Saturday, September 24, 2016

CD-ROM Portfolio Package | Hastings Walsh

Portfolio Package © Hastings Walsh (2016)
Above CD-ROM portfolio package by Hastings Walsh, graphic design student at the University of Northern Iowa (2016).


Juliet M. Soskice (granddaughter of British Pre-Raphaelite painter Ford Madox Brown), Chapters From Childhood: Reminiscences of an Artist's Granddaughter. New York: Harcourt Brace and Company, 1922, p. 14—

I felt sorry for Mary [her seven-year-old cousin, whose father was British writer and critic William Michael Rossetti, brother of  Dante Gabriel Rossetti]… She often used to get anxious about things. She liked digging up remains in the back garden and wondering what they were. Once she dug up some bones and was certain they belonged to a victim who had been buried by a murderer, as you read about in the paper. She was very frightened, but Helen [Mary's older sister] said no, they were some chicken bones abandoned by the cat; and so they were. And she dug up a scrap of paper, and was sure she could see traces of a mysterious message written in it, but we couldn't see anything. We put it under the microscope, and there was nothing written on it at all. But she said she could see it, so she kept it. When she dug up an old piece of glass or tin she used to believe they were Roman remains, because she said she was sure it was the Romans who had begun to build the waterworks at the foot of Primrose Hill. She didn't believe it really, but she wanted to so much that she almost did. She wasn't very brave, and she used to cry a good deal because she was always frightened by the grave things Helen talked about.

Game, Stamps and Cash | Jake Manternach

Game parody © Jake Manternach (2016)
Above Hypothetical redesign of Mastermind code-breaking game, with the addition of a narrative theme, by Jake Manternach (2016), graphic design student at the University of Northern Iowa.


Roland Penrose (British artist and Picasso biographer), quoted in Elizabeth Cowling, Visiting Picasso: The Notebooks and Letters of Roland Penrose. London: Thames and Hudson, 2006—

Autumn 1956
Don José [Picasso's father, artist and professor of art] became almost blind before he died. When shown a blank sheet of paper at art school he said to the pupil, "You should make your drawing stronger." He retired from post at school because of blindness. (p. 175)

12 May 1964
[While visiting Picasso in France] Before leaving we watched all-in wrestling on T.V. He makes a point of watching this program twice a week. J[acqueline, Picasso's wife] cannot stand it. So he usually watches alone. Affectionate goodbyes and inquiries about our next visit. (p. 264)


Below Design for a block of postage stamps and the paper currency for an imagined country named Qualm (2016), by Jake Manternach.

Stamps and currency © Jake Manternach

Thursday, September 22, 2016

CD Portfolio Package | Heidi Schmidt

© Heidi Schmidt 2015
Above CD portfolio package design by graphic design student Heidi Schmidt (2015) at the University of Northern Iowa.


Lady Isabella Gregory, in Lennox Robinson, ed., Lady Gregory's Journals 1916-1930. New York: MacMillan, 1947, p. 205—

He [Irish playwright George Bernard Shaw] talked afterwards of what [Victorian poet] Wilfrid Blunt had written of [Arts and Crafts designer] William Morris and of his being without love for anyone (except his invalid daughter), and said it is so often with men immersed in their work, they have no room for another strong affection. The first time he saw Mrs. Morris [Jane Burden Morris] it was a shock. She was lying full length on a sofa, her long limbs covered, and looked death-like—like clay. He was trying the other day if he could remember anything she had ever said and could not, except that one day when he had taken a second helping of some pudding, she said, "You seem to like that pudding," and when he answered "Yes," she said, "There is suet in it." That word, aimed at his vegetarianism, is all he can remember.

Game Design and Poster | Sawyer Phillips

Poster © Sawyer Phillips 2015
Above Poster by graphic design student Sawyer Phillips. Its purpose was to advertise the annual Rod Library Comic Conference (RodCon), which took place in April 2016 on the University of Northern Iowa campus. In the judging, it was not selected for actual use. At the bottom of this page is another design by the same student for the hypothetical redesign of the game Mastermind, with the addition of a narrative theme.


