From left to right: Mike Lorenz, Sean Svendsen, Sherry Jones, Chris Daniels, Todd Mendoza, Mark Mnich, Harlan Peden, Rob Green, and Kiel Mohrman

If you visit Priority Designs in Columbus you will likely run into some CCAD alumni, whether in the engineering studio, the prototype shop, browsing through fabrics in the materials library, or playing racquetball on the court they have in their lunchroom.

Priority Designs is a leading industrial design consultant and product development firm that works with companies such as Adidas, Mead, Lowe’s, TaylorMade, and more. We talked with several CCAD alumni employed there to ask what it’s like to work not only in a creative environment, but also alongside fellow CCAD alumni.

Meet Model Maker Rob Green (Illustration 1997), Senior Industrial Designer Michael Lorenz (Industrial Design 1991), Industrial Designer/Prototypist Todd Mendoza  (Industrial Design 2008), Senior Designer/Director Business Development Mark Mnich (Industrial Design 1997), Industrial Designer/Model Maker Kiel Mohrman (Industrial Design 2009), Senior Industrial Designer Harlan Peden (Industrial Design 2004), and Senior Industrial Designer/Insights & Brand Director Sean Svendsen (Industrial Design 1992).

Q) What is it like to work with other CCAD alumni?

Rob Green (RG): It’s strangely similar to the group projects we participated in during school. CCAD put an emphasis on group projects while I was there. It is how most projects are done in the workplace; multiple people are involved in the process of taking a project from idea to final deliverable. Knowing how to work in a group setting, being able to set egos aside to complete a task, and the ability to pull your own weight are abilities I have noticed in other CCAD grads.

Michael Lorenz (ML): One characteristic that stands out, in my experience, is the ability of CCAD alumni to communicate visually, through rapid sketching and other techniques, with confidence. Early in the design process when concepts are generated through sketching, whether digitally or [with] pen and paper, it should be clear what the intent of function and form are. Also, [CCAD grads have] a tendency to push the envelope in terms of material, form, color, mechanism, etc., and really get the details nailed down, which is revealing of a fine arts background.

Todd Mendoza (TM): We’re all family here. Working with CCAD alumni is really is no different than working with other industrial designers or mechanical engineers. We all come from various backgrounds that complement each other’s skills.

Mark Mnich (MM): Of course we often know many of the same people and, depending on our age, can sometimes recall the same instructors. We respect each other knowing that we’ve gone through the same grind and pulled those all-nighters. Eventually, we discover that most designers have a lot in common, no matter where they went to school.

Kiel Mohrman (KM): It’s great! Alumni are easy to work with and the projects always run smoothly. I’m guessing that what we learned at CCAD contributes to this.

Harlan Peden (HP): It definitely makes for a fun environment. Sharing our stories, ideas, and experiences from CCAD adds to our creative environment.

Sean Svendsen (SS): CCAD alumni are great to work with—CCAD grads are highly creative and generally have amazing artistic skills.

Q) Why do you think Priority Designs has a lot of CCAD alumni?

RG: With several other design schools close by, I doubt that proximity plays a large role in the decision. I would have to say that the students that are hired at Priority are the standouts in their class. When coming out of school, the strength of one’s portfolio and the internships that are under your belt are two key factors for getting hired, and a positive attitude always helps.

ML: Just a guess, but there is an emphasis on versatility at Priority Designs in terms of product category, material application, and level of mechanical complexity that creates a working environment that is suitable for a designer that is multifaceted in skill set, or at least multifaceted in interests.

TM: We’re a local company, minutes away from campus. Not to mention the talent that arises from basic foundation studies to extensive studio classes, all directly related to that specific career field.

MM: Proximity certainly has a hand in it, but we try to stay engaged with [CCAD] students by hosting tours of our office, reviewing portfolios, critiquing projects, etc. This interaction helps us identify the top students, so when it’s time to hire we know who to call.

KM: The hard work ethic and skills acquired at CCAD have a lot to do with it. When you’re done with the program, and if you’ve applied yourself, you’ll have a decent skill set to work with.

HP: For starters, Priority Design is located in Columbus. PD over the years has also been available to CCAD for critiques, in studio workshops, and assists with senior theses. This involvement allows for students to have an early exposure to PD, as well as helps develop a rapport that can lend itself to opening up future job opportunities.

SS:  I’ve found that CCAD alumni have higher visual communication skills than [those from] many other schools. Because of CCAD’s focus on fundamental art skills development, students get a deep grounding in fine arts. I find them generally better at sketching and 3D form sensitivity, which I think makes designs more emotionally compelling.

Q) Any advice for current students or fellow alumni who want to become involved with a company like Priority Designs?

RG: Make your portfolio as strong as possible. Feel free to contact any potential employer for portfolio reviews prior to graduating. Learn what they are looking for, because that will be applicable to most companies you will be applying to. Take the suggestions given to you and attempt to work them into your portfolio; it will usually improve the quality of your presentation. It also never hurts to get involved in portfolio competitions and win awards before you graduate; prospective employers look at those activities.

