Grady College names 2021-22 Teachers of the Year

Grady College is happy to recognize its Teachers of the Year for the 2021-22 academic year: 

Grady College is also happy to recognize the 2021-22 recipient of the Roland Page Award for Outstanding Graduate Faculty:

  • Sabriya Rice, Knight Chair in Health and Medical Journalism, Journalism. 

The Teachers of the Year are annually selected by their peers, based on excellence in the classroom and student feedback. The recipient of the Roland Page Award for Outstanding Graduate Faculty is annually nominated and selected by graduate students. 

“Winning the Teacher of the Year award in one of our departments is saying something, because these hallways are lined with award-winning teachers. It takes a superb effort to rise to the top of this competition,” said Charles Davis, dean of Grady College.

Dodie Cantrell-Bickley advises students on the set of Grady Newsourse. (Image: Sarah E. Freeman)

Cantrell-Bickley, who previously spent more than 30 years in various roles for television news stations, is known by students for her enthusiasm, high energy, interesting and inspiring stories and persistent willingness to help students both inside the classroom and during the job hunt. 

“(Professor Cantrell-Bickley) communicates a lifetime of experience in easy-to-understand and widely applicable techniques, quotes, witticisms, and when need be, lectures. All of this is done in a frank and personable manner with respect to who students are and who we are developing into as people,” wrote one student.

“The Journalism Department is so lucky to have Dodie,” added Janice Hume, head of the Journalism Department and the Carolyn McKenzie and Don E. Carter Chair for Excellence in Journalism. “She offers students the perfect mix of professional rigor and support. She does as much for students outside the classroom.”

In 2021, Cantrell-Bickley launched an all-volunteer news production program focused on social justice that attracted students from freshmen to seniors, and she led a team of faculty coaches and students to produce the hour-long documentary, “The First Five: The Integration of University of Georgia Football.”

Mattison, a filmmaker and author, uses his large bank of experiences writing and directing to teach his students what it takes to create stellar films. 

“Some students in his directing and capstone courses come away with award-winning films. But they all come away with invaluable knowledge, experience and insight into the skill, inspiration and determination it takes to create an entire, original visual story from the ground up,” said Jay Hamilton, head of the EMST Department and the Jim Kennedy New Media Professor.

Booker T. Mattison celebrates with students during Grady’s spring 2022 graduation celebration. (Photo: Sarah E. Freeman)

Outside of the classroom, Mattison recently finished shooting for his upcoming film “Sound of Christmas,” which stars musical artist and actor Ne-Yo and will air on BET during the holidays.

Pfeuffer is known as an avid proponent of active learning, a teaching method that focuses on engaging with students through discussion and problem solving. 

“Professor Pfeuffer is absolutely amazing. He’s so understanding and so concerned about every one of his students. He makes sure we understand the material, while still being genuinely concerned about our workloads,” wrote one of his students. 

“Alex is a beloved professor who teaches tough core courses in the curriculum,” added Bryan Reber, head of the AdPR Department and C. Richard Yarbrough Professor in Crisis Communication Leadership. “The fact that students express the fact that they don’t have to come to his classes, but they want to come to them, speaks volumes.”

Smith, who specializes in teaching Graphic Communication, is beloved by her students for preparing them with applicable skills for their careers. 

“Kristen is an excellent instructor!” wrote one of her students. “She was always engaging and excited about our work and eager to both give helpful feedback and listen to students’ ideas. I feel like I learned a lot about graphic design, to the point that I would feel comfortable doing graphic design work when necessary in my career.”

“Kristen Smith continually embraces new pedagogical models in her teaching,” added Reber. “Even when it means that it will increase her workload, she is willing to take the plunge and try new ways to critique and grade student design work. Kristen is a remarkably dedicated teacher.  Our students are fortunate when they wind up in her classes.”

Rice is an expert health and medical journalist and communications professional with experience reporting for some of the nation’s top news organizations and serving as the director of media relations for the American Cancer Society. She is praised by her students as a mentor inside and outside of the classroom. 

“Professor Rice has gone above and beyond countless times for me and my peers in and outside of the classroom,” said one graduate student. “She helped me network and helped me get an assistant producer freelance job that I am enjoying so much!”

Grady Graphics students create display for Spotlight on the Arts

Editor’s Note: The graphics display “Does this Make Sense,” featuring the artwork of April Greiman, is on display Nov. 5-26, 2021, in the Cube Gallery, Room N231, at the Lamar Dodd School of Art. This display is part of the UGA’s Spotlight on the Arts.

Chances are favorable that anyone who has studied the role computers have in graphic design has heard of April Greiman’s poster, “Does This Make Sense?”

Students in Kristen Smith’s Advanced Graphic Communication class this semester are not only trying to make sense of the 6-foot poster, but also educate others on campus about the history of the piece as part of the UGA Spotlight on the Arts celebration.

The students have studied the poster since the beginning of the semester and have curated and installed a display including a short video explanation in a gallery in the Lamar Dodd School of Art.