Juliet M. Soskice (granddaughter of British Pre-Raphaelite painter Ford Madox Brown), Chapters From Childhood: Reminiscences of an Artist's Granddaughter. New York: Harcourt Brace and Company, 1922, pp. 100-101—

[As a young girl, while living in a convent, some of her sins] were bad ones, such as being unbelieving. That's one of the worst sins. I didn't believe about the devil's climbing over the fence into the Garden of Eden, and disguising himself as a serpent and making all the trouble about the apple. I thought it more likely that Eve wanted the apple from the very beginning and invented the story about the serpent in order to put the blame on the devil. He had such a bad character already that anything would have been believed against him. I didn't believe either about the whale's being seasick and casting up Jonah on to dry land all tidily dressed as though nothing had happened as he appears in Bible pictures. I didn't believe that all the animals walked into the ark two and two, and behaved properly when Noah explained to them about the flood. I was sure some of them would have quarreled.
Game Design © Sawyer Phillips

The Pleasures of Teaching Design History

© Roy R. Behrens
Above Few things are more enjoyable than to teach the history of design. But more satisfying than the actual teaching is the process of building the lectures, as in this slide from a recent lecture about the Gothic Revival, John Ruskin and the Pre-Raphaelites.


Stephen Leacock, quoted in David M. Legate, Stephen Leacock: A Biography. Garden City NY: Doubleday, 1970, p. 94—

It appears that the right time to begin gardening is last year. For many things it is well to begin the year before last. For good results one must begin even sooner. Here, for example, are the directions, as I interpret them, for growing asparagus. Having secured a suitable piece of ground, preferably a deep friable loam rich in nitrogen, go out three years ago and plow or dig deeply. Remain a year inactive, thinking. Two years ago pulverize the soil thoroughly. Wait a year. As soon as last year comes set out the young shoots. Then spend a quiet winter doing nothing. The asparagus will then be ready to work at this year.

Friday, September 16, 2016

Mason City Bank / Hotel by Frank Lloyd Wright

Above Page from Frank Lloyd Wright and Mason City: Architectural Heart of the Prairie (2016) with digital diagrams of the City National Bank and Park Inn in Mason City, Iowa, an important tandem building design by Frank Lloyd Wright (1910).

Its exterior fully restored, and the interior restored or appropriately reconstructed, it opened again as a hotel, restaurant and events facility in September 2011. Below is a postcard view of the original structure, c1910.

Wednesday, September 7, 2016

Grant Wood: What Did He Do and …

Above Poster for free upcoming public event, GRANT WOOD: What Did He Do and How Did He Do It?, at the North Side Library, 3516 Fifth Avenue, Des Moines IA, September 17, 2016, 2:00-3:30 pm. Limited space. Pre-register here. Sponsored by Humanities Iowa.

Sunday, September 4, 2016

Constitution and Equal Protection for All

Poster © Roy R. Behrens
Above Poster for Constitution Day event, titled The Constitution and Equal Protection: Black Lives Matter, sponsored by the American Democracy Project and Office of the Provost at the University of Northern Iowa. Poster designed by Roy R. Behrens © 2016.

Frank Lloyd Wright and Mason City Architecture

ISBN 978-1467118606
Above Cover of FRANK LLOYD WRIGHT AND MASON CITY: Architectural Heart of the Prairie (2016), a new book (out soon) about Frank Lloyd Wright, Walter Burley Griffin, Marion Mahony Griffin, and others in relation to the extraordinary cluster of Prairie School architectural gems in Mason City, Iowa. Written by design historian Roy R. Behrens, with a preface by Australian art historian Ann Elias.

With the recent restorations of Wright's Stockman House, and his City National Bank and Park Inn (his only surviving hotel, now functioning again as an historic bed and breakfast site), Mason City has been cited by Condé Nast Traveler magazine as one of the top fourteen favorite cities among architectural enthusiasts. More…>>>


Alasdair McGregor, Grand Obsessions: The Life and Work of Walter Burley Griffin and Marion Mahony Griffin. Camberwell VIC: Penguin Books, 2009±

[The Rock Crest / Rock Glen neighborhood in Mason City] is the most successfully realized Prairie School development anywhere in America.

Rock Crest / Rock Glen area in Mason City IA

Friday, July 22, 2016

Repugnant Wallpaper | Dallas Guffey

Wallpaper | Dallas Guffey ©2015
Above In graphic design studio courses, as an exercise in rapid fire problem solving, I sometimes ask my students to work in class, within a time limit, in producing fresh solutions to seemingly off-beat assignments. In one case, for example, I asked them to come up with a design for "repugnant wallpaper." The solution reproduced above is by Dallas Guffey.


