Rhode Island School of Design - Portfolio Yearbook (Providence, RI)

Text from Pages 1 - 100 of the 1956 volume:

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PORTFOLIO This book is dedicated to the late Joun Howarv BENson and the late Cuarces Bucuan, Jr. Joun Howarp Benson will be remembered as a sculptor, a calligrapher and a craftsman by those who did not know him. To those who did know him he will be remembered as a man with the courage to live as he wanted to live and who by example and precept was a great teacher.” JouN R. Frazirr, President CuarLes Bucuan, JR. was considered by many as one of our most promising sculptors. We regret that such a promise will go unfulfilled, but above all, we regret the loss of the man. - CLOTHING © i Textile Design | Textile Chemistry — - Textile Engineering | appeal Design — a AR CALECESTE § “Illustration . o 7 Apa oe SD. ‘THEATER � GLEE CLUB Seine CLUB | a5 be DIVISION OF te AND . _ DIVISION OF PLANNING | INE DESIGN SOCIETY. PRESIDENT JOHN FRAZIER is the first R.I.S.D. graduate to become head of his Alma Mater. President for an interim period, faculty, students, and alumni, too, have found reason to commend the wisdom of the Board of Trustees in entrusting to him the exacting responsibilities of the presidency in the delicate time of transition. In the brief period he has this position, he has shown himself to be-as wise an administrator as he is an incomparable teacher. In his able conduct of strange new duties, he has demonstrated a keen understanding of the College’s overall operation, its purposes, its problems. FRANCIS J. DEIGNAN, Dean; CHARLES DUNN, Jr., Director of Admissions; RAY F. CARMICHAEL, JR., Director of Public Relations; MURRAY S. DANFORTH, JR., Treasurer; GORDON C. ALLEN, Director of Student Association; GEorGE L. BRADLEY, Registrar; E. DEAN FARNSWORTH, Superintendent of Buildings and Grounds. 6 ADMINIS- sieeve | ON WW) i a mt | eRe eee ee oe ee ACADEMICS ak HE BASIC AIMS Of the Division of Liberal Arts are inherent in its title, namely, that the several areas of study, whether it be I’inglish Composition or World Literature, His- tory of Civilization or the histories of art and architecture, the social sciences or mathematics and physics are considered as arts and illustrate the same principles of design as are studied and applied in the professional fields. The liberal arts subjects are not considered as separate from those studied as design but rather as harmoni- cally enriching and amplifying the same prob- lems as occur in design. Secondly, the joint pur- pose of the division is to liberate the student, to open up different avenues of approach thereby inducing a flexibility and freshness of attack that is one of the attributes of the successful designer. The study of man, his aims and his ideals and the ways and means by which he has expressed these in a variety of circumstances both in the con- temporary world and in former times is the core of the liberal arts studies. His nature and his relation to society are investigated to accord with the fundamental purpose of all education, that of self-discovery, self-criticism and self-under- standing of one’s manifest duties and responsibil- ities as a social being. The fact that Rhode Island School of Design is a college with power to grant bachelor’s degree necessitates that any graduate will have been required to have been introduced to several of SS == ° ) eee NN re oft S ——s ° LIBRARY the liberal fields of study. The constant challenge to the division is how best to present and integrate these several subjects with the training in the professional areas. One method is appreciating the strong ability of the students to use visual material as both inducing new approaches to their work and deducing valid, underlying prin- ciples. Hence, considerable effort in research on the design and production of visual aids and their use is characteristic of the members of the divi- sion’s faculty. These aids are naturally supported by a careful selection of texts and reference material. | Of greatest assistance to the faculty and the students is the school library in providing an abundant source of material both literary and visual. A pleasant and informal atmosphere has been created which fosters serious study and equally important, delightful browsing. The fact that most of the books and periodicals are readily accessible on open stacks tends to break down the assumed compartments of learning and the stu- dent is free to delve into unaccustomed areas of thought. The facilities of the library, consisting of books related to the field of art, the mounted color reproductions and photographs, the clipping files and the slides form together one of the outstand- ing collections in America and its value both to the faculty and the students in their endeavors is of the utmost importance. A. E. SIMONSON Chairman, Division of Liberal Arts MUSEUM Tue Museum oF Art is one of the oldest divi- sions of Rhode Island School of Design, and its origins go back to the earliest years of the institu- tion. Through the years, with the help of devoted friends and staff, it has developed as a working collection of choice examples of the world’s art arranged to present a cross-section and a chrono- logical sequence of the history of civilization. This aspect of the collections, however, is em- phatically not to be thought of as its principal phase, for no one ever goes to a museum primarily to learn about history or the story of civilization as such. The reason one goes to a museum—the National Gallery, London, the Louvre, or such a smaller place as Fenway Court, Boston, all come to mind—is to see superlatively beautiful works of art, no more, no less. And this is exactly the reason why anyone would visit our Museum—to see such treasures as the head of Ptolemy VI, the Romanesque ivory, the Tintoretto, the Houdon, the Oudry, or our nineteenth century pictures. It is the matter of becoming familiar with the best and then renewing the familiarity time and again which makes for the impact of a work of art. Many years ago Earle Row, the distin- guished first Director of this Museum, wrote of the French painter—Millais, I think it was— who said, ‘I know my Louvre! and Mr. Rowe made the plea that each of us in the region can and ought to take the same pride and sense of personal identification in our Museum. A museum has, naturally, three functions: to acquire, to preserve, and to publish. In the broadest sense these mean to garner together the finest and loveliest of the world’s visual treasure regardless of historic significance, to put these works into the best of possible condition and to show them as gracefully as possible, and to make them known to all who may be interested (and, if possible, to those who may not care, too) through the various means at the Museum’s dis- posal. The Museum has now for some years through the Museum Committee, that group of disinterested people who are charged with a gen- eral superintendance of the Museum, devoted friends, and the staff, been at work to improve its holdings by buying or accepting only those objects of the highest quality and refusing to buy or accept something merely because it fills a gap. The installations are constantly in a state of re- finement so that one may now find the Museum an exceedingly pleasant place in which to be. And the Museum, through its Museum Notes, which constitute three issues annually of the Bulletin of Rhode Island School of Design, as well as the independent publications of its staff, and through its other activities in the way of public relations, is making its treasures known. DR. JOHN MAXON Director of RIS.D. Museum FRESHMAN FOUNDATION “O This Learning, What a Thing it is!” The Taming of the Shrew “O, this learning what a thing it is!” How hard it is and with what toil, amid the shattered castles of our old beliefs, we come to know the complex alphabet of a new articulateness, to find there is great virtue in simplicity, to see what we had not seen be- fore— a strange arithmetic of line, the line of form, the form of space and the all pervading color of our environment— to be aware, yet not to know; to wonder, yet no answers to find; to feel the rankling shock of self responsibility without the soft security of precise judgment and reward for what we thought was meant for us to do; when what was meant was only that we should come to know that Learning is but a portion of ourselves and will be, to some degree, forever with us, if we but learn to see. SAMUEL F. HERSHEY Chairman, Freshman Foundation I] 12 DIVISION OF INDUSTRIAL PRODUCTION INDUSTRIAL DESIGN, as a recognized field of pro- fessional design endeavor, is the junior member of the family of design arts. The date of its birth is obscure. Some say 1925, others 1935, while some folks even claim that it has existed only since World War II. (R.1.S.D.’s first graduate in the established major was in 1942.) During November (’55) I attended a meeting of industria! designers and industrial design edu- cators at the Philadelphia Museum School of Art. Able men from leading colleges and schools presented thoughtful and thought provoking pa- pers, followed by discussion characterized by intense convictions and differing philosophies. Notwithstanding the obvious differences in educational philosophies advocated by many of the conferees, there appeared to be comparative agreement on what “industria! design”’ is. “Industrial design” has become an idiom. Formerly it has meant many things to many peo- ple. To those resorting to the authority of Web- ster, the choice