ML: When I was in college I had the benefit of being in a class where there was competitiveness, but also a willingness to share and critique each others’ ideas. I think that having a sharing attitude and not being afraid to critique and be critiqued while in school pays off big in professional life.

TM: Networking is key. While in school it’s important to meet and keep in touch with as many people in the industry as possible. Timing is everything, just as much as having a strong portfolio that accentuates your skill sets. We hire people not only for what they do, but who they are.

MM: Extend yourself beyond the requirements of the assignment. Like most employers, we’re looking for skills, passion, and commitment. We want people who are willing to keep asking questions and continue pushing themselves and those around them. You have to be highly adaptable; our world can change with a phone call.

KM: Don’t be afraid to reach out to [an employer] and show them your best work; if the quality is there then there is no problem getting matched up with a company like Priority Designs.

HP: Take an active role in visiting/touring or even having a portfolio review with local design firms. The design community is a close-knit group and having exposure and a line of communication open with any design firm can go a long way in helping a student find their first job.

SS: Work at making your portfolio visually impactful. We get tons of portfolios sent to us, and most of them don’t stick in our minds—they all look the same. You need to be distinctive, but in a way that is still appropriate. Use fewer words, and instead tell your story with simple compelling visuals. We see so many portfolios with tons of text and diagrams trying to tell a complicated story about the innovations they’ve created. The sad reality is when we get portfolios sent to us, they literally get about 10 seconds to catch our attention. If you didn’t instantly grab us with amazing visuals that tell a simple story, we move on. The marketplace of real products is the same. Consumers only give products on the shelf the same 10 seconds. Your portfolio is your shot to prove you know how to design successful products that can sell. If you want a great job out of school, your portfolio better be amazing.

Q)  Why do you love your job/working in a creative environment?

RG: What I like the most about my work environment is that we are rarely doing the same thing twice. There are projects that you are not as excited about, but that is always tempered by interesting and sometimes exciting projects that do come along. Plus, learning new skills is something that is always encouraged. It helps everyone when you can add a new skill set to the company’s bag of tricks.

ML: For me, the variety of experiences and challenges are fulfilling; there are always things to learn about technology, how things work, and human nature. And in a creative environment people tend to be optimistic and willing to share ideas. And of course, getting those projects that really improve life for others is what you tend to appreciate the most.

TM: I love being able to use my creativity to solve complex problems that arise in every product or project we work on. I also love that it’s different every day at Priority Designs. Since we’re a consultancy, we’d be working on appliances for Electrolux one day and then Nike golf clubs the next. We’ve fabricated concept bicycles, designed firearms, and engineered medical equipment. You really don’t know what client or what type of product you’ll be working on when you come into the studio on Monday morning.

MM: After 15 years, I can still make the claim that every day is different. It’s hard to imagine another job or career that can make that claim.

KM: I get to work on different projects every day; work never gets boring. I could be working on a project the size of a fork-lift one day and as small as surgical devices the next. Anything from prototyping to ideation, we do on a daily basis, so it stays super fresh.

HP: It’s fun, creative, goofy, exciting, and always different each day. Creative minds in a collective group can get crazy. Each day is a whole new task, and a whole new set of constraints, and a whole new objective. Projects can go from the most complex to the most simple and to-the-point. It’s great to have that uncertainty of what you are getting your hands into each day—it adds to the excitement. And having a group of people who you can bounce ideas off and work with to come to a common final result is extremely gratifying.

SS: I love the diversity of projects that we get at Priority Designs. It’s a fast-paced environment where we never know what we will be working on next. I can be designing golf clubs in our studio one week and the next week be conducting insight research on industrial equipment at the world’s largest copper mine in Utah. (That really happened.) The size and experience of our firm allows us to enjoy ever more challenging projects from the world’s most recognizable brands.

Q) What past experiences do you share and remember from being a student at CCAD? How has this impacted your professional career?

RG: The ability to work with deadlines and under pressure are two experiences that I will never forget from my time at CCAD. Short-timeline projects, especially in a group setting, were emphasized while I was there. Working at a consultancy, those skills are used over and over to deliver projects to our clients in a timely fashion. We always try to over-deliver our services to keep our clients coming back and telling others about Priority Designs.

ML: Honestly, what I remember the most is the exhaustion and sometimes despair of trying to get everything done well and on time. Also, being in a group of students that shared and critiqued out of a spirit of competitiveness, but also good will is something I remember. As trite as it may sound, these are the kind of experiences that prepare you for the real world.

TM: All-nighters. You may tend to think that once you’re in the “real world” they don’t exist anymore, but they do, at least they do here, anyway. Far too often we have large corporate clients with ridiculous lead times, and the bottom line is they have to get done. Unlike school, though, you can obviously not miss a deadline.

MM: Many of the design assignments at CCAD left some latitude for interpretation. Being resourceful and planning your work was critical to performing well. That holds true outside the classroom; not every client comes in with a clearly identified development path. You have to adapt to the situation, utilize your skills (and those of your co-workers), and follow through with passion and commitment.

KM: The hands-on experience was great. Being able to try everything or anything I wanted to do really helped me figure out the direction I wanted to go when I graduated.