Robert Kipness, Robert Kipness: A Working Artist's Life. Hanover NH: University Press of New England, 2011 [recalling an experience in a painting class taught by artist Stuart Edie (1908-1974), probably in the early 1950s, when Kipness was a student at the University of Iowa], pp. 59-60—

After two or three sessions of witnessing this outpouring of energy [as Kipness worked on his paintings in class] from the wild-eyed kid from the literature department, Edie came over to my space and said, "Very interesting, Kipness. Let me show you something," and he picked up one of my brushes, mixed some paint on my palette, and moved the brush toward my painting. Instinctively I grasped his wrist with a grip that seemed to frighten him. His pale blue-gray eyes widened. "Tell me anything you want, but don't touch my work," I whispered, outraged that he would interfere with the surface of my painting. Realizing my grip was strong, and that I might be hurting hm, I released his wrist, and he put down my brush and walked away. Understandably, he didn't talk to me again for over a month.

From a respectful distance we grew to like each other…He was a kind and perceptive man…

We came to an agreement. He would leave me alone in class, and as long as he felt I was making progress he would continue to let me be. If he judged otherwise I would either take instruction or he would give me a failing grade. Eventually he issued me a key to the building, allowing me to come and work anytime I wished. "Just make sure you put out the lights and see that the door is locked when you leave." In my eyes he was a prince, and I appreciate that my fierce enthusiasm and individuality were no threat to him. He was delighted to see me so consumed with painting, and he wanted to see what I could do. There was no battle of egos, just respect and a kindly concern for my young life. Later I more fully understood that his response was what he thought would be best for me.

There is an interesting online interview with Kipness by Ira Goldberg at LINEA: The Artist's Voice. There is additional information about three of the artists who taught at the University of Iowa while Kipness was a student there: Stuart Edie, Byron Burford and James Lechay. My own memories of Lechay are online here.

Thursday, June 30, 2016

League of Women Voters Poster 2016

Women's Equality Poster © Roy R. Behrens
Above It's always gratifying to use ones skills and expertise in promoting worthy causes, the equal rights of women in this case. The story of the struggle for equal rights (for women and others) is a fascinating history, and one that is always on-going. This is a poster we designed pro bono to announce Women's Equality Day (August 20, 2016), on behalf of the League of Women Voters of Black Hawk and Bremer Counties in Iowa.

Tuesday, June 21, 2016

Rod Library Art Exhibition | Roy R. Behrens

Above Through the kindness and efficiency of Angela Pratesi and Julie Ann Beddow at the Rod Library, University of Northern Iowa, seven of my recent works are on exhibit this summer in the library's Learning Commons. These digital montages, which date from 2011-2015, are part of the library's permanent art collection. See installation views above, with single views of each below.

Auto Parts © 2013
Dorado © 2015
Barbarian Seville © 2011
Deplorable Strikes © 2011
Indigenous Nativity © 2011
A Loss for Words © 2011
Nautilus Bridge © 2011

Saturday, June 11, 2016

Thursday, May 26, 2016

Poster | Rhiannon Rasmussen

Poster © Rhiannon Rasmussen 2016
Above Poster by Rhiannon Rasmussen (©2016), graphic design student at the University of Northern Iowa.


Frank Lloyd Wright, in Edgar Kaufmann and Ben Raeburn, eds., Frank Lloyd Wright: Writings and Buildings. New York: Meridian Books, 1960, pp. 48-49—

…I tried to make my clients see that furniture and furnishings, not built in as integral features of a building, should be designed as attributes of whatever furniture was built in and should be seen as minor parts of the building itself, even if detached or kept aside to be employed on occasion. But when the building itself was finished, the old furniture the clients already possessed went in with them to await the time when the interior might be completed. Very few of the houses were, therefore, anything but painful to me after the clients moved in and, helplessly, dragged the horrors of the old order along after them.

…about four-fifths of the contents of nearly every home could be given away with good effect to that home. But the things given away might go on to poison some other home. So why not at once destroy undesirable things…make an end of them?

See also: Roy R. Behrens, FRANK LLOYD WRIGHT and Mason City: Architectural Heart of the Prairie (2016). 

Bicycle Poster | Austin Montelius

Poster by Austin Montelius © 2016
Above Italian bicycle poster by Austin Montelius (©2016), graphic design student at the University of Northern Iowa.


Nicholas Fox Weber, The Bauhaus Group: Six Masters of Modernism (New Haven CT: Yale University Press, 2011), p. 132—

The painter Balthus once described an occasion when he and Alberto Giacometti met to call on [Paul] Klee, with whom they had made an appointment, only to become so enraptured talking with each other that they failed to walk the short distance to Klee's studio and simply stood him up. Neither felt guilty about the broken date because, much as they respected his work, they considered him unexciting as a conversationalist.

Wednesday, May 25, 2016

Font Specimen Poster | Rachel Bartholomay

Font Specimen Poster © Rachel Bartholomay 2016
Above Font specimen poster by design student Rachel Bartholomay (©2016) at the University of Northern Iowa.


Recently while reading Nicholas Fox Weber, The Bauhaus Group: Six Masters of Modernism (New Haven CT: Yale University Press), I ran across a passage about a class exercise that the painter Paul Klee witnessed in a course at the Bauhaus taught by Johannes Itten. It required his students to draw in the dark, and of course this reminded me of the later, related experiments by Hoyt Sherman at Ohio State University, which I wrote at length about in the early 1990s. Here is the passage from Weber's interesting book (p. 115)—

At 5 pm that same day, Itten gave another course in a large lecture hall constructed like an amphitheater, where people sat on the steps rather than on seats. This time the master projected on the wall a large image of Matisse's La Danse and had the students draw its essential compositional elements in the dark. Itten's wife sat at his feet, with everyone else huddled in close. The sole exception was Klee, who sat as far away as possible, at the very top of the amphitheater, in a proper chair. Looking on from this perch, he smoked his pipe.

Tuesday, May 24, 2016

Tokyo Infographic | Megan Parisot

Infographic © Megan Parisot 2016
Above Tokyo infographic by design student Megan Parisot (©2016) at the University of Northern Iowa.


Roger Angell, Let Me Finish. Orlando FL: Harcourt, 2006, pp. 231-232—

One day in the late sixties, [American fiction writer ] Donald [Barthelme] needed to get somewhere upstate and dropped into his neighborhood Hertz office for a rental. All went well until it was revealed that the applicant did not possess a credit card. "We'll need some identification, then," the Hertz man said unhappily. "What is your occupation, Mr. Barthumb?"

Don—already sensing the onrushing scene from "Mondo Donaldo"— confessed that he was a writer. He wrote books.

"What are some of your books?" said the Hertz guy, slightly retrieving the application form that lay between them.

"Well, Snow White."

"You wrote Snow White? Any others?"

"I have a new one just coming out, Unspeakable Practices, Unnatural Acts. It's a collection."

"Well, there's a lot of that going on these days, isn't there?" said Hertz. "That'll be seven hundred dollars down, cash."

Sunday, May 22, 2016

CD-ROM Package Design | Madi Luke

CD-ROM Package © Madi Luke 2016
Above Design for a CD-ROM portfolio by graphic design student Madison (Madi) Luke (©2016), at the University of Northern Iowa.


As I read this recently, I was reminded of The Painted Bird by Jerzy Kosinski. The following is from Richard Neutra, Life and Shape. New York: Appleton-Century-Crofts, 1962, p. 362—

Frank Lloyd Wright told me, I think significantly, not once but on two occasions, the story of a monkey in Malaya. It was caught by a planter, roped around the waist, and tied to a post on his screened porch. During the night the monkey bit off the rope near the post, bit through the screen mesh, and escaped into the jungle to his fellows. But they were no longer fellows to a monkey with a peculiarity—with a rope around his belly. They regarded him with hostility for being different, "and tore him limb from limb." I still remember Mr. Wright's baritone laughter which ended in a bitter smile. Frank Lloyd Wright did not simply have a strange rope around his belly—why did he link this story to himself? What really characterizes the relationship to others of the outstanding man, merely taken as the extra case of a vital individual? Is it tragedy—not only necessity—that the individual, even the best, the most alive, is really not effective , not vital, in a vacuum? Always very soon, sooner or later, he must be involved with others.

See also: Roy R. Behrens, FRANK LLOYD WRIGHT and Mason City: Architectural Heart of the Prairie (2016).  

Friday, April 8, 2016

Iowa Insect Series Installed

Installation view © Sergio Gomez
Above An installation view (photo by Sergio Gomez) of an exhibition of collaborative montage images, called Iowa Insect Series, currently on view at the Dorothea Thiel Gallery at South Suburban College in Chicago. More>>>

Tuesday, March 29, 2016

Digital Montage | Gina Hamer

Digital montage © Gina Hamer 2016
Above Digital montage by Gina Hamer (2016), graphic design student, Department of Art, University of Northern Iowa.


Liam Hudson, “Texts, Signs, Artefacts” in W.R. Crozier and A.J. Chapman, eds., Cognitive Processes in the Perception of Art. Elsevier 1984—

The arts in particular are seen [in our society] as peripheral, or—even worse—as “fun”; that is to say, as a simple emotional release that receives little professionally academic attention because it deserves none. Yet the briefest glance shows that poems, novels, paintings, photographs, plays, films of any quality are rarely fun, either for the artist or for the spectator; what is more, that they are at least as carefully poised, as subtly calculated in their effects, as any other genre of intellectual activity. Many take months, years, to put together, and at least as long to assimilate in any but a superficial way.

Iowa Insects | Roy Behrens and David Versluis

Iowa Insect Series © Roy Behrens and David Versluis c2012-13
South Suburban College’s Dorothea Thiel Gallery will host an exhibition of 10 large-scale digital montage images [see examples above and below] from the Iowa Insect Series, a collection of artworks created in collaboration between graphic design professors Roy R. Behrens and David M. Versluis.  The exhibit, Graphic Designers Collaborate: Attention to Detail, will be held in the Dorothea Thiel Gallery from April 1 to April 21, 2016.

The exhibit features digital montage collaborations created by Graphic Design professor Roy R. Behrens, University of Northern Iowa, and Art & Graphic Design professor David Versluis, Dordt College. Various artworks from the Iowa Insect Series have been exhibited in group shows at the Washington Pavilion Visual Art Center in Sioux Falls, South Dakota; Nemeth Art Center in Park Rapids, Minnesota; University of Northern Iowa Gallery of Art in Cedar Falls, Iowa; and the 27th McNeese National Works on Paper Exhibition at McNeese State University Grand Gallery in Lake Charles, Louisiana. This exhibit at South Suburban College is one of the first times that the collection Iowa Insect Series will be shown together.

Iowa Insect Series © Roy Behrens and David Versluis c2012-13

“The process of creating the collaborative images began in 2012 with me sending Roy scanned images of insects from my personal collection. One image at a time, we challenged each other to respond to each image, building a digital montage, using Adobe Photoshop®,” said Versluis. “We would then pass the image back and forth, responding to each other’s move.” The images were built with about five or six back and forth exchanges between Behrens & Versluis, until the two graphic designers mutually decided that the artwork was finished.

Professor Versluis will be at the college as visiting artist in the digital arts lab and Dorothea Thiel Gallery for a 1:00 p.m. reception on Thursday April 21st. The public is welcome to visit the art exhibition and reception at no charge. The Thiel Gallery is located on the 4th floor in the Art & Design hallway, Room 4333.  SSC Galleries are open at minimum Mondays through Thursdays from 9:00 am–6:00 pm, and Fridays from 9:00 am–4:00 pm. The galleries are closed on weekends and holidays. For more information, please call (708) 596-2000, ext. 2316, or visit SSC is located at 15800 South State Street, South Holland, Illinois.

Iowa Insect Series © Roy Behrens and David Versluis c2012-13

Sunday, March 27, 2016

Collections Poster | Maris Price

Poster © Maris Price 2016
Above and below Posters on the theme of collections and recollections by graphic design student Maris Price (2016), Department of Art, University of Northern Iowa.


Mircea Eliade, Journal IV, 1979-1985 (University of Chicago Press, 1990)—

22 June 1979
At 7:30, at the Tacous’: reception for the marriage of their daughter, the beautiful Florence, to the son of Claude Mauriac. At 8:00, with G. Dumézil at the home of his son, the doctor. Splendid apartment. At dinner, Claude Lévi-Strauss—very charming toward me. But we didn’t talk much. Only in the taxi did I realize I’d taken Lévi-Strauss’s raincoat by mistake.

Poster © Maris Price 2016

Collections Poster | Rachel Bartholomay

Poster © Rachel Bartholomay 2016
Above Poster on the theme of collections and recollections by graphic design student Rachel Bartholomay (2016), Department of Art, University of Northern Iowa.


Joseph Gerard Brennan in The American Scholar (Autumn 1978)—

[British philosopher Alfred North Whitehead] himself had moments when he was not quite sure where he had put things. One day in the early 1930s he had Professor James Melrose of Illinois to tea at the Whitehead cottage…It occurred to Whitehead that his guests might like to see the work in progress on a library addition to the house. So he led them outside, first carefully putting on Professor Melrose’s hat which he found in the coatroom closet and assumed was his own. After the excursion he returned the hat to the closet, but at tea’s end, when he and Mrs. Whitehead prepared to accompany the guests to their car, he went there once more for his hat. This time Melrose beat him to it and retrieved his lawful property. Whitehead reached up to the place where his visitor’s hat had been, made a little exclamation of surprise, then trotted some distance to a spot where his own hat hung on a hook. It was clear to his guests that the author of Process and Reality did not realize there were two hats, but believed that his own had in some unaccountable way changed its place.

Friday, March 25, 2016

Typographic Poster | Hastings Walsh

Poster © Hastings Walsh (2016)
Above Typographic poster (©2016) by Hastings Walsh, graphic design student, Department of Art, University of Northern Iowa.


Samuel Butler, The Way of All Flesh. New York: Dover Publications, 2004—

He [Ernest] was, however, very late in being able to sound a hard “c” or “k,” and, instead of saying “Come,” he said “Tum, tum, tum.”

“Ernest,” said Theobald, from the arm-chair in front of the fire, where he was sitting with his hands folded before him, “don’t you think it would be very nice if you were to say ‘come’ like other people, instead of ‘tum’?”

“I do say tum,” replied Ernest, meaning that he had said “come.”

Thursday, March 24, 2016

Jared Rogness Exhibition at UNI Rod Library

Jared Rogness Exhibit Poster
From February 29 through April 4, 2016, selected works by an Iowa-born illustrator, and UNI Department of Art alum, Jared Rogness, will be on on display on the Learning Commons Exhibition Wall on the main floor in Rod Library at the University of Northern Iowa.

This exhibit both predates and coincides with RodCon 2016, the Rod Library’s annual mini comic con, which takes place on Saturday, April 2, from 10 am to 4 pm. Throughout the day, the various featured events include comics, crafts, games and a costume contest.

© Jared Rogness

Artist Jared Rogness is a storyboard artist and illustrator living in Los Angeles. He earned his Bachelors of Fine Arts degree at UNI in 2003. As a student he was a frequent contributor of outspoken political cartoons to The Northern Iowan (student newspaper) under the pen name e-Chicken.

He has illustrated short stories for magazines, produced motion picture storyboards, and created the graphic series "Green Street" for Little Village magazine. The works in the exhibition are a mix of selected components from a variety of his projects.

© Jared Rogness

Friday, March 11, 2016

Collections Poster | Heidi Schmidt

Poster © Heidi Schmidt 2016
Above Poster on the theme of collections and recollections by graphic design student Heidi Schmidt (Spring 2016), Department of Art, University of Northern Iowa.


Anton Bilek, American Army soldier, interviewed in Studs Terkel, The Good War (New York: Pantheon, 1984)—

One time [during WWII, while interned in a Japanese prison camp, where he worked underground in a coal mine], at the end of the day, while I was waitin’ for the little train to take our shift out, I laid back against the rock wall, put my cap over my eyes, and tried to get some rest. The guy next to me says, “God damn, I wish I was back in Seattle.” I paid no attention. Guys were always talking about being back home. He said, “I  had a nice restaurant there and I lost it all.” I turned around and looked and it’s a Japanese [soldier]. He was one of the overseers. I was flabbergasted.

He said, “Now just don’t talk to me. I’ll do all the talkin’.” He’s talkin’ out of the side of his mouth. He says, “I was born and raised in Seattle, had a nice restaurant there. I brought my mother back to Japan. She’s real old and knew she was gonna die and she wanted to come home. The war broke out and I couldn’t get back to the States. They made me come down here and work in the coal mines.” I didn’t know what the hell to say to the guy. Finally the car come down and I says, “Well, see you in Seattle someday.” And I left. I never saw him after that.

National Park Posters | Allison Rolinger

Poster © Allison Rolinger 2016
Above and below A suite of three posters having to do with the national parks, designed and illustrated by graphic design student Allison Rolinger (Spring 2016), Department of Art, University of Northern Iowa.


Joseph Epstein, A Line Out for a Walk (New York: W.W. Norton, 1992)—

One of the things that college taught me was that I cannot be taught in the conventional manner. Autodidactically, I have to go about things in my own poky way, obliquely acquiring on my own such intellectual skills as I have, assembling such learning as I possess from my odd, unsystematic reading. Are there many such people as I? The inefficacy of teaching in his own life, if I may say so, is an unusual thing to have to admit on the part of a man who spends a good part of his own time teaching others. But there it is—or rather, there I am.

Poster © Allison Rolinger 2016
Poster © Allison Rolinger 2016