was so broad that it could have included a penal code (!), design involving manual labor, or just having to do with industry. In practice “industrial design” has become a use- ful and definitive term. Many definitions exist. Most authoritative definitions include considera- tions for human satisfactions, man-machine or man-environment relationship, and MASS PRODUCTION. Excluded from the field are the so-called arts and crafts. “Industrial design” is not simply 3-D design. The usefulness of understanding conveyed by these definitions lies in the possible identification of designers especially equipped to deal with the typical problems of mass production industries. There is no inference intended that an industrial designer must confine his efforts to mass produc- tion fields, nor that designers identified prin- cipally with the fine arts, the graphic arts, or architecture may not successfully perform in the field of industrial design. The divergent educational philosophies ex- pressed at the Philadelphia meeting were not new. In 1944, it was my privilege to preside at the first session of the conference in New York from which came the National Association of Schools of Design. The purpose, discussion, and spirit of that 1944 meeting were so identical with those of the recent 1955 Philadelphia meeting that I was tempted to use my published report of the earlier meeting to explain the latter. At both meetings, sides were drawn separating those believing in impersonal idealism on one hand from a perso nal objectivity on the other. I am glad both philosophies exist. Each de- serves support and opposition to ensure healthy maturity. There is no question that the programs of the two groups of impersonal idealism will occasion- ally graduate an individual of enormous influence and ability. It is equally true that the over- whelming majority of students in those programs will leave their design schools and design careers simultaneously. It is hard for me to think that a fragment of an unattainable goal is as good for an individual as a broad foundation upon which that individual may build. HAROLD PRESCOTT ASHTON, JR., Providence, Rhode Island. BFA—Indus- trial Design. Industrial Design Society 2, 3, 4. CLARICE DAVIS, Randolph, Massachusetts. BFA—Industrial Design. Industrial Design Society 2, 3, 4, Secretary 3; Student Council 4. The potential genius who graduates from either program, may usually thank his Maker in- stead of his instructor for success. (Although we all like to take the credit. ) JOHN E. ALCOTT Head, Division of Industrial Production THE DEPARTMENT OF INDUSTRIAL DESIGN The course of study provided by the Department of Industrial Design is based on a program having as its purpose the training of the student in order that he may take his place in the professional field of appearance de- sign of mass produced products. To accomplish this, the course is designed to develop skills and technical under- standing with which the designer will be able to portray his visualization of an object’s appearance for the purpose of communicating with others, as well as with himself, the product of his tmaginings. In combination with learning skills and familiarizing himself with the techniques related to material usage, methods of manufacturing and merchandising, the stu- dent is exposed to situations typical of those encountered by the professional designer. This experience prepares the student to evaluate his work objectively and to develop a responsive attitude toward the demands which result from a realistic appraisal of the designer’s responsibilit y— to his client and to the consumer of the product he designs. RALPH E. KRUCK Department Head of Industrial Design 13 ANTHONY DISTEFANO, Providence, Rhode Island. BFA—Industrial Design. Industrial Design Society 2, 3, 4; 2nd Prize Rustcraft Competition. ALBERT ENGELMANN, Springfield, Massachusetts. BFA—Industrial Design. Asinof Scholarship 1; Class President 1; Student Council 1; Industrial Design Society 2, 3, 4,5. ALAN FRENCH, Providence, Rhode Island. BFA— Industrial Design. Class President 3; Drama Club 1, 2, 3, 4, President 2, 3; Industrial Design Society 2, 3, 4; Camera Club 2; Student Council 2,3. PETER GEORGE, Riverside, Connecticut. BFA—Industrial Design. Sailing Association 2, 3, 4, Commo- dore 3, 4; Industrial Design Society 2, 3, 4, Treasurer 2, 3; Student Council 3, 4; Ski Club 1, 2. MANFRED HEGEMAN, Welles- ley, Massachusetts. BFA—IJndustrial Design. Industrial Design Society 3, 4. OSKAR HEININGER, Burlington, Vermont. BFA—Industrial Design. Drama Club 2, 3, 4; Student Council 4; Industrial Design Society 2, 3, 4, Vice President; Ski Club 1; Fine Arts Society 4. 14 _ RICHARD MERRILL, North Scituate, Rhode Island. BFA—Industrial Design. Industrial Design Society 2, 3, 4. JANN MINOR, Providence, Rhode Island.. BFA—Industrial Design. Metcalf Scholarship 1, 2, 4; Industrial Design Society 2, 3, 4; Student Council 3; Newman Club 4; Blockprint 3; Glee Club 4. HAROLD EUGENE NORTH, Monson, Massachusetts. BF A—Industrial Design. Industrial Design Society, 3, 4, Treasurer 3, President 4. ROBERT PEAVEY, Stonington, Connecticut. BF A—Industrial Design. Industrial Design Society 2, 3, 4. RICHARD STOUGHTON, Morristown, New Jersey. BFA—Indus- trial Design. Industrial Design Society 2, 3, 4. CHARLES ZEHNDER, Newark, New Jersey. BFA—Industrial Design. In- dustrial Design Society 3, 4. 15 16 DEPARTMENT OF MACHINE DESIGN THIS DEPARTMENT is unique in that it follows a cognate engineering program specializing in the design of industrial machinery. It is closely related to mechanical engineering but is distinc- tive in that the students upon graduation are well versed in the methods of modern mass production and are ready actually to produce the day they go to work. This is due to the careful training in Engineering Drawing which is followed by Ma- chine Elements, Kinematics, Tool Design and finally Machine Design. The student has not only learned to portray any three dimensional object on two dimensional paper, but he has also learned what good design is and how to improve existing designs. Behind this industrial know- how is an excellent mathematical background which carries the student through Integral Cal- culus. Mathematics is vitally important in the study of statics, dynamics, strength of materials, analytical machine design, thermodynamics, and fluid dynamics. Physics, chemistry and metallurgy round off the technical side of the training. In order that the graduate may be a better man for himself, his family and also for his employer, a well-balanced program of liberal arts courses is also provided. As for the future of the graduate, it now ap- pears that he will be ever more in demand in the coming years. Automation plays directly into his DONALD BENSON, Shrewsbury, Massa- chusetts. BS—Machine Design. Machine Design Society 1, 2, 3; Student Council 1; American Society of Tool Engineers 1, 2, 3. EUGENE CARAMANTE, Provi- dence, Rhode Island. BS—Machine De- sign. Machine Design Society 1, 2, 3, 4; Secretary 2, 3, 4; Bowling League 3, 4; Dance Band 3; American Society of Tool Engineers. JOSEPH D’AMBRA, Provi- dence, Rhode Island. BS—Machine De- sign. American Society of Tool Engineers; Machine Design Society 2, 3, 4. KEN- NETH DORE, Cranston, Rhode Island. BS—Machine Design. Machine Design Society 1, 2, 3, 4, President 3; Sailing As- sociation 1, 2, 3, 4, Vice Commodore 2, 3; Student Council 3, 4; Dean’s List 3; Bowl- ing League 3. MORRIS MINGUY, East Greenwich, Rhode Island. BS—Machine Design. Machine Design Society 2, 3, 4, Vice President 2; American Society of Tool Engineers. HELFRID W. PETERSON, Pawtucket, Rhode Island. BS—Machine Design. Machine Design Society 1, 2, 3, 4; Student Council 1, 3; American Society of Tool Engineers; Glee Club 1. KEN- NETH PROSSER, Charlestown, Rhode Island. BS—Machine Design. American Society of Tool Engineers; Machine De- sign Society 1, 2, 3, 4; Student Council 2. HAROLD THURMAN PROSSER, JR. Charlestown, Rhode Island. BS—Machine Design. American Society of Tool Engi- neers. ROBERT ARTHUR SANDER- SON, Wayland, Massachusetts. BS—Ma- chine Design. Machine Design Society 3, 4; American Society of Tool Engineers. PAUL YALE, Providence, Rhode Island. BS—Machine Design. Machine Design Society 1, 2, 3, 4. hands, and there is no question but what auto- mation is here to stay and will increase many fold in the years to come. The machine designer will someday sit back in the leisure time provided by his twenty-five hour work week and say, “This I have helped to con- tribute to humanity. A man may now not wear himself out with physical toil from dawn to dusk but he has leisure time and the opportunity to enjoy the finer things of life.” GILBERT S. STAFFORD Head, Department of Machine Design eaacevecaera's = P ve o - DIVISION OF TEXTILES AND CLOTHING EDUCATIONAL PREPARATION for a career in the textile and its allied industries, apart from a gen- eral education and the personal attributes of ini- tiative and character, requires an appreciation and understanding of the principles of style, de- sign and color and a basic knowledge of the peculiarities of the raw materials, both natural and synthetic, from which textile products are made. The first concern is with tastes and needs, the second with the chemical and physical char- acteristics of the raw materials. Today this oldest of our industries is regarded as one of our newest. Tremendously research- minded it is rapidly changing from a craft to a science. It has introduced many new man-made fibers with many more now in the test tube or pilot plant. Founded