University of Idaho - Gem of the Mountains Yearbook (Moscow, ID)

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betecrip 4 ADesigner’s Hell There’s only one university class where students received three credits for investing hundreds of hours of time and promising to work a week of all-nighters. And it was the only course where stu- dent work was critiqued by more than 8,000 people. Creative Process and Design (CP D), gave students the chance to complete a group design project under ‘“‘real world’’ conditions, according to instructor David Giese. Their first mission in the second semester of the class was to decorate the SUB Ballroom for the Mardi Gras Beaux Arts Ball. Stu- dents also designed and built the floats that have become the hallmark of the Mardi Gras celebration “The students can be involved at various levels, from the nuts and bolts to the supervisory, de- pending on their standing,’’ Giese said. ‘ The seniors will handle the supervisory work and the decorat- ing of the mall. They can all also enroll for two additional work- shop credits for decorating and clean-up.”’ Those taking CP D aren’t given much to work with by nor- mal standards, Giese said. They can only use black and white paper on the decorations, and only the latter on the floats. Aside from the economic considerations of nar- rowing the materials down, the students respond better to the im- posed color and materials, he said. “With only white to work with on the floats, the students can let their creativity run wild and produce ‘mental colors’ with shape and texture. Their minds don’t get slowed down with choos- ing which colors to use, et cetera,”’ Geise said. So why do students put them- selves through the torture of work- ing on a tight deadline schedule day and night, only to have to throw it all away the next day? Julie Benton, an interior design major, saw CP D as a chance to stretch creatively. “‘We are given only minimal guidelines on how to start on our floats, and we take it from there. It is a great deal more work than I had first thought — what with having to handle all the moving and cleaning up ourselves too,”’ she said. For Art’s Sake Design students like Brian Duffy and Car- rie Grey were responsible for building floats for the parade. In addition, design- ers decorated the Palouse Empire Mall and the SUB Ballroom. (Fritz, Fritz) License to Spud Unwilling to go through the Mardi Gras pa- rade without the comforts of home, parade marchers took a few necessitites with them. (Hayes) 24 Mardi Gras

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A Mother's Day Molly Walker needed the helping hands and guidance of her mother on the faith- ful day at the altar. Students found the support of their parents important for juggling a marriage and a college career. (Walker) A Familiar Ring Despite tight budgets and tighter finals schedules, Joe Corsini and his fiancee hit local jewelers in search of that per- fect ring for their May wedding. (Clark) Balancing the Books School and marriage provided a difficult mix for students as they tied themselves down to a family and a major. Keeping the ‘‘books balanced ’ academically and financially kept newlyweds on their toes. (Clark) Weddings 23

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In its ninth year, the Moscow Mardi Gras generated interest similar to its sister celebration down South. For the media, everything from the parade to the Beaux Arts Ball was all there in... Black and White Standing Room Only More than 1500 people attended the Beaux Arts Ball, filling the second floor of the SUB to capacity and causing fire inspectors concern. The afternoon of the dance, officials ordered David Giese to take down most of the student-produced decorations. (Fritz) Juggling Priorities Lead by President Mike Sherman, ten members of the Juggling Club tossed their way down Main Street during the Mardi Gras parade. (Morgan) Mardi Gras 25