Project 2 — Connecting History — Narrative
Narrative Drafts
NARRATIVE DRAFT 2 — Final
Quote 1
“I love that clients bring compelling content to [me as] a designer. Every project is different, with new goals and contexts that keep me challenged and engaged.”
Personal Reflection 1
As a student, the phrase “CMU alum” has an almost mystical connotation; it conjures up images of a well-dressed, high-level employee or business owner who has everything figured out. A person who made all the right decisions and landed exactly where they needed to be.
I forget that alumni were at one time students, like me. That they were unsure of the future but excited about the possibilities. That they didn’t know exactly where they needed to end up or how they would get there.
Brockett Horne appealed to me as the subject for this project because yes, she did end up in the perfect place for herself, but she embraced the journey it took to get there. From her careful and intentioned responses it’s obvious she focused on remaining true to herself and embracing opportunities, and she trusted that the rest would work itself out.
It’s an admirable attitude, and one that’s served her well.
Narrative Part 1
As a child, Brockett Horne dreamed of a future in “rubber cement”, the perfect field for an avid collage maker such as herself. As she grew, so did her passions for art and making, and she found herself applying to the Carnegie Mellon University School of Design.
CMU was the perfect fit for a student like Brockett, one who embraced every hands-on opportunity she could find and who was as interested in the aesthetics of form as she was invested in design history and formal theory. Brockett took advantage of every aspect of life at CMU, forming lifelong connections with her classmates, basking in the studio environment, engaging in extracurriculars, and taking classes that offered exciting and innovative challenges. She was humbled by the chance to work with renowned faculty members including Mark Mentzer, Charlee Brodsky, Karen Moyer, Bob Swinehart, and Dan Boyarski. Not only did she delight in the work of her teachers and the possibilities of class assignments, but also she took on outside projects from creating a literary supplement for the school newspaper, to working with seniors on signage for Schenley and finding time for buggy practices in between it all.
CMU is renowned for its rigorous and demanding schedule, particularly within the School of Design, but Brockett’s memories are full of fond nostalgia and appreciation for both the moments of struggle (working on a quadra computer until she fell asleep and was rolled away by peers) and hilarity (attending class with egg in her hair the day after the Beaux Arts Ball).
Through her time at CMU, Brockett gained a sense of who she was as a designer and what fields and projects motivated her. She learned that strong graphic designers don’t limit themselves to any one style, instead they can work through various visual schemes. It became clear through classes and conversation that she was motivated to share the things she loved and surround herself with equally passionate people and their bold ideas. While she didn’t know it at the time, these realizations would play an important role during the rest of her career.
Brockett graduated in 1996 feeling lucky for a well rounded education and the number of resources at her disposal. She graduated with a lasting sense of connection to Pittsburgh and the people who had shaped her college experience.
Quote 2
“I am always challenged by formal issues, and enjoy working through an aesthetic problem. It’s no surprise that I’ve landed at an art school, a perfect context for defending issues of aesthetics which I see to be significant in design.”
Narrative Part 2
Following her time at CMU, Brockett continued to navigate academia, both as a student and an educator. Following jobs at small studios, a fellowship in Europe, a design position at the Art Institute of Chicago, and a brief stint in advertising, Brockett began a MFA at the Rhode Island School of Design.
She graduated from RISD with double theses in art history and graphic design. Brockett then moved on to direct the graphic design program at Kansas City Art Institute for 3 years before moving to Maryland where she began working at her current position. For the last eleven years, Brockett has been the chair of the graphic design program at MICA, the Maryland Institute College of Art.
The strengths Brockett discovered during her formative years — a desire to share her passions, spend time with interesting people, and shape new things — are just what she needs to be an incredible program head and professor. Brockett approaches education in the same way she approaches design projects, by first considering the audience and then developing a message that meets their needs. As an instructor, Brockett aims to connect student’s existing talents and knowledge to new skills, ideas, and practices.
Along with teaching, Brockett also recognizes the need for educators to remain relevant through continuing to practice in their field. Brockett maintains a personal practice working on visual identities, art catalogs, and writing pieces on design history. In typical CMU Design fashion, Brockett truly believes that design has the power to change society and disrupt systems. She has connections with many non-profit and social justice organizations, and feels a responsibility to provide “high-quality and affordable design for clients that might not otherwise have access”.
When it comes to personal projects, Brockett’s work spans various genres and mediums. When asked to pick a favorite project, Brockett admitted that her favorite is “always the last thing she finished”. But some overall highlights include a online video course documenting the history of Graphic Design, a series of studies on designer’s tools, and an Egyptian Art exhibit. At the moment, Brockett is in the process of writing a design history piece on the history of American Shakers and their early pharmaceutical package design.
As she looks to the future, Brockett is excited by Design’s increased role in all fields, and the new opportunities arising from this growing visibility. However, Brockett continues to be conscientious about her role and responsibility as a designer and to question the motivations and methods behind designers and their work. She hopes to contribute to the emerging field of design criticism, and to use her role as an educator to develop and disseminate new methods designers can utilize to address biases and better reflect their audiences.
Reflection 2
Reflection to be written later once I know which exact visuals I’m using. I’ll reflect on why I chose that visual and how I think it exemplifies Brockett’s work.
Reflection 3
It’s not often you find such a genuinely passionate and authentic individual whose place in the world is dedicated to helping others grow and bringing about change. When I look back at the course of Brockett’s path, both as a student and an alumni, it’s humbling to see how the passions and strengths discovered at CMU came full circle. The value of a good teacher is immeasurable, and Brockett is not only a good teacher (her “rate my professor” page boasts only good reviews) but also, a lifelong learner.
Brockett’s philosophy and genuine dedication has inspired me as a student to continue pursuing the things I love. Following her path has reminded me of the dreams that brought me to CMU and my desires to grow as a learner and to bring about real change.
Quote 3
“I love it when a design project surprises me, when I create something that I never could have imagined from the onset. It is even more rewarding to watch a student have this experience.
NARRATIVE DRAFT 1
Questions I Have on NARRATIVE DRAFT 1 Draft —
- Do I refer to Brockett as “Brockett” or “Horne”?
- Is my tone too informal?
- Which quotes should I use?
- What other facts to add in (meeting her partner at CMU, fun facts, ect.)
- Should I include a description of her style, or demonstrate the style through the document design and photo examples of her inspirations?
NARRATIVE DRAFT 1
Quote 1 (need to pick one)
“As a child, I described that I wanted a career “in rubber cement” because I made lots of collages.”
“I love that clients bring compelling content to [me as] a designer. Every project is different, with new goals and contexts that keep me challenged and engaged.”
“Designers should identify and create work for new audiences. Enough cupcake bakeries, fashion lines, or convenience apps for affluent people!”
Personal Reflection 1
As a student, the word “alumni” has an almost mystical connotation; it conjures up images of a well-dressed, high-level employee or business owner who has everything figured out. A person who made all the right decisions and landed exactly where they needed to be.
I forget that alumni were at one time students, like me. That they were unsure of the future but excited about the possibilities. That they didn’t know exactly where they needed to end up or how they would get there.
Brockett Horne appealed to me as the subject for this project because yes, she did end up in the perfect place for herself, but she embraced the journey it took to get there. From her careful and intentioned responses it’s obvious she focused on remaining true to herself and embracing opportunities, and she trusted that the rest would work itself out.
It’s an admirable attitude, and one that’s served her well.
Narrative Part 1
As a child, Brockett Horne dreamed of a future in “rubber cement”, the perfect field for an avid collage maker such as herself. As she grew, her passions for art and making persevered and she found herself applying to the Carnegie Mellon University School of Design.
CMU was the perfect fit for a student like Brockett, one who embraced every hands-on opportunity she could find and who was as interested in the aesthetics of form as she was invested in design history and formal theory. Brockett took advantage of every aspect of life at CMU, forming life long connections with her classmates, basking in the studio environment, engaging in extracurriculars, and taking classes that offered exciting and innovative challenges. She was humbled by the chance to work with renowned faculty members including Mark Mentzer, Charlee Brodsky, Karen Moyer, Bob Swinehart, and Dan Boyarski. Not only did she delight in the work of her teachers and the possibilities of class assignments, but also she took on outside projects from creating a literary supplement for the school newspaper, to working with seniors on signage for Schenley and finding time for buggy practices in between it all.
CMU is renowned for its rigarous and demanding schedule, particularly within the School of Design, but Brockett’s memories are tinged with fond nostalgia and appreciation for both the moments of struggle (working on quadra computer until she fell asleep and was rolled away by peers) and hilarity (attending class with egg in her hair the day after the Beaux Arts Ball).
Through her time at CMU, Brockett gained a sense of who she was as a designer and what fields and projects motivated her. She learned that strong graphic designers don’t limit themselves to any one style, instead they can work through various visual schemes. It became clear through classes and conversation that she was motivated to share the things she loved and surround herself with equally passionate people and their bold ideas. While she didn’t know it at the time, these realizations would play an important role during the rest of her career.
Brockett graduated in 1996 feeling lucky for a well rounded education and the number of resources at her disposal. She graduated with a lasting sense of connection to Pittsburgh and the people who had shaped her college experience.
Quote 2 — Work and Educator Role (need to pick 1)
“I am always challenged by formal issues, and enjoy working through an aesthetic problem. It’s no surprise that I’ve landed at an art school, a perfect context for defending issues of aesthetics which I see to be significant in design.”
“In Baltimore, a lot of our work is centered around social justice, and I believe design has the power to change society.”
Narrative Part 2
Following her time at CMU, Brockett continued to navigate academia, both as a student and an educator. Following jobs at small studios, a fellowship in Europe, a design position at the Art Institute of Chicago, and a brief stint in advertising, Brockett began a MFA at the Rhode Island School of Design.
She graduated from RISD with double theses in art history and graphic design. Brockett then moved on to direct the graphic design program at Kansas City Art Institute for 3 years before moving to Maryland where she began working at the same position she holds today. For the last eleven years, Brockett has been the chair of the graphic design program at MICA, the Maryland Institute College of Art.
The strengths Brockett discovered during her formative years — a desire to share her passions, spend time with interesting people, and shape new things — are just what she needs to be an incredible program head and professor. Brockett approaches education in the same way she approaches design projects, by first considering the audience and then developing a message that meets their needs. As an instructor, Brockett aims to connect student’s existing talents and knowledge to new skills, ideas, and practices.
Along with teaching, Brockett also recognizes the need for educators to remain relevant through continuing to practice in their field. Brockett maintains a personal practice working on visual identities, art catalogs, and writing pieces on design history. In typical CMU Design fashion, Brockett truly believes that design has the power to change society and disrupt systems. She has connections with many non-profit and social justice organizations, and feels a responsibility to provide “high-quality and affordable design for clients that might not otherwise have access”.
When it comes to personal projects, Brockett’s work spans various genres and mediums. When asked to pick a favorite project, Brockett admitted that her favorite is “always the last thing she finished”. But some overall highlights include a online video course documenting the history of Graphic Design, a series of studies on designer’s tools, and an Egyptian Art exhibit. At the moment, Brockett is in the process of writing a design history piece on the history of American Shakers and their early pharmaceutical package design.
As she looks to the future, Brockett is excited by Design’s increased role in all fields, and the new opportunities arising from this growing visibility. However, Brockett continues to be conscientious about her role and responsibility as a designer and to question the motivations and methods behind designers and their work. She hopes to contribute to the emerging field of design criticism, and to use her role as an educator to develop and disseminate new methods designers can utilize to address biases and better reflect their audiences.
Reflection 2 + 3
It’s not often you find such a genuinely passionate and authentic individual whose place in the world is dedicated to helping others grow and bringing about change. When I look back at the course of Brockett’s path, both as a student and an alumni, it’s humbling to see how the passions and strengths discovered at CMU came full circle. The value of a good teacher is immeasurable, and Brockett is not only a good teacher (though her “rate my professor” page boasts only good reviews) but also, a lifelong learner.
Her philosophy and genuine dedication has inspired me as a student to pursue the things I love. Following her path has reminded me of the dreams that brought me to CMU and my desires to grow as a learner and to bring about real change.
Quote 3 (need to pick 1)
“I love it when a design project surprises me, when I create something that I never could have imagined from the onset. It is even more rewarding to watch a student have this experience.
“Designers should identify and create work for new audiences. Enough cupcake bakeries, fashion lines, or convenience apps for affluent people!”