HP: All-nighters, staying in the studio burning the midnight oil trying to get work done for a critique the next morning. It is still so true in the real world. There are times when it’s “all hands on deck.” Clients in the real world can sometimes have an unrealistic deadline that you have to meet; that’s when you buckle down, cancel any plans, and work till it’s done.

SS: I met some wonderful students when I was at CCAD. I still work with several of those people today. These relationships allowed me to find a great job at a great studio and have helped me build a great career.

CCAD alumni pictured in front of the Disney Animation Studios

Disney Animation has created beloved movies such as Tangled, Winnie the Pooh, and Bolt, and CCAD alumni have worked on story boarding, sketching, and programming for all of these hit features. We got a chance to talk to seven of our graduates about what it’s like to work with CCAD peers in this creative environment.

Meet Director Nathan Greno (Illustration 1993–1996), Story Artist Ben Lane (Illustration 1996), Character Designer Chris Oatley (Illustration 2001), Story Artist Ryan Green (Media Studies 2003), Story Artist Fawn Veerasunthorn (Media Studies 2005), CG Layout Artist Joaquin Baldwin (Media Studies 2006), and Stereoscopic Artist Trainee Darren Simpson (Media Studies 2011).

Q)  What is it like to work with other CCAD alumni?

Nathan Greno (NG): For me, it’s always a pleasure to be working with CCAD alumni. CCAD teaches a strong work ethic and a strong work ethic, gets the job done on time.

Ben Lane (BL): It’s a bit like old soldiers who can share war stories of late nights, rubylith, and scars from dull X-Acto blades. We grumble about the young punks who have it so easy these days with them computers, unseasonably warm winters, and the ability to tote their entire portfolio on miniscule flash drives. In all seriousness, it’s nice to have a common background with people, especially when starting a new job in LA. It’s comforting to know there are people who have been in the same trenches.

Chris Oatley (CO): The CCAD alumni who have made it to Disney are top talent. Ryan Green and Fawn Veerasunthorn are not only some of my best friends at the studio, but they are also some of the most talented people I know. It’s ridiculous and inspiring.

Ryan Green (RG): I feel that we have a bond, not just because we came from the same school, but because the animation jobs we wanted were unfortunately in a city other than Columbus. We all had to venture away from home, a little naive of the rules of the LA animation industry. Some of us had more roundabout career paths than others, but in the end, we kept learning and making connections until we were finally invited into the Disney family. By the nature of our school’s distance from LA, every CCAD animation student who wants to work for Disney will have to deal with a similar journey, and I think all alumni are aware and empathetic to that fact.

Fawn Veerasunthorn (FV): Most of the people I work with went to school in southern California, so I feel this instant bond whenever I meet another CCAD alum working at Disney or other studios. It is a small group of us, but a strong one. Even if we’re from various majors, we all fought through the same tough foundation year that allowed us to be where we are today.

Joaquin Baldwin (JB): Because we are all in different departments, I don’t really work directly with any other CCAD alumni. It’s great to know that they are around in the same studio.

Darren Simpson (DS): It’s exciting knowing that there are people in the same building that graduated from the same college. I have a friend here in particular that graduated the same year as me, and we were roommates freshman year. To eventually reconnect in a professional environment is very nice.

Q)  Why do you think Disney Animation has a lot of CCAD alumni?

NG: CCAD focuses on teaching the fundamentals. Every artist that works at the Disney Animation Studios need a strong fundamental structure to succeed. It’s been over a decade since I attended classes at CCAD, but what I learned there I use every day. The technology will change over the years, but the fundamentals stay the same.

BL: CCAD has a great program. Any artist could benefit from the foundation year alone. I think Disney recognizes that quality in the students and sees the school as a good source to draw its future employees.

CO: Disney Animation is still all about strong drawing and painting. If you submit a portfolio to Disney, people will go nuts for beautiful life drawings or plein air paintings. A high value is placed on classical art skill because it’s an inextricable part of the Disney legacy, regardless of the pervasive obsession with [Computer Graphics].

RG: Disney artists who come from CCAD embody the school’s foundation program. These individuals have found strength in their drawing, painting, or design skills and deliver high-quality craftsmanship on the job.

FV: CCAD focuses so much on the strong foundation in drawing, color, and design. Those are very important skills to have regardless of the department you’re working for. Not many schools emphasize them. Technology will always be changing, but the principles you learned from color concept classes will always be relevant in your career.

JB: I have no clue! I think it’s all due to random chance, depending mostly on the amount of available positions. Our studio has been hiring a lot of new people lately.

DS: There are a lot of passionate artists from CCAD doing many great things. I feel that having a desire to be in your respective profession will get you anywhere you want to be.

Q)  Any advice for current students or fellow alumni who want to become involved with Disney?

NG: It takes a lot of hard work to become an artist at the Disney Animation Studios. It’s not easy to get in the door, but it’s a goal worth fighting for. At Disney it’s possible to create films that will be loved worldwide. Tangled is a film I will be proud of for the rest of my life. Our animated films inspire toys, theme park rides, and attractions. It’s an amazing place to work. Aim high and never stop fighting for your goals.

