel worn out and uninspired, find something to inspire a little bit of creativity and keep creating. The people who become well known and lucrative in any field are the ones who stay home and work while everyone else is out.

What are you working on next?
JW: Chris and I have worked on multiple projects since You Must Be Artificial. I’m on the writing team for a new show we’re in the developing stages of, and along with six other short films, my own illustration projects, a satirical webseries, and talk about a horror short, I’ve been pretty busy since I’ve returned!

What would you like us to know that I didn’t ask?
JW: Just that, despite the negative response from some faculty in the film department saying that we shouldn’t take this opportunity, I am extremely glad that I took it. This trip to Cannes has been the most influential, inspiring, and overall valuable thing I have encountered since I even started thinking of art as a viable career path. I am thankful to the illustration professors for being so supportive of my decision to attend and making accommodations for me to follow this dream of mine.

June 13, 2018
by alice.stanne
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Handel & Hadyn Project Hercules

Every year the Handel & Hadyn Society partners with the MassArt Illustration department to develop a body of work to display at Symphony Hall in conjunction with a selected concert program. This year Illustration juniors created work for Handel’s Hercules. 

Photo by Lara Silberklang

From among the work twelve students were selected by a jury to be displayed at Symphony Hall. Jury members (from left to right), MassArt President David Nelson, Professor Irena Roman, H&H Artistic Director Harry Christophers, and Professor Margot Zurakowska.

Congratulations to Rebecca Bischof, Kathryn Burke, Lisa Davidson, Suwichack Finneran, Zoe Gillette, Danielle Hill, Laila Kherallah, Liam Mahoney, Maude Njoku, Kelly O’Hanlon, Rachel Utzig, and Lillian Vo, whose work was on display!

Handel & Haydn 2018

June 6, 2018
by alice.stanne
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Roadside America: Student Show at Mosesian Center for the Arts

Students from Irena Roman’s Professional Illustration class are participating in Roadside America, an exhibition at The Dorothy and Charles Mosesian Center for the Arts. Roadside America  showcases artwork that depicts roadside attractions, features along the side of the road meant to attract tourists. Places one might stop on the way to somewhere, rather than actually being a destination.

The show will open tomorrow night, June 7th from 5:30 to 7:30pm. The exhibition features work by Cara Betti, Holly Hudoka, Natalie Kenney, Kim Minjeong, Endia Kneipp, Ryan Koester, Soyeon Lim, Kellie McDonald, Edwin Peralta, Michelle Poirier, Gemma Tracy-Burns, Anh Tran, Melanie Veins, Dora Wang, and Jorge Jimenez.

A special congratulations to Endia Kneipp who won Best of Show in the Roadside America exhibition for her series of “murder” houses (including Lizzie Borden’s house) and to Dora Wang who won Honorable Mention for her Brooks Ketchup Bottle Water Tower image.

Endia Kneipp

 

Dora Wang

Running concurrently at Mosesian Center for the Arts is Your Are Here Landscape/Cityscape Exhibition. Over 50 professional artists are participating in this show which runs through July 20th. Congratulations to Illustration senior Anh Tran who won Best of Show for images of Vietnam she created for her senior thesis.