“They’re like photos of the crazy year of 2020 — spring, summer, fall, winter,” says Williams Perez about his four-panel illustration with scenes from his desk that depict each season. For Perez, a recent Illustration grad, getting a running start to his career took place mainly from his home studio.
Perez’s other topics often have a similar light-hearted, inviting feel: Santa ordering presents online; monsters in a terrarium; a tiger relaxing in a cup of green tea. Others are weightier, like a BLM protester being embraced by the Statue of Liberty. What carries throughout, are dynamic colors with contrasting large and small elements.
“Williams is a strong visual communicator. His illustrations translate the challenges of real life into images that educate, inspire and bring joy,” says Illustration Chair Edward Soyka.
Along with freelance work, Perez teaches art to children. He tries to instill the principles of traditional drawing before transitioning to digital. It’s the training he received as a Fine Arts major, and again after transitioning to Illustration. “If you don’t know the essentials there’s no point in going digital,” he says. Prof. Soyka agrees: “He learned the skills of visual communication by drawing, painting and using technology. It’s what we offer all of our students.”
Throughout Covid, Perez has observed how individuals connect in ordinary but spirited ways. Above, a bundled-up couple enjoy a meal in an open-air, partitioned section of a restaurant. It’s cold but the heater above is scintillating. Another couple look pleased to be leaving with take-out.
Even the small elements — the heater above the plywood ceiling, a bouncy ponytail, a trail of blue flowers, the steam coming from the take-out bag — suggest small pleasures and caring touches.
“We’re outside in the cold eating, but we’re with loved ones,” says Perez. “We had a crappy year, but I wanted to show that there was joy too.”
She’s a fashion director who can repurpose clothing as if performing a magic trick. The transformation of one look into a completely different one is something Nicole Windram practices continually with her own wardrobe. She does the same for the designs that appear in the layouts of FIT’s student-run fashion and culture publication Blush Magazine. The ability comes from many classroom and studio hours, but it’s also her personal life’s practice. We caught some glimpses of how style and function, personal outlook, and a curious intellect works for this Fashion Design senior.
What’s the most lavish outfit you’ve worn under Covid? “Definitely this outfit. I made the top from an old dress and hand placed the ostrich feathers, which came from a previous project. The pants are Adidas x Danielle Cathari.”
What’s your favorite accessory that has special meaning to you? That would be my Cornicello necklace with a mano fico charm. They are Italian good luck symbols. They belonged to my Auntie M who passed away last year. I wear them every day to remind myself that she is always here with me. And the necklace is cute!”
What makes one person’s track suit chic and another’s for workouts? “Athletic wear is one of the most versatile areas of fashion. I love wearing my athletic clothes to work out, and then elevating the look for a formal event. I feel confident in my tracksuits.”
Cont: “I think we’re going to see a lot of multi-functional clothes that can be used for sport as well as dressing to the nines.”
The bodysuit, above, Windram created from her first pair of track pants.
Windram, above, in her trackpants before they became a bodysuit.
When should you coordinate outfits with a friend? “Always. I have wonderful, talented friends. When school was in person we would coordinate outfits or makeup all the time. Fashion and style creates a special bond with people. My friend Namra and I didn’t even mean to coordinate outfits with big sleeves. It just happened and that’s special.”
What’s been your favorite Blush Magazine layout? “That would be ‘Birthday Blues,’ my first time styling for Blush. It featured one of my garments, a purple alpaca wool with leftover ostrich feathers. I had wanted to create a garment with a unique silhouette and fun trims. The jacket features a raglan sleeve as well as a matching belt and skirt. I’m now really excited about our team’s new designs.”
There are some great photos of you at Rags-A-Gogo record store, and another at the Strand Book Store. How can someone acquire your type of everyday style? “That’s kind. It comes from years of trial and error. I dress to express myself. I wear what makes me happy and feel confident. If you mix and match the clothes that you own, your options are limitless.”
What books are on your night table? “I just purchased ‘Accidentally Wes Anderson‘ by Wally Koval. I’m a huge Wes Anderson fan. I’m also reading ‘Normal People’ by Sally Rooney and then “What A Time to be Alone” by Chidera Eggerue and ‘The Body Keeps Score’ by Bessel van der Kolk. They’re not all on my night table; I use the New York Public Library app for renting books.”
What class assignment has brought you the most joy lately? “Last semester in Childrenswear Niche Market class with Prof. Barbara Segio, I made a reversible bathing suit that could be worn in different ways. It was my first project using mixed media to present it. Having real life elements interact with 2D art is an exciting concept.”
What’s your caffeine intake like? “At home we have an entire cabinet of teas and honeys. I start my morning with Earl Grey. Later in the day I have a matcha latte that I make with almond milk and locally sourced honey from Andrew’s Honey.”
Is there something in your workspace that gives you inspiration? “I have gemstones and crystals around me when I “create art. They remind me how infinitely inspiring nature is. I have amethyst, rose quartz and hematite on me right now.”
The current issue of Blush Magazine, “The Vital Issue,” features Nicole Windram’s styling for “Feel Good Fashion. Blush Magazine is a student-led publication that began in 2013. It covers topics related to fashion, beauty and culture. Throughout COVID-19, it is being published in digital format only, otherwise it is available in both print and digital formats. Over 60 members contribute their writing, styling, modeling, makeup, graphic design, and print layout skills to Blush. Follow on Twitter: @blushmagfit and IG: @blushmagfit
When “I Promise,” written by LeBron James and Illustrated by Nina Mata, (Illustration, ’08), was released last August, it became an instant New York Times #1 best selling children’s book. Shortly after it was named by Amazon and Barnes & Noble as among “the best books of the year” for young readers.
It was a high profile achievement for Mata, but it was one of only many celebrated children’s books she has illustrated since graduation.
Mata paid a virtual visit this fall to Illustration Professor Anthony Capparelli’s Pictorial Problem Solving class. She spoke about the direction of her career, her current practice, and the figures both on paper and real, who play an integral part in her life and craft.
“Here in a nutshell is what led me to this amazing, thriving career,” she said. “The hardest part was to own my story and find my voice, what my purpose was for illustrating children’s books. It came through drawing my childhood and the diverse community I grew up with.”
Mata spoke about working on “I Promise,” with LeBron James. It’s a case study on how elevated a children’s book can become.
The children’s book became a calling card for basketball superstar LeBron James and Mata as well.
Time magazine, in naming LeBron James 2020 Athlete of the Year wrote: “On the way to another NBA title [he] transformed what an athlete can be.” Especially for his nonprofit “More than a Vote,” with the single-minded focus of getting people to the polls. It was, Time said, the highest profile example of a surge in activism across the world of sports in 2020.
The book’s big 10 x 10-inch pages expand the idea of LeBron’s I Promise school, in rustbelt Akron, OH, where he grew up. The school is aimed at helping kids reach their full potential. The young students promise every day to work hard, set goals, and hold themselves accountable.
In a nod to Mata, LeBron James told the New York Times:
“It was important to us that the artwork in ‘I Promise’ reflect all students, so that everyone who reads it can see themselves in the images…The inclusive and diverse illustrations are one of my favorite things about the book” said James referencing Mata’s work.
Mata, who gets full cover credit, says the “instant” success was almost two years in the making. She was asked in early 2019 to be one of numerous illustrators auditioning for the hush-hush project for an unnamed author. The list was soon down to two. She won the championship-level job about several months later.
Mata says she essentially drew her childhood. Daughter of Philippine immigrants, she grew up in a multi-ethnic Queens, New York, neighborhood. Despite her surprise at hearing James was the author, she was ready.
“I Promise” highlights young people of all backgrounds working together to help each other in classrooms and playgrounds, basketball courts and swimming pools.
By the time it arrived last August, the pandemic had changed the world, but the book’s message and its art still held true. The promises are even more important now.
“Kids and families are going through a lot,” James told the New York Times. “I hope this book can bring them some hope and positivity, and encourage them to keep pushing, because we will make it through this tough time.” When the book came out, he was not allowed to be with his own three children due to COVID dangers.
Mata has many other credits. She was nominated for the 52nd NAACP Image Award for Outstanding Literature and is a 2021 Theodor Seuss Geisel Honoree for her work in “Ty’s Travels, Zip Zoom by Kelly Starling Lyons.” Her book projects also include one by American gymnast Laurie Hernandez, “She’s Got This,” (also a New York Times bestseller!) and books in the Ty’s Travels I Can Read series.
“It was a joy to be visited by my former student, Nina Mata for our IL 262-15A Pictorial Problem Solving Class! Nina was a pleasure as a student, and has become an accomplished professional through a fierce commitment to professional excellence. Nina offered invaluable career advice. She exemplifies FIT’s commitment to professional excellence with an inclusive educational experience for future artists and illustrators,” says Prof. Capparelli.
Mata emphasized that the journey took time. After her first six years – a career that started with national economic collapse just two months before her May 2009 graduation.
On her husband’s advice, Mata gave herself a year to step back, have fun, and develop a true “look” and illustration style. She did just that, evolving a looser, more carefree approach.
“The hardest part (of my career) was to own my story and find my voice, what my purpose was for illustrating children’s books. It came through drawing my childhood and the diverse community I grew up with,” says Nina Mata, ’08
During that year “I played with a lot of patterns, dabbled a lot with abstract art,” says Mata. She began to incorporate the patterns and textures into her work. “I stopped over rendering and just had fun. It was my year for letting go.” She created a piece of her childhood friends in front of a bodega that she was an “homage to the carefree days of growing up in Queens….It made me realize we don’t see enough diversity on books with illustrations. It really inspired me to change that.” Mata had found her style and her purpose.
She told the students:
Step outside your comfort zone. Draw things you don’t usually do
Take a business class
Promotional postcards STILL work
Watch the trends and give it your own twist
Attend conferences. Take online classes, keep learning
Never work for free or for the “experience”
Illustration is an isolating career. Make friends
Follow Instagram and Pinterest, especially, for trends
You’re ready when you say you are. Go out and do it!
Mata credits her agent with much of her success. “It’s like the saying if you want to go fast go alone, but if you want to go far, you have to go together,” said Mata.
It took her a long time to find an agent, and then six months to get an assignment. During that time “she helped me build my portfolio to where it needed to be. She knew what art directors were looking for and editors were looking for.”
Although she does some of her own promotion, she says her agent’s advice has been key. For instance, one time her agent told her that dragons and unicorns were a coming thing. Naturally Mata practiced drawing them before she had assignment that called for them. She reads all the contracts herself after her agent does the negotiating.
“Finally, you’re ready when you say you are,” says Mata. “You have to be courageous and believe in yourself. If you keep going you’re only going to get better. Like me, I was able to work and grow as an artist at the same time.”
Lady Gaga wore Schiaparelli at the Inauguration. Kamala Harris’ two great-nieces wore iloveplum. FIT graduates designed for all three…but this is about two-year-old Leela and four-year-old Amala, and their adorable hooded faux-fur leopard-print coats.
Fashion Design alumna Sydney Hawes,’08, not only designed the coats, she cut and sewed them in three days, drawing on her FIT experience. Her former FIT roommate, Susan Trotiner, sketched them for the client, the new Vice-President’s niece Meena Harris. They work for iloveplum childrenswear, which specializes in tutus and in having fun.
Hawes, the company’s design director, lives and works out of Oakland, Kamala Harris’s home town. “That was a special connection,” says Hawes. “It’s an amazing moment for Oakland. Kamala is a positive face for the city. We pitched the idea of Inauguration outfits to Meena around Christmas. We saw that her daughters were in all the family pictures wearing white outfits and white Doc Martens. Might they be going to the Inauguration? This could be kinda cool.”
The Inauguration was a pinnacle moment for fashion. “Fashion reporters want to breakdown who’s wearing what and why. A huge part of being a fashion designer is the storytelling, which obviously was a big focus at FIT, says Hawes.
“We started brainstorming. We had a lot of ideas, given the family heritage, the suffragette movement, the colors, all the real fashion nerd stuff. We were winding down and I was getting into the CAD mood, and then I found the childhood picture of Kamala with her family.”
Hawes continues, “I said wait a minute why don’t we make this coat? Meena had kept saying it has to be cozy and warm. So when I saw that picture, and all the the other ideas just melted away.”
Susan Trotiner, ’08, who dormed with Hawes in Nagler Hall, and is iloveplum’s sourcing director, did the sketches of the coats. “We always joked (at FIT) that she helped me with drawing and I helped her doing sewing. So it was a perfect thing. She did the sketches and I did the sewing. It brings me back! It’s a great FIT story.”
When they pitched it to Meena they got an immediate, enthusiastic response: “’I love the coats. Oh, I have to have the coats. This is amazing!’” says Hawes recalling Meena’s text message.
But it was a Thursday, almost three weeks before the January 20 ceremony. The two coats had to be ready the following Tuesday. “This was two weeks before the inauguration,” says Hawes.
“It’s a classic fashion story. Here I was, casually driving to look for fabric. I get the message. I think I need to drive faster!”
Hawes got onto the iloveplum messaging system with her colleagues and said, “’I think maybe I should just sew these.’ Talking to a pattern maker, talking to a sample room, rushing around getting all these people involved, would just take too much time. So I made the patterns and made the coats that weekend. I felt like I was at FIT working on a project the night before it was due.”
“When I heard that I had three days to make two children’s coats for the incoming Vice President’s great nieces, it was more than enough time. The confidence, to know that I could do that from start to finish, I learned that at FIT.
I learned how to make patterns, including grade pattern to make the two different sizes of coats. The prototype that I made first before the actual garments, of course tailoring, these were notch collars. I had under collars, over collars. I had to compensate for the faux fur, all of those technical concepts I got to apply. These are things I learned at FIT, like how to roll sleeves, getting the supplies I needed. I didn’t just blindly commit to that. I confidently committed to it. That comes from FIT.” – Fashion Design alumna Sydney Hawes
Hawes and Trotiner both studied childrenswear together and say they were most influenced by Prof. Sandra Markus, now chair of the Fashion Design department. “We had her for senior thesis and portfolio class. Most of our classmates wanted to dress celebrities. We wanted to design outfits for kids,” says Hawes.
“Childrenswear students tend to have a particularly close relationship with one another,” says Chair Sandra Markus. “Sydney and Susan were a dynamic duo—they really poured their heart and souls into their work–and formed a partnership that has lasted beyond FIT.”
When the coats were delivered, iloveplum got a note of appreciation but nothing more. “We didn’t know if they fit or if they would wear them. They just basically said thank you and that was it. So we waited,” says Hawes. “Meena did ask us for black turtlenecks to go with the coats. That was a good sign. But we had no idea or what was going to happen at the Inauguration. We were hoping for images we could post. Maybe Meena would post a picture. They can’t tag or promote any brand, so it’s up to us to get the news out there,” she said.
“We were all watching on January 20. It was 6 am for me, 9 am in New York. We all had our TVs on and waited. We saw that everyone was leaving church and heading to the Capitol” says Hawes.
“And there’s Meena in her gorgeous emerald outfit and there’s this little furry arm holding her hand. It was like OMG! I must have woken up all of the East Bay screaming! We’re all texting each other: ‘They’re wearing them…They’re wearing them!!!’”
Hawes says it was a great moment for childrenswear. “The childrenswear market has changed since I graduated. There wasn’t so much high-end then; we were taught to design for function. We expected to have fun designing childrenswear but it’s not glam. That’s what makes this event so cool. It’s really special for FIT because they taught me all of the chops for that. I learned it all there!” says Hawes.
“Children are the future. I think that’s why they became such a visual of the day. Kamala has them around because they represent our future. Little Leela was in her dad’s arms throughout the day, so the coat is in every single shot, from Lady Gaga singing to the swearing in. There was this little furry hood in the background the whole time!”
And then Meena posted a picture on social media of the girls alongside the picture of Kamala as a child. “Coats just like Auntie’s” it says.
“Meena has authored the children’s book ‘Ambitious Girl‘ and the bestseller “Kamala and Maya’s Big Idea.” She’s a lawyer who went to Stanford and Harvard law school. She’s a voice for feminism and empowerment, with a big social media following” says Hawes.
So when broadcast news picked up Meena’s post in real time fashion lightening struck. Rachel Maddow, CNN, CBS and others began talking about the coats, says Hawes.“ They had all those cameras, doing different angles, ‘How cute are these coats! Who wouldn’t be warm in these sweet outfits?’ And then the comparison with Kamala’s childhood coat.”
Corky Lee, a chronicler of Asian culture in Chinatown and nationwide, has succumbed to COVID-19. Lee put Asians back in the historical picture of American life. He was a great friend to FIT faculty and students, introducing them to chronicling Manhattan’s Chinatown.
“Corky Lee was the unofficial historian of Chinatown and Asian life throughout New York City and beyond. He led the way. He documented living and working in the Chinese community: factory life, protests, police abuse, Asian-American veterans, the many cultural events. He documented the immigrant experience. I am a part of that. His work is all about people like me. He was a mentor to so many people including me,” says Prof. Kam Mak.
One of Lee’s celebrated photos recreated the Golden Spike Ceremony marking the completion of the Transcontinental Railroad in 1869. The Chinese workers who laid the tracks were excluded from the original photo. Lee’s recreation featured 400 of their direct descendants. He referred to it as “photographic justice.” Since his passing, many on social media have said: “He helped us see ourselves.”
Lee’s photos are among the few that chronicled Chinatown events and everyday life 50 years ago. He continued photographing until shortly before he died at age 73. “Don’t get hooked on photography unless you’re willing to make tremendous sacrifices,” he once said.
“Corky and I we always ran into each on the streets in Chinatown,” said Photography Professor Curtis Willocks who frequently brought students to photograph there.
“The last image I have of Corky Lee — I was with my students at a gallery on Broadway in Chinatown. Corky was there. He took them on a grand tour and engaged them. That was him, all about sharing, education and enlightening.”
To learn more about Asian-American life in NYC go to:
“It would be hard to imagine a more drastic change than we are going through now,” says Shefelman, “so how can we actively evolve our visual communication methods and engage an audience?”
Tapping into the feelings of isolation, frustration and a powerful need for students to connect from their remote locations, Shefelman called for a video game designed to respond to current events.
Students worked in five teams throughout the semester. This was their assignment:
Create a mental and emotional vaccine for the isolated, crisis-ridden, change-inspiring world we are living in. Using a game format to tell a story of some sort of journey, we explore fantasy, reality and/or inner worlds relevant to the events of the times. Think about why you want to make this game. What do you want the user to experience? Is it pure escape? Working out frustrations-aggressions? Connecting with others in a virtual way? Call to action in the actual world?
Now, let the games begin!
Instructions: The world as we know it is ending, but you’ve got a plan…to get off the damn planet! You are a dedicated doomsday conspiracy theorist who has known the end is near for ages, but now is the time to act! Gather resources, recruit a team, steal top secret government plans to build your rocket, and find a new planet to call home.
Instructions: Enter into the world of Reflect, where you reflect on the emotions of grief through a series of mirrors. The main character embarks on an emotional journey through the five stages of grief: denial, anger, bargaining, depression, and acceptance.
Instructions: A girl wakes up in the middle of the forest; she recognizes herself as the Little Red Riding Hood. She needs to get to Grandma’s house but she’s lost in the woods. The goal is to solve puzzles, find keys, open gates, collect items, and defeat shadow monsters to clear out the way in order to reach grandma’s house. The girl will receive help from fairy tale animal characters, such as the frog prince, blue bird, the little mer-witch and seven dwarfs.
Team Red Zone:
Instructions: The game begins in March, 2020 when lockdown first began in New York City. Players will have to conquer obstacles along the way that will increase in difficulty with each level. Each level will take place in the five boroughs and have a time limit.
Team Possums vs. Racoons:
Instructions: Collect that trash! A battle between your average trash cats. Whichever side collects the most trash wins!
The proposals from the student teams surprised Shefelman, “in sophistication, depth of meaningfulness,” he says. As the semester progressed “the collaborative process brought more depth to the ideas and some fantastic visual development art and storytelling.”
Please accept these GIFs from the students of Prof. Anthony Capparelli’s Pictorial Problem Solving Illustration class
Creating GIFS in Prof. Anthony Capparelli’s Motion Graphic and Holiday Card Assignment, allows students to add movement and motion to their illustrations. They choose their inspiration from assigned themes such as album art, tourism, and theater events.
Their earlier assignment was a two-page graphite value study — a historical illustration for a children’s book. “The GIF assignment was quite a change for them,” says Prof. Capparelli.
Building on the skill set from previous assignments, students employed a mix of traditional and digital techniques to produce artwork that could be digitally and visually manipulated.
“The preparation of these images became an exploration in problem-solving strategies.
“Students discover there is more than one way to accomplish their project goals, and more than one digital program to aid in their processes,” says Prof. Capparelli.
Attending class remotely from four continents,19 students in Prof. Jerry Dellova’s CAD for Fashion Design class FD342, finished the semester a few days before Christmas, filling their screens with a riot of colors, print and pattern designs.
As is typical, the students presented their final projects to their professor and classmates. What was not typical was that they presented from as far as Brazil, Korea, Kazakhstan, Germany, Shanghai and Beijing. For some, 9 am in New York was, well, tomorrow! Excerpts from four projects are presented here:
“The pure land” refers to a world within,” says Shiyu Zuo, who, from China, presented her collection based on Tibetan landscape and culture. She drew inspiration from traditional Tibetan clothing and elements such as temple scripture and propitious clouds.
In the course, CAD for Fashion Design and Development, students use Lectra’s Kaledo CAD software to digitally create fabrics and explore textile possibilities for garments they’ve designed. They merge garment and fabrics to create collections that share an overall balance of color, pattern, texture, proportion, and function.
Saule Amangeldi, who presented her collection from Kazakhstan, is impassioned about protecting coral reefs. Of particular concern is coral bleaching due to ocean acidification from climate change. Her collection is aimed at bringing awareness to the vibrant beauty of the coral reefs.
For their final projects, students must come up with a defining theme for their collection, a customer profile, color palette, and a specific market they’re designing for. They also have to research competitors and retailers in that market.
Emerson Kobak who presented her collection from New York City, draws inspiration from the underground feminist punk movement of the 90s. “Being a Riot Grrrl she says in her mission statement, “means supporting and uplifting every sexuality, color, race, identity. Being a Riot Grrrl means being Freee.”
Woven plaids and stripes, original and coordinated prints, knit stitches and intarsia patterns flashed across the classmates’ screens amid the lively discussion.
A French chic autumn and winter collection with a romantic sensibility! Edgy knitwear, jackets, coats, wool pants and skirts, which can be worn in “warm light that shines on a winter evening.” That was the theme of KJ Lee‘s collection, which she presented from Queens, NY.
“I am so impressed with the work,” says Prof. Dellova. “The creativity and their energy levels during this trying time. Working and learning remotely is very difficult and they all exceeded my expectations.“
What happens to use of a well-equipped workshop when many students can’t get to it? New instructional videos to aid students confined to home. New ways of creating those videos. Extra attention for the students who need to be there. Workshops and labs across the FIT campus have faced challenges with different approaches. And yes, some have closed during the COVID lockdown.
The Visual Presentation and Exhibition Design (VPED) Lab in ACO8, is one that has stayed open and expanded its instructional materials to include more than 40 staff videos now on the shop’s website.
“This Lab is the program’s greatest resource,” says VPED Professor Anne Kong. “It enables students to realize their designs in the studio courses that teach hands-on techniques. Students see their designs go from sketches and renderings to a dimensional piece; this provides a greater understanding of production and installation, which is a critical skill for our majors.”
Steven Ceraso VPED/CDP Technologist has worked on-site throughout the fall semester. “We learned that the lecture part of classes can be taught remotely. This allows the lab to be more accessible when students need access to tools, machinery, and work space,” he says.
“For students who didn’t have campus access we supported them by producing their work and mailing it to them so that they could work with deliverables at home,” says Prof. Kong. “They watched some of their projects produced virtually. In the spring we plan to continue this process for our majors.”
Says Ceraso, “We made adjustments like wearing masks, social distancing, and curbside pickup for some projects. Another important aspect of this situation is making it a point to be professional and accomplish goals efficiently. Communication with students actually improved.”
The students often emailed ahead about their ideas and what they were trying to accomplish before meeting in the shop. That wasn’t always the practice previously.
“I was able to work more cohesively with individual students, and that trust, respect, and understanding was apparent on all sides,” says Ceraso who is also a Continuing and Professional Studies instructor and creator of a course in furniture–making.
Working with smaller, more focused groups was a “great experience,” he says. “With most classes scheduled remotely, we effectively expanded our open hours in the shop. Students that had to be there and could manage the logistics often found they could accomplish things with fewer restrictions and less waiting time.
VPED student Diana Rico, ’22, for instance, was an RA for the only dorm open during the fall semester, so she was able to spend more time in the studio. For an assignment for Professor Glenn Sokoli’s Three Dimensional Construction, students had to recreate a company logo made only of wood.
“I chose Savage X Fenty, a female-empowering brand,” says Rico. “Their logo is just an “X” but I wanted to celebrate the items they sell, so I made the overall logo in the shape of a woman and used the original “X” shape to look like a lace-up corset,” says Rico.
“I started with the Illustrator file, then moved to the foam model, then cut the pieces out with the help of Steve and the CNC machine, then painted and put it all together.”
Rico’s project “involved a lot of complex cut parts,” Ceraso said. “I helped her redesign the original artwork because it didn’t match up with the limitations of our CNC [computer numerical control] machine tools. We both learned a lot.”
Says Rico, “I loved working on this project and can’t wait to do more 3D stuff next semester.”
For an assignment for her Foundation in VPED class with Professor Samiel Laury, Jasmine McCulloch built an octagonal, 15” tall model for an outdoor dining space. McCulloch mastered the mitered spline joints and calculated all the dimensions and angles. The materials are plywood and solid wood, all from scraps of leftover wood already in the shop.
Communication Design student Himeka Murai, ’22, worked on a project for Prof. Kong’s Foundation in Visual Presentation class. It is for an in-store display, constructed from discarded pallet wood.
The design is based on traditional architecture, but also uses complex angles and wood joints.
“It’s great to have a dedicated student want to build something this complicated and spend so much time working on it,” said Ceraso. “She was learning the craft of joinery while she was working on her project.”
Murai said “it was a long journey, but I really enjoyed the ride. I am glad that I decided to push forward with what I had planned to do, even though it looked impossible at the beginning.”
Suki Wong ’22, worked on a sign project for VPED professor Glenn Sokoli’s 3D Dimensional Construction class. Nearly two feet wide and made of wood fiberboard, it was done by programming the shapes on the CNC. “There was also much staining and finishing involved. We used leftover stains and Suki did several tests on different pieces first,” Ceraso said.
“Using the machines on campus helped with the majority of this project, as well getting guidance in problem solving,” says Wong. “It is a different experience than I could have imagined, between attending remote classes and getting on campus to work on big projects,” says Wong.
With the help of Ceraso and her professor, Wong was able to source materials on campus. “Professor Sokoli and I were able to cleverly figure out how to use less material to create this sign,” she says.
Like many technologists working at FIT, Ceraso is a designer himself. A sculptor with graphic design expertise, he has been working with fellow technologists N’Ketiah Brakohiapa and David Halbout on developing instructional materials. They built a video dolly for live-streaming shop demos with an old MacBook and other equipment in the studio.
“It has worked out fine for the time being. This impromptu assemblage made me think about how to make this device more capable,” Ceraso said.
They are creating content about working safely and effectively in the Design Lab and D425 Print Lab.
“The current situation makes us consider new methods of working. Providing detailed interactive materials and how-to videos will benefit our students in the future,” says Ceraso.
To learn more about the Visual Presentation and Exhibition Design major go to VPED at FIT.
Students in Professor Susanne Goetz’s Screen Printing Scarves (TD316) class were inspired to create pandemic-themed designs as their final project this semester. “Some are thoughtful, some humorous,” says Prof. Goetz who is internationally recognized as a textile designer and educator.
Students were asked to design a contemporary screen printed scarf accompanied by a storyboard with visual information about their concept. Designing with FIT’s print workshop in mind, students were only able to use two colors supplemented by overprinting and halftone effects.
The theme was completely open. Lectures covered how scarves have long been used as a medium of political comment and to memorialize current events. Prof. Goetz says that students learned about artists who focused on social justice issues in their work.
Audrey Martiandy‘s storyboard suggests that she misses not being able to meet her friends for brunch. “Her design highlights in a satirical setting the unwillingness of some people to do their part by wearing a mask,” says Prof. Goetz.
While students are not screen-printing their designs in the School’s screen-printing lab this semester, they prepare the artwork ready for the print process and create digital visualizations. Fortunately, this is an advanced class, so students do have hands-on workshop experience. That helps them imagine how the designs would look once they are produced, she says.
Students also watched videos of practitioners and innovative print processes to help keep them connected to the workshop.
Sonja Feaster, in one of two separate projects, wrote a short bio and created texture mappings for an Olympic commemorative silk scarf design, “Until We Meet in Tokyo.”
It honors both resilient Olympians and frontline healthcare workers. Feaster says that Thomas Bach, the president of the International Olympic Committee, told COVID workers “You are our true champions.”
In the design, Olympic athletes are “handing the torch” to healthcare workers, who will carry it until 2021. The narrative is highly symbolic. It celebrates a year of resilience, sacrifice, and unity.
Katherine Murphy calls her design “Finding Peace in 2020.” Because of the pandemic, she says, “there has been a lot of stress and negativity this year. I wanted to create something that still reminded us of the good, even in difficult times.”
“The pandemic has allowed me to spend more time with them by living at home,” says Murphy. So even in a pandemic, there is always something for which to be grateful.
The border of her scarf has inspirational quotes such as, “to keep us hopeful.” She also included the hand prints of her family.