Smith, a senior lecturer with a keen interest in graphic history, has known about the poster for years and found an original edition on the shelves of the main library at UGA.

“This is a really historic piece and it just so happens it was on the shelves of the UGA library,” said Smith, who in addition to her teaching also serves on the UGA Arts Council. “I checked it out and then I told them, ‘you shouldn’t let people check this out.’”

An original edition of April Greiman’s “Does This Make Sense” poster is the centerpiece of the display.

The display features a poster created by Greiman in 1986, considered the first piece of completely digital print design and one of first examples showing the potential that computers have in graphic design. Grieman used an early Macintosh computer and the programs MacDraw, MacPaint and MacVision to create Design Quarterly issue #133. Instead of the typical 32-page publication, she created a 6-foot poster that folded to the dimensions of the journal. This pioneering example of digital design is reprinted in many graphic design textbooks but has to be reduced to the point that it’s unreadable.

Fortunately, the library agreed to let Smith borrow the original version of the poster which services as the centerpiece for the display. A short video was created by two students explaining the importance of the poster, and accompanying text and visuals provide context for the art.

Design Quarterly explains that the experimental poster was composed entirely in the computer: “merging type, still frames captured from video, digitized photographs, and computer-aided illustrations using MacDraw software—a technical feat at the time for desktop publishing.”

Grieman is still a practicing artist through her design studio in LA called Made for Space.

Students from the Advanced Graphic Communication class position graphic elements in the display.

 

Political Logos: Power, Persuasion and Pitfalls

‘Tis the season of political messages. They are on every street corner and what seems like every minute of television commercial airtime.

Most political messages also include a political logo: a visual representation of the values, promises and energy the candidate will deliver if elected.

We asked some experts at Grady College what makes an impactful logo and the importance of a memorable logo in political contests. To narrow down the field, we discussed the two logos of the presidential candidates this year—the incumbent, President Donald Trump, and the challenger, Senator Joe Biden.

Those participating in the discussion were:

David Clementson, assistant professor of public relations. Before teaching, Clementson ran several successful political campaigns for Democrats and Republicans. He specializes in political communication research.

Kim Landrum, senior lecturer, advertising and public relations. Landrum teaches courses in graphic communication, messaging strategy and campaigns.

Kristen Smith, senior lecturer, advertising and public relations. Smith teaches courses in introductory and advanced graphic communication and public relations communication.

Joseph Watson, Jr., Carolyn Caudell Tieger Professor of Public Affairs Communication. Watson has more than 20 years of experience in public affairs, campaigns and communications, including serving as a legislative director and counsel for a former U.S. senator. Watson teaches courses about public affairs communications focused on public policy and politics.

John Weatherford, senior lecturer, New Media Institute. Weatherford teaches courses in digital product design and user experience.

Following are the general themes that were discussed.

Graphic Strength

President Trump’s campaign logo in 2016 was criticized and eventually abandoned.

From a purely visual perspective, the two presidential logos are quite different. The Biden/Harris logo is straightforward and focused, giving almost equal weight to both names. My eye gravitates to the E which is styled like the stripes on the flag. The letters are kerned, or equally spaced, so the overall look is balanced. The Trump/Pence logo lacks the same visual punch due, in part, to the number of elements with two names, a tagline, the election year, star detailing and a stroke. Where does the eye go first? Placed together, the elements don’t have the same finesse as the Biden/Harris logo and the design lacks a visual focus point. The campaign logo for 2016 had significantly more flair with its integrated T&P but it did lack visual clarity and perhaps that is why it was abandoned. Neither logo is particularly inspired but if I had to pick a winner, the Biden/Harris logo is visually stronger. — Kim Landrum

The Trump/Pence logo for 2020 is fine, but it feels a little homemade. There is nothing daring or original in it. I would advise against putting a red box around the words and then adding some stars at the top because it seems rote. But the stranger thing, from a design perspective, is the vast amount of tracking—space between the letters in both men’s names. “Pence” especially looks like something you’d see in an eye exam. There is a message about importance being sent in the size of their names, too. Both names have five letters, but Trump dominates Pence in the logo. By comparison, the type in the Biden/Harris logo is justified—both words are in equal measure on the left and right and even though “Harris” has to be smaller than “Biden” because it has more letters, the names feel like a solid unit and give the impression of an equal team. There is nothing particularly clever or daring about the Biden/Harris logo, either, but that may be part of the point. It looks professional and stable, and the implication is that their ticket will be too. — Kristen Smith

I have always been struck by the absence of a flag or patriotic motif, aside from four small stars at the top in the Trump-Pence logo, but it is important to remember that the current Trump-Pence logo was adopted after an initial design was widely criticized and abandoned by the campaign. The typeface for both is solid as is the use of the red, white, and blue color palette, but the flag motif for the “e” in Biden makes it much more effective in my estimation. Aesthetically, the Trump-Pence logo is just not as attractive. — Joseph Watson, Jr.

The Message is King

Several campaigns, both Democratic and Republcan, have used “Make America Great Again, before Trump adopted it.

From having run successful political campaigns for Democrats and Republicans, I can tell you that I have never put any thought into the color scheme or shapes or font type or any other graphical elements of a candidate’s logo. The only thing that matters, which I learned long ago from one of Dick Morris’s books,  is that there must be a message, not just the name and the office and the party. Voters need a reason to vote for you. So, in addition to—and more important than—the candidate’s name should be a slogan or mantra or motto. A succinct message is more effective. For example, Clinton/Gore materials said, “It’s time for a change.” Obama had “Change we can believe in” and “Yes, we can.” Trump took the motto to new heights with the prominent messaging of “Make America great again,” which was also used by Reagan in 1980, Bill Clinton in 1992, and Hillary Clinton in 2008. A logo is worthless without a message giving voters a reason to vote for you. — David Clementson

Comparing the logos isn’t totally fair because the Biden/Harris logo doesn’t have their slogan, “Battle for the soul of the nation” on it. Actually, is that their slogan? It’s at the top of their website. It brings up associations for me with the Battle of Hogwarts—maybe people have other battles that come to mind but the phrase is heavy with struggle and myth and even morality. The Trump/Pence slogan, “Keep America Great” is hard sell this year no matter who you support for president. — Kristen Smith

The Logo Doesn’t­­ Really Matter

Based on the most rigorous and extensive evidence across the social sciences that has been conducted testing on voters’ reactions to electoral campaign stimuli, we can predict undoubtedly that Democrats like the Biden logo and dislike the Trump logo, and Republicans like the Trump logo and dislike the Biden logo. If the color schemes and styles and fonts were altered, their vote choices wouldn’t change. Voters’ likes and dislikes are driven by partisanship and inconsistent attitudes, beliefs, and opinions follow. — David Clementson

Hillary Clinton’s initial logo in 2016 was criticized for its poor color choice and being too blocky.

Logos in and of themselves really do not impact electoral outcomes. But bad logos that do not reflect a campaign’s brand and serve its objectives and messaging are often indicative of a campaign that is not well executed. Ultimately, you want to select a logo that does no harm to a campaign and does not generate negative coverage or become a story itself as was the case with logos for the Jeb! 2016 campaign, the initial Trump-Pence 2016 logo and the Hillary 2016 logos. Boring is better than a logo that draws negative attention or has to be withdrawn. — Joseph Watson, Jr.

These logos are both perfectly fine and uninteresting as pieces of design. I care about good design as much as nearly anyone, and yet I couldn’t possibly care less about these logos. I find it hard to believe that a single vote will be influenced one way or the other by either logo. — John Weatherford

Hidden Messages

The fact that the Trump name in the Trump-Pence logo leaves no doubt that this is not a partnership between president and vice-president whereas the closeness in font size between Biden and Harris and the use of the same color in the Biden-Harris logo conveys more parity between the two with the flag motif re-enforcing that Biden is the top of the ticket. — Joseph Watson, Jr.

More Graphics Background (Bonus)

The typeface designer for Decimal, the type used in the Biden/Harris logo, is Jonathan Hoefler along with his team. Hoefler was inspired by vintage watches when he created this typeface. The Obama campaigns used typefaces by Hoefler & Co., also. The Biden/Harris campaign will not stray from whatever style guides have been determined by their design team because that’s what style guides are for—to maintain consistency. By the way, if you haven’t seen the Netflix show Abstract that features him, you should check it out! — Kristen Smith

‘Our Plastic, Our Problem’: a graphics study of plastics in the world’s oceans

Being able to translate messages, issues and grand challenges in a clear, educational manner is a vital skill for any graphic designer. In an effort to bring those lessons to life, students from Kim Landrum and Kristen Smith’s Advanced Graphics classes participated in a project “Our Plastic, Our Problem,” visually depicting the problem of plastic trash in the world’s waterways.

According to Smith, students were given the opportunity to “interpret this information any way they want…to educate an audience, persuade an audience, develop messaging or create public service announcements.” 

Students first studied the issues leading to plastics in the waterways and were inspired by actual trash that the Office of Sustainability cleaned out of local waterways. Once they decided on an area to focus on, they had their choice of delivering their messages via a poster, infographic, social media campaign, website, gif or three-dimensional art. Almost all the created work focused on the themes of reduce, reuse and recycle.

For graphics student Kellie Stofko, this project reinforced values she currently practices. She created series of posters about reducing consumption that encourage viewers to use metal or paper straws, reusable shopping bags and metal water bottles. “Instead of focusing on recycling, we need to focus on reducing our consumption,” Sofko explained about her messaging. “I think this is something we need to focus on. The problem is so bad.”

The project was inspired by research by Jenna Jambeck, of the College of Engineering, who recently estimated that eight million metric tons of plastic enter the oceans each year.

The project is part of the University of Georgia Spotlight on the Arts celebration, Nov. 1-11, 2018.

A video about the Our Plastic, Our Problem exhibit can be viewed here: