ALUMNI. RE-ENGAGED. - Columbus College of Art and Design
ALUMNI. RE-ENGAGED. - Columbus College of Art and Design
ALUMNI. RE-ENGAGED. - Columbus College of Art and Design
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<strong>ALUMNI</strong><br />
14<br />
MAJOR PUbLICATIONS<br />
fEATU<strong>RE</strong><br />
<strong>ALUMNI</strong><br />
WORk<br />
a rear defensive position behind the korengal outpost, a small forward<br />
operating base in afghanistan close to the border <strong>of</strong> pakistan.<br />
CHAD HUNT bA<strong>RE</strong>S HUMANITy<br />
Of SOLDIERS, WAR<br />
Chad hunt’s two trips to afghanistan—the first self-funded <strong>and</strong> the second on<br />
assignment for Men’s Journal magazine—yielded a deep portfolio <strong>of</strong> images, several<br />
gallery displays, <strong>and</strong> ultimately the cover <strong>of</strong> Time magazine. But according to hunt, the<br />
experience <strong>of</strong> afghanistan <strong>and</strong> the ensuing Time cover have affected him personally<br />
more than pr<strong>of</strong>essionally.<br />
hunt will return to afghanistan this spring.<br />
“when this issue <strong>of</strong> Time hit the st<strong>and</strong>s, I received an email from the mother <strong>of</strong> the<br />
soldier who was on the cover. he is currently in Iraq, but his mother took his children<br />
to the store to show them that their father was on Time magazine. his kids ran up <strong>and</strong><br />
down the aisle yelling, ‘daddy’s on the cover!’ I get at least one email a month from<br />
someone who came across my website <strong>and</strong> wants to thank me for helping to tell the<br />
stories <strong>of</strong> these soldiers. that means a lot to me <strong>and</strong> makes me want to do more.”<br />
a perfect holiday wonderl<strong>and</strong>—gone horribly wrong.<br />
MARSHALL TROy’S MAD SEASON<br />
a CCad homework assignment from photo Illustration pr<strong>of</strong>essor stephen webster<br />
challenged his class to create a book cover for david sedaris’ Holidays on Ice that<br />
considered all the elements in play—positions <strong>of</strong> objects, composition, titles—as<br />
well as the author’s famous sense <strong>of</strong> humor. while listening to sedaris’ short stories<br />
during class, marshall troy began to think <strong>of</strong> iconic holiday subjects that relate to<br />
people—<strong>and</strong> then added his own twist. the illustration was chosen for the cover <strong>of</strong><br />
this year’s edition <strong>of</strong> this popular book.<br />
“one <strong>of</strong> the first things that popped into my head was the Christmas figurine scene<br />
that everyone’s gr<strong>and</strong>parents usually have set up during the holiday. when I was<br />
a kid, I used to look at these scenes <strong>and</strong> think how perfect everything looked. But<br />
as I got older, I realized that holidays aren’t picture perfect. that’s when I felt that<br />
observational comedy could work for this cover. from afar, the scene looks normal,<br />
but once you look a little closer, you realize that something out <strong>of</strong> the ordinary is<br />
actually happening. It gets you to stop <strong>and</strong> want to know more about the stories<br />
inside.”<br />
JOAqUIN bALDWIN’S<br />
PIN-UP DOLLS<br />
tension, hope, <strong>and</strong> horror unfold in Joaquin<br />
Baldwin’s grim <strong>and</strong> visually arresting “sebastian’s<br />
Voodoo,” a short animation film that follows<br />
the fate <strong>of</strong> a voodoo doll that must make the<br />
ultimate sacrifice to save his friends from being<br />
pinned to death. the piece, a youtube favorite,<br />
has earned widespread industry praise, including a<br />
feature in leading trade magazine 3D World <strong>and</strong> a<br />
nomination for an annie award, one <strong>of</strong> the highest<br />
honors in the industry. Baldwin’s key challenge was<br />
to make the film feel realistic in order to provide<br />
emotional weight to the storytelling.<br />
“I wanted ‘sebastian’s Voodoo’ to remain a dark<br />
film, <strong>and</strong> to have the sacrifice theme be the<br />
core. aside from keeping true to the story, I think<br />
that maintaining a cinematic look was extremely<br />
important. the camera is always motivated by the<br />
action, the camera lens choices are motivated by<br />
character <strong>and</strong> situations, <strong>and</strong> the lighting is always<br />
from a motivated (realistic) source, using a lot <strong>of</strong><br />
depth <strong>of</strong> field effects <strong>and</strong> film grain. all <strong>of</strong> this make<br />
the film feel tactile <strong>and</strong> realistic, <strong>and</strong> it’s what was<br />
necessary to make the story have enough impact.”<br />
CHAD HUNT<br />
Bfa, still Based media design (photography), 1994<br />
freelance pr<strong>of</strong>essional photographer, new york City<br />
www.chadhuntphotography.com<br />
MARSHALL TROy<br />
Bfa, still Based media design (photography), 2006<br />
Commercial photographer <strong>and</strong> sole proprietor <strong>of</strong><br />
marshall troy photography, new york City<br />
www.marshalltroy.com<br />
JOAqUIN bALDWIN<br />
Bfa, time Based media studies, focus in computer<br />
<strong>and</strong> traditional animation, 2006<br />
artist <strong>and</strong> master’s degree c<strong>and</strong>idate in animation at<br />
uCla, los angeles, California<br />
www.pixelnitrate.com<br />
WINTER 2009 IMAGE MAGAZINE<br />
15