BL: Many people who work in the animation industry, including some of Disney’s best artists, have websites, post on twitter, and regularly blog. Google search these guys and study their work, read what they have to say, contact them (if their contact info is readily available), and get their opinion of your work. The only caveat I would add is that they may not respond—these guys are busy. If you don’t hear anything, don’t get discouraged, but don’t become a pest, either. Also, start a website, or a blog or anything accessible via the internet. It doesn’t entirely replace having a portfolio, but it comes in handy when getting opinions of your work.

CO: Do great work and be great to work with. Every investment of time, money, and energy that you make as a professional artist should be in service of one or both of these goals. So the next time you start to get overwhelmed or depressed, just ask yourself:  Is this (time, energy, emotional, financial) investment helping me to focus on one of the two principles for success in the industry?

RG: Get personally involved with artists who do what you want to do. Be proactive. Use the internet to your advantage. If you want to be a Disney story artist, find a current Disney story artist’s website, study his/her work, and email him/her questions about what it takes to get into that specific position. Show your work and ask for a brutally honest critique. If that professional feels you’re not quite up to par yet, then make new samples and get a new critique in a few months. Ultimately, keep communicating with professionals and don’t stop making new art.

FV: The internet has opened up a new world full of great references to study. I’d recommend for students to look up artist’s blogs that are currently working in the industry, and don’t be shy to ask for their advice. Lastly, keep on practicing and never be discouraged by rejections.

JB: Definitely try for the talent development program. I would say it’s even better than being hired regularly, because they train you, give you tons of free classes, have you meet other departments and great people, and they pay you for it all. It’s also easier to get in since they expect you to prove yourself once in, rather than depend entirely on previous work experience like most of the other standard positions.

DS: It’s not required, but it helps living close to the studios. I think being around the studios and creative people fuels creativity further. Also, be persistent when trying to achieve a goal, and be open minded. You will never know which skill of yours will eventually get your foot in the door—It took me by surprise.

Q)  Why do you love your job/working in a creative environment?

NG: I can’t imagine not working in a creative environment. I don’t have an easy job, but I have a very rewarding one. I can’t imagine doing anything else in the world. I’ve been at Disney Animation for 16 years. There’s no other place I’d rather work.

BL: I love working with like-minded people. It’s amazing to be surrounded by so many artists who are passionate about animation, telling stories, and creating entertainment. The caliber of talent at Disney is humbling, and I can’t help but be inspired to be a better artist.

CO: I make a living from my imagination. It’s what I was born to do, so the privilege to do that 24/7 is overwhelmingly awesome. I’m also a people person. Some folks are made to go off into the woods, live life in a log cabin and paint lakes—that’s not me. I am made to collaborate, encourage, challenge, argue, etc. So to be released to just be myself in an environment where I can learn from and be challenged by everyone…well, it’s a dream come true.

RG: Animation is a collaborative medium, especially at a studio like Disney. For me, doing my art amongst creative peers is not only inspiring and informative, but in a racehorse kind of way, keeps me focused on being the best I can be, offering the best solutions for our films.

FV: Disney Animation has a long line of legacy and knowledge that has been passed along from one generation to the next. I learn so much from my colleagues each day, and they inspire me to be better at my craft.

JB: I feel like I can provide a lot of creative input into the films we are making. There is a hierarchy here, but it doesn’t mean that only the directors and producers have a say on it all. I tend to be very vocal and push new ideas. I feel that if I was just creating the shots that I was assigned to without questioning them, I’d get bored very quickly.

DS: I love it because I get to be creative. In any creative environment with passionate people, you will get sucked up in a whirlwind of creative magic—and it feels great.

Q) What past experiences do you share and remember from being a student at CCAD? How has this impacted your professional career?

NG: CCAD really taught me the importance of getting the job done on time and putting the most into everything I do. I learned work ethic and skills at CCAD that I apply every day at the studio. Without CCAD, my artistic toolbox would be empty. I owe a lot to all of my instructors at CCAD. I worked hard while I was in Columbus, and my reward has been a successful career at the Disney Animation Studios.

BL: I had to explore a few different directions in art before settling on animation. CCAD exposed me to many different artistic paths and helped me discover where I wanted to go. Specifically, Ron Saks’ class on storyboarding opened my eyes to an exciting new world that I had never considered before.

CO: When I was at CCAD, the animation industry was getting turned upside-down by the likes of Woody, Buzz, and Shrek. Meaning, CG [Computer Graphics] was changing everything and art schools everywhere were trying to figure it out. The internet wasn’t really “The Internet” yet, so information moved more slowly. My teachers at CCAD knew something that has been proven true in my life over and over and over, that regardless of what changes are happening in any area of commercial art, the art part should always be your main focus. CCAD taught me to set unreachable high standards for myself and to focus on drawing and painting above all else. It took me six years to break into the industry, but ever since then I haven’t had a single day without work. I owe a great deal of that consistent success to CCAD. CCAD is unlike many art schools in that they don’t chase software trends. They focus on drawing, painting, color, composition, etc. That’s the important stuff. That’s the stuff that will get you through the long haul.

RG: Around my junior year, the Media Studies department invited Dr. Stuart Sumida, a paleontologist and animal locomotion expert, to give an intensive seminar at our school. In his “You Are What You Eat” presentation, he broke down and defined the differences between herbivores and carnivores and how their anatomy affects their movement and behavior. Fast forward to my current Disney project, a movie involving a fictitious animal. In what started as a casual conversation with my director about this animal’s movement, I was eventually asked to create a presentation for the team that would clarify how this animal would move and what features needed to be changed so the character would be more believable to the audience.

FV: During my junior year at CCAD, I took Mr. Tardino’s illustration class, despite being a Media Studies major. I learned so much about character development and story, that I went back and took it again the next semester. The knowledge I gained then has been very helpful to me as a story artist today.

JB: I remember a lot of cheap ramen. I remember freezing my butt off. I remember cleaning the ceramics lab as a student worker, and growing clay stalactites in my nostrils. I also remember picking the hard teachers on purpose so I’d be pushed harder, and always trying to do a bit more than what any assignment asked for. I think that CCAD was as much about learning art concepts and skills as it was about learning to be self dependent and self driven. In a creative work environment they look for people that can handle the tools well, but that are also able to take initiative and improve the tool set and quality of the work.

DS: Foundation year. We all have our own experiences and memories from foundation year, but it was a huge stepping stone for me. I learned a lot about so much, and I still have a lot of learning and growing to do. I’m always trying to better myself and discover/learn new ideas, techniques, etc.

Check out our alums’ websites for more information:
Ben Lane
Chis Oatley
Ryan Green and Fawn Veerasunthorn have Bluefoot Studios
Joaquin Baldwin
Darren Simpson

Nationwide downtown office

They can be found working on branding or pulling together a commercial or photograph. They’re our alumni, and they work for one of the leading insurance companies in the country, Nationwide. We recently got a chance to chat with four CCAD grads about what it is like to work with fellow alumni at Nationwide.

Meet Brand/Reputation Director Tara Roe (Illustration, 1999), Campaign Manager Pamela Watkins (Advertising & Graphic Design, 1983), Creative Director Marc Lincewicz (Illustration, 1992), and Multimedia Senior Coordinator Mary Kay Kemper (Advertising & Graphic Design, 1991).

Q) What is it like to work with other CCAD alumni?

Tara Roe (TR):  It’s fun! There is a common understanding of design and color because we all had the same foundation courses. CCAD grads have a lot of pride in their work and it helps Nationwide’s design continue to grow and evolve.

Pamela Watkins (PW): It’s great to find out someone is a graduate of CCAD—because of foundation courses and instructors, you immediately have a bond with a co-worker. It is also fun to see where we have landed; our careers can take such diverse courses.

Marc Lincewicz (ML): I guess I would say that when I discover that someone I’m working with has graduated from CCAD it forms sort of an instant bond. We have an understanding that we both went through a similar learning experience and probably have similar levels of understanding with regards to finding creative solutions to complex problems. It’s sort of that unsaid wink and smile that we get each other.

Mary Kay Kemper (MK): It’s great to re-connect with people I went to school with and to meet other alumni. It’s almost like they get it and they have a slightly better work ethic then others (at times).

Q) Why do you think Nationwide has a lot of CCAD alumni?

TR: Nationwide is a great place to work! We have a great creative culture within our design teams and they are encouraged to challenge ideas and push the envelope. There are also a variety of projects and opportunities to move within the company.

PW: There are so many opportunities at Nationwide that incorporate a part of your education from CCAD. We have great creative teams. Having both CCAD and Nationwide as such a big part of Columbus’ culture, it only makes sense that so many of us end up here.

ML:  Some people may be surprised to learn that Nationwide recognizes the impact that strong creativity has on our ability to communicate with our members. In my experience, on the design side of my training, CCAD taught me to always create with users in mind. People may be unaware that Nationwide sells much more than just auto insurance. Our in-house creative also consists of an internal photography department, web and interactive teams, video production, photo retouching, and we’re even moving towards 3D modeling. I also think Nationwide understands that CCAD turns out quality people who are prepared to take on a variety of creative challenges. Finally, the combination of the company wanting to be a creative leader and having a leading creative institution in the same city simply works well together.

MK: A big perk is having Nationwide located conveniently near the school. I was out of state for a while and when I returned to find work in Columbus I knew having a CCAD education on my resume would be a big benefit.

Remodeled Nationwide plaza/lobby

Q) Any advice for current students or fellow alumni who want to become involved at Nationwide?

TR: I started at Nationwide as an intern after attending a job fair just before graduating. My advice is to show up to job fairs and make connections. It truly is a key to building your network. It’s all about who you know. That will help you get the time to prove yourself to a potential employer. Have a strong portfolio, practice interviewing, and continue to push yourself creatively.

PW: Never close the door on what you might bring to the table as a result of your excellent education at CCAD. After a long career in graphic design, my first job at Nationwide was as a print buyer. That opened so many doors, and now I’m a campaign manager for Nationwide Financial, who would have thought!

ML: It can be a long, hard, and competitive process to break into Nationwide. The best approach is to be willing to start in a junior position and work your way up. If you are an alumnus with experience, your book needs to show serious talent and a commitment to your craft. Either way, a candidate’s book needs to be excellent, clean, and professional.

MK: A good way is to start as a contractor and test the water, see if Nationwide is right for you while the company will see if you will work out. I contracted for a while before going full time.

Q) Why do you love your job?

TR: I love managing a team of campaign managers and working daily with designers and writers. Although I’m no longer designing myself, I know that I need to stay close to it. Creative people bring so much more energy to the table.

PW: I still get to be a huge part of the creative process without doing the actual designs. I co-lead projects from strategy through completion. I’m always working on various platforms from collateral to conferences to web presence. I still get to partake in the background I love, while learning new things and developing new relationships every day.

ML: I love that Nationwide offers more creative opportunities than many people realize. I love the variety of creative challenges—there’s something new each day. I’ll be honest, I love a steady paycheck; the freelance world wasn’t for me, although I understand the corporate world is certainly not for everyone. I also like that what I do plays a small part in helping people get their lives back together after a problem. This company believes in the success of our city and our community.

MK: I just love it here and love the people! It’s a great creative environment!

Q) What past experiences do you share and remember from being a student at CCAD? How has this impacted your professional career? 

TR: I do lunch with Marc Lincewicz. We challenge each other to work on our art outside of Nationwide since we are both in management roles. I continue using my Color Concept and 2D skills in creating cards and occasionally selling them at the CCAD Art Sales, and Marc has showed his drawings/paintings in local art galleries. It’s great to have a fun, creative full-time gig, but also express our art on the side.

PW: All nighters! I worked part time, so my time was valuable and every minute counted. That taught me the discipline it takes to run a large campaign, work with so many teams, and balance budgets and deadlines. I also have an eye for what works and what doesn’t from messaging through design and that doesn’t come naturally. My education taught me to look at the details.

ML: My experience at CCAD was about constant work, a ton of pressure, and deadlines. I learned those deadlines had to be met. (Even the time I was at the hospital at 3 a.m. getting stitches for an Exacto knife cut.) It was an endless period of trial and error, of reworking and refining. I remember on my orientation day, President Cazani said to the freshmen, “Look to your left, look to your right, those people will not be with you on graduation day.” I knew at that moment I was probably facing a tough four and half years (it took 4.5 years to earn a BFA when I attended CCAD).  But the program being that tough taught me that I could take on seemingly impossible challenges. While I was never the smartest or the most talented artist, I knew I could hold my own. That core idea has stayed with me during my 17 years with Nationwide. It also applies to my fine art work that I do outside of the office.

American Greetings logo

Visit American Greetings and you could run into as many as 23 CCAD alumni. We got a chance to chat recently with four employees about what it is like to work with fellow CCAD grads in this great creative environment.

The CCAD alumni we talked to were Senior Designer/Illustrator Kelly Grupczynski (CCAD, 2002, Illustration), Senior Writer/Illustrator Erik Flesher (CCAD, 1991, Illustration), Creative Director Mark Harvey (CCAD, 1984, Illustration), and Graphic Designer New Product Concepts Heidi Appel (CCAD, 2001, Advertising & Graphic Design).

American Greetings states that they  hire people who “are passionate about their craft, exhibit engaging personalities, demonstrate very good communication skills, and who have an insatiable appetite for the world and people around them.” The company has nothing but high regards for the alumni who are currently employed there. “CCAD students and alumni stand out in specific ways with a good right/left brain balance—a positive career path since most of our creative leaders are CCAD alumni, and their creative development process stands out.”

Q) What is it like to work with other CCAD alumni?

Kelly Grupczynski (KG): It is has been nice. Starting a new job can always be daunting, and seeing a familiar face or having a common background helps take the edge off.

Erik Flesher (EF): I have worked with dozens of alumni over the years, and I always find it interesting to hear their stories about classes and professors. There is a sense of commonality among us that I think helps build a professional camaraderie as well as a friendship. I also know that being a CCAD alumni means they have mad skills.

Mark Harvey (MH): We are scattered all around American Greetings, and it truly has become a giant melting pot of talent. We even have mini impromptu reunions!

Heidi Appel (HA): I think it is excellent—we all share such rich experiences, and it is wonderful to be able to swap stories

Q) Why do you think American Greetings has so many CCAD alumni?

All: Their past relationship with recruitment and [AG's] proximity to the school.

EF: CCAD’s emphasis on learning solid design skills as well as trying to tap into each student’s imagination is a big reason. Whether they are looking for artists or writers, American Greetings has come to expect a certain level of professionalism and talent coming out of CCAD, so they tend to hire those graduates.

Q) Any advice for current students or fellow alumni who want to become involved at American Greetings?

MH: You need to be open to all possibilities. And have multiple skill sets in each category of art. The best philosophy is to work hard and play hard.

EF:  Develop a strong work ethic. Bring your sketchbooks along with your finished pieces to show the company. It will help American Greetings see how you think and construct. If you are looking to write, bring your own voice! Also, here is a biggie—spell everything correctly in your writing submission, I know it sounds like a no-brainer, but check and re-check.

KG: Take time in your portfolio and put something unique together. Reach out to fellow alumni at the company and have them offer their suggestions and critiques.

HA: Be persistent! Keep checking job boards, and make a website that houses your work.

The Town Square at the American Greetings headquarters

Q) Why do you love your job?

HA: I love the diversity of job positions available. There are also a lot of opportunities to collaborate and work with other areas of the company.

KG: My whole life I wanted to work in children’s entertainment and illustrations and here, I’m able to do just that! Currently, I am the lead illustrator for Strawberry Shortcake, which means pretty much everything and anything Strawberry gets seen by me! It’s an exciting prospect to think that one of my own ideas can get made into a television series or toy one day for the next generation to enjoy.

EF: I have worked here nearly 20 years and I can honestly say I still love coming in every day. Oh sure, there are frustrations and headaches, but that’s going to occur at any company. There is a freedom to be creative here. In many ways, AG is like an art school—you’re surrounded every day by other creative people, all doing amazing work, sharing ideas, and speaking the same language—but, unlike an art school, you get paid to do this.

MH: I have been with American Greetings for 27 years and I still love coming to work every day!

Q) What past experiences do you share and remember from being a student at CCAD? How has this impacted your professional career?

HA: I remember working my butt off! The work ethic has followed me into my professional career.

KG: Ha! For some reason, the first thing I thought of with this question was eating at our dorm cafeteria.  One time, the cooks made chicken cordon bleu and the sauce on the chicken was actually blue … cerulean blue in fact. Sadly, I declined the blue chicken. But what I really remember about school was how enthusiastic and encouraging our instructors were. Bruce Barnes taught me animation. Ron Saks taught me story boarding. I had illustration with Dave Groff, figure drawing with Dennis Drummond, oils and watercolor with Arthur Wang, portfolio class with Evangelia Philippidis—to name a few.

EF: When I think about CCAD, I can’t help but think of me all jacked up on caffeine, trying to finish projects at two, three in the morning. If you haven’t pulled more than a few all-nighters at that school, then you’re clearly not working hard enough! I also remember all the critiques. Sitting through those critiques definitely helped me learn to accept and give feedback—both good and bad.

Interbrand alumni: Front Row: Jen Rossignol, Les Maass, Jon Moser, Lauren Kemnitz, Ted Monnin; Back Row: Kayla Risch, Jack Hinkel, Susan Burke, Derek Robinson

Back in 1974, when Interbrand was founded, the world still thought of brands as just another word for logo and Les Maass (CCAD, 1974) was fresh out of college.

Since then, the Illustration major and a steady stream of other alumni talent have joined the ranks of Interbrand—a business at the forefront of the movement to capitalize on brands as business assets.

With one of the world’s leading brand consultancy companies consistently hiring our graduates we thought it would be worthwhile to take a look at the creative assets and traditional skills that CCAD contributes to the business of brand management.

Understandably, Interbrand’s human resources department must remain impartial and recruit from various schools, but we think (and admittedly we may be biased) that the company has made some wonderful hires and has some very talented tenured employees within its leadership who are graduates of CCAD.

Perhaps unsurprisingly, all of the CCAD alumni currently working at the Cincinnati office of Interbrand were Advertising & Graphic Design majors. We queried two of the nine alumni: Art Director Lauren Kemnitz (CCAD 2005) and Creative Director Ted Monnin (CCAD 1991). They don’t claim to speak directly for their classmates, but their perspectives illuminate the work environment of designers Susan Burke (CCAD 2010), Jon Moser (CCAD 2007), Kayla Risch (CCAD 2010), Jen Rossignol (CCAD 2009), Associate Creative Director Derek Robinson (CCAD 2001), Executive Director of Implementation Jack Hinkel (CCAD 1983), and last but certainly not least, the aforementioned Les Maass, who is a senior implementation designer.

Q) What’s it like to work for a company that hires so many CCAD alumni?
Lauren Kemnitz (LK) It makes me proud that Interbrand hires so many students from CCAD. It verifies that our education prepared us well for the working world. We all share a strong bond from our years at CCAD and love sharing stories about our experiences there. We respect each other’s skills and count on our ability to deliver strong strategic design solutions. The energy and passion for design we all carry is intoxicating.

Q) Why do you think Interbrand keeps coming to CCAD for employees?
Ted Monnin (TM) Interbrand is very interested in bringing in strong talent and developing them into world-class branding creatives. Our design process is built around concept development via collaboration and sketching ideas before going to the computer.  Having traditional hand skills to clearly communicate concepts and experience in a critique-based environment is key to successful design development here at Interbrand. CCAD grads have the skill set that works very well with our creative process. That, along with personal creative passion, are the elements we are looking for in our employees.

Q) For any CCAD grads heading to Interbrand or dreaming of one day working at Interbrand, what’s your advice?
TM) Package Design class is not optional, it is imperative. For a CCAD student it is where you will learn how a brand functions in the real word. Also, focus on your hand skills and how clearly you can represent your ideas through typography, color, pattern, and verbal expression. The idea is king, so make sure you can communicate your ideas clearly and can highlight all the facets of your concepts. If you are passionate about design and having your creative work and your career reach a global audience, then you need to look at Interbrand.

Q) What’s the best part about your job?
LK) I work with such talented people! I am inspired daily by the people sitting right next to me. The design world is ever-changing and learning from your colleagues is key.

TM) I really enjoy the collaboration involved in our creative process—the way we all work toward a common goal and how different ideas can come together to create exciting, breakthrough work. I also enjoy working closely with our younger employees and helping them develop into strong, world-class creative talent.

Q) What do you miss most about CCAD?
LK) Being around amazing artists all the time. The exposure you have to all the other art disciplines when you are at CCAD is incredible. I would definitely recommend to everyone that they network during their time at CCAD. Knowing the best photographers, illustrators, and artists can be a great advantage in the future.

(Left to right) Randi Prudden, Cierra Cunningham, Jasmine Stewart, and Anna Fowler

Given that more than 50 CCAD alumni are employed by Abercrombie & Fitch, it’s less of a surprise than you’d think to find four just in the company’s knit bottoms division: Anna Fowler (CCAD 2008), Randi Prudden (CCAD 2010), Cierra Cunningham (CCAD 2010), and Jasmine Stewart (CCAD 2006). We couldn’t resist the opportunity for a group interview. But before we talked to them, we had to ask the company why they love working with CCAD grads.

“Abercrombie & Fitch loves going through the recruitment process at CCAD each year,” said Anne Vetta, senior recruiter for design at Abercrombie & Fitch. “We know we can expect to meet well-rounded, talented students from the design programs.  The foundation year at CCAD is truly unique, and we really appreciate the fine artist skills that are developed during that first year.  We also receive amazing support from the Office of Career Services as well as the Institutional Advancement Office, which is crucial.”

Now without any further ado, a word from our alumnae.

Q) What’s it like to work with three other CCAD alumnae?

Jasmine Stewart (JS) It’s great, because you know the skill set of the other person. You know they learned the same things you did, so you know what you can expect from them.

Randi Prudden (RP) That’s the best part about it. They’ve been through the same thing that you have. Just to be like, “Anna, you know how Mrs. Hannan said this, well what does that mean in Abercrombie terms?”

Cierra Cunningham (CC) It’s really cool to walk around A&F’s campus and recognize a lot of faces. It’s less intimidating, and you feel at home because you recognize so many people.

Editor’s Note: We got to experience this first hand. As we were taking our tour of A&F, we walked past soon-to-graduate Jordan Jones, who was interning for the company at the time and finishing up his collection for the Senior Fashion Show.

Q) Why do you think Abercrombie keeps coming to CCAD for employees?

AF) I think it’s that they know we have the skill set, we’re hard workers, and we come out knowing design.

JS) We’re well-rounded. We’re able to be creative. We’re able to work hard. But most importantly, we’re able to talk about our work, which can be intimidating for designers. CCAD makes you talk about your work and explain your ideas, which is very helpful once you get out into the workforce.

RP) When you step into a design role, you’re not just a designer. You’re a part-time merchant, a part-time graphic designer, a part-time critic. You do everything, and I think that Foundation year at CCAD—when you spend all your time learning about so many different things—helps you to develop the confidence to say “yeah sure, the store should be set up this way.” You know how to do interior design work and how it will look and 2D and 3D presentation and everything. As CCAD grads, we’re like, “throw it at us. Come on. We can take it. ”

JS) Right. You come out knowing all the computer programs. You can draw by hand. You can kind of do everything or at least have the foundation to look to.

AF) I think that’s the biggest thing, having that foundation—because you don’t learn industry until you’re in it, but having that foundation is super important and key. I’ve worked with a couple people who were just coming in and weren’t from CCAD, and they didn’t have the same skill set. It’s nice to work with other people coming from CCAD because you’re like, “oh yeah, you know that.”

Q) Each of you designed a four-piece collection for the senior fashion show the year you graduated. Are you going to this year’s event? Are you looking for future coworkers, or just to support your alma mater?

(All four) “Yes, of course, we’re going!”

RP) I’m going back to support the school, but you never know when Human Resources is going to call.

AF) Just to see the final collections. It’s really cool to see people who come in—and maybe they’ve been sewing since they were four or maybe not—but they have that final collection which is such a big accomplishment.

Q) We have several recent graduates heading to Abercrombie for their first “real” job. What would be your advice for them?

CC) Coming from CCAD, you’re taught to work hard, so it is really an easy transition to working here.

JS) Be passionate and work hard—and be open to learning.

AF) Keep an open mind. Everything you learn in school is a great foundation, but you’ll need to hit the ground running because everything changes when you start.

Q) Why do you love your job?

JS) I have been working here for almost five years, and every day is a challenge, and every day is interesting—and I just love it. I am constantly learning every single day.

AF) It’s a fun, casual atmosphere. What we like today isn’t necessarily what we’re going to like tomorrow, which keeps it interesting.

CC) It is just so inspiring to work here.

RP) I think that people are like “oh, it’s Abercrombie & Fitch. You’re not going to be challenged.” But that predetermined idea is completely wrong. You have to be even more creative than normal because you are working within one brand and each thing has to be different than what it was before—and that’s really hard to do sometimes. You have to find other ways to solve problems. It’s challenging, but I look forward to it every day.