on a basic human need the industry is now more sensitive to the ever-chang- ing requirements of today and tomorrow. To the worker of the future it will mean less drudgery in repetitive jobs; to the designer, engi- neer and chemist, with imagination and creative ability, it presents a challenging opportunity. Preparation for a successful career in this new industry therefore includes basic study in the broad fields of art, science, engineering, manage- 18 ment and manufacturing techniques. The Textile Division of Rhode Island School of Design is unique in its educational objectives offering major courses in Apparel Design, Tex- tile Design, Textile Chemistry and Textile Engi- neering, using the facilities of the entire institu- tion as a whole. All four programs of study com- bine the basic fundamentals of a general educa- tion, designed to stimulate reasoning, with the professional training needed to equip young men and women for their chosen field. The division is extensively equipped with mod- ern machinery of commercial proportions mak- ing possible the actual design and construction of yarns, fabrics and apparel from raw material to finished product. In addition its laboratories are equipped for scientific research and testing— microscopic, physical and chemical—and for ex- perimentation in coloring, printing and finishing. When the graduate enters into the business or professional world with a broad appreciation of all the arts, he will bring to his chosen field a trained mind and hand and a background which has prepared him to make a contribution to the community at large as well as to his profession. WILLIAM D. FALES Chairman, Division of Textiles and Coloring ; [PS mee f y ase —e a Neca 44 gf _———— a Ue es] iad 4] WEnaaaau ae elms ¥ SESS SR Re Sete NECLA F. BABACAN, Istanbul, Turkey. BFA—Textile Design. Everglaze fellowship; Glee Club 3, 4. KENNETH CARLSON, Providence, Rhode Island. BF A—Textile Design. NAOMI BARBARA DANOVITCH, Newton Center, Massachusetts. BFA— Texiile Design. Glee Club 1, 2; Sailing Club 1, 2. JOANNE L. EGAN, Woonsocket, Rhode Island. BFA—Textile Design. Newman Club 2, 3, 4, Corresponding Secretary 3; Spectrum 3, 4, Copy Editor; Class Treasurer 4. PATTI E. GREENMAN, Springfield, Massachusetts. BFA—Textile Design. New England Textile Foundation 1, 2, 3, 4; Horace Smith Fund 1, 2, 3, 4; Asinoff Scholarship 1; Textile Club 2, 3, 4, Vice President 3; Glee Club 1, 2, Accompanist 2; Film Society, Vice President 3. CYNTHIA GORDON JONES, Stockbridge, Massachusetts. BFA—Textile Design. New England Textile Foundation 1, 2, 3, 4; Drama Club 2; Student Council 3; Dean’s List 2, 3. 21 JUDITH ANN KAUFMAN, Lynbrook, New York. BFA—Textile Design. Student Council 3, 4, Vice President 4; Class Vice President 4; Bal Masque Committee 3; Social Committee, Chairman 4; Take-A-Break Committee, Chairman 4. JAMES MOSCH, Wyckoff, New Jersey. BFA—Textile Design. Basketball 1, 2, 3; Celanese Fabric 2nd prize, 3. LESLIE RODGERS, New Rochelle, New York. BFA—Textile Design. GLORIA SCHOCHOR, Spring Valley, New York. BFA—Textile Design. WILLIAM R. E. WILDPRETT, Warwick, Rhode Island. BFA—Textile Design. Newman Club 1, 2, 3, 4, Treasurer 2, 3; Sailing Association 2, 3, 4, Commodore 3; Textile Club 4. BABETTE A. WITTENBERG, Bronxville, New York. BFA—Textile Design. Drama Club 2, 3, 4; Glee Club 1; Textile Club 2, 3, 4; Student Council 4. 22 DEPARTMENT OF THE CURRICULUM for the student in textile de- sign provides a sound foundation in design and a further development of his freshman year. De- signing of two dimensional surfaces is explored more intensely in relation to materials and proc- esses. We move from the problems of the textile- designer-craftsman in our second and third years to those of the designer-technician in industry in our fourth. The workshop program offers maxi- mum opportunity for individual development as artists-textile designers in whatever area the stu- dent wishes to specialize (woven or printed). In the sophomore year the student is instructed in the fundamental technical processes, such as setting up warps, warp winding, working draw- ings and drafts, etc. The work of the department throughout the year stresses the study of yarns and fibers, and experimentation with various techniques. Experimentation with the painter- printers media are encouraged so that an intelli- TEXTILE DESIGN gent understanding of abstract and _ pictorial presentation is developed. In the junior year designing for the power loom introduces the problem of mass production. A study is made of the more complex handweav- ing techniques and various fabric and yarn dyeing processes. Further study in surface- decoration is made for the various hand printing processes such as silk screen and photographic techniques. In the fourth year students select whichever area of specialization (printed or woven) they wish and devote their time to research. In the early part of the year the student is expected to undertake research in merchandising and design- ing fabrics for specific price brackets. In the latter part of the year he has complete freedom in research and a tru ly personal approach is en- couraged. His portfolio is developed and made ready for his job ahead. ETHEL CUTLER Head, Textile Design Department 20 JAMES E. FARRINGTON, Wickford, Rhode Island. BS—Textile Chemistry and Coloring. N.E.T.F. Scholarship 1; Textile Club 2, 3; A.A.T.C.C. 3, 4; Student Council 4. JOHN JOSEPH FEROCE, Greenwood, Rhode Island. BS—Textile Chemistry and Coloring. Textile Club 1, 2, 3, 4; Ski Club 1, 2, 3; A.A.T.C.C. 4; Basketball 1. ANDREW W. FRANCIS, JR., Bristol, Rhode Island. BS—Textile Chemistry and Coloring: Collins and Aikman Corporation Scholarship 1, 2, 3, 4; Dean’s List 1; Student Council 2, 3, 4; Textile Club 1, 2, 3, 4; A.A.T.C.C. 1, 2, 4; Newman Club 1, 2, 3, 4, Regional Representative 4; Glee Club 1, 2, 3, 4; Spectrum 1, 2, Business Manager 2; Portfolio 4. 24 DEPARTMENT OF TEXTILE CHEMISTRY AND COLORING THE INCREASING IMPORTANCE Of science in our modern way of living makes it imperative that college men and women who are preparing for any industry should be trained in the scientific aspects of that industry. Especially is this true of the textile industry for it is in the fields of syn- thetic fibers and the many chemical processes and finishes that some of our most dramatic advances have come. Thus, the super-strong tire cord, faster colors for upholsteries, and crush-resistant fabrics for dresses and suitings are only three of the many cases whose foundations are based on pure and textile chemistries. To provide such a training, Textile Chemistry consists of a four-year curriculum stressing the chemistry of the industry’s fibers and materials. The department also strives to provide a thor- ough understanding of the pure chemistries that are applicable to any industry. In addition to these, there are the equally useful specialty courses, such as microscopy, dyeing, textile test- ing, and finishing. And to “round out” the de- velopment of the student for executive or chemi- cal research positions, or for graduate work, courses in psychology, textile engineering orienta- tion, economics and other courses as well are scheduled in such a manner that a well-balanced program results. ALAN D. GROVER, North Smithfield, Rhode Island. BS—Textile Chemistry and Coloring. Owens Corning Fiberglass Scholarship 3, 4; A.A.T.C.C. 1, 2, 3, 4, Treas- urer 4; Textile Club 1, 2, 3, 4; Dean’s List 2,5 CHARLES PETER MASTERSON, Saylesville, Rhode Island. BS—Textile Chemistry and Coloring. Textile Club 1, 2, 3, 4; A.A.T.C.C, 2, 3, 4; Newman Club 3, 4; Student Council 3. 25 EDWIN BENZ, Providence, Rhode Island. BS—Textile Engineering. A.A.T.C.C. 1, 2, 3, 4; Textile Club 1, 2, 3, 4; Newman Club 4. LEON THERRIEN, Pawtucket, Rhode Island. BS—Textile Engineering. Student Council 1; Textile Club 1, 2, 3, 4; A.A.T.C.C. 1, 2, 3,4. BYRON WATERMAN, JR., Barrington, Rhode Island. BS—Textile Engineering. Textile Club 1, 2, 3, 4; Sailing Association 2, 3, 4; A.A.T.C.C, 4. DEPARTMENT OF TEXTILE MANUFACTURING WIwESpPREAD ADVANCES both in science and in the precision control of present-day production have created many opportunities for the young man or woman who has a basic knowledge in this particular field. The textile industry is, as a result of the growth of the synthetic fiber field, becoming more and more dependent upon scientific and engineering principles for successful operation and develop- ment. A sound scientific and engineering background is considered essential today whether the in- dividual to be trained aspires to production, re- search, administration or executive activities. Therefore, the course is planned to give a broad understanding of the principles involved in the 26 technical designing and construction of yarns and fabrics based on an engineering approach through courses in mathematics, physics and chemistry. Both technical and practical study begins with the raw materials and ends with the finished product. A knowledge of the basic pe- culiarities of all fibers, natural and synthetic, is considered essential. Courses in microscopy and the physical testing of yarns and fabrics empha- size the scientific control required in modern industry. General education courses in social relations, the history of civilization, English, speech and report writing are further emphasized by prob- lems and lectures on industrial management. WILLIAM D. FALES Chairman, Division of Textiles and Coloring HELENE YVONNE CAPILLON, Attleboro, Massachusetts. BFA—Apparel Design. Take-A-Break Choreographer 4; Dean’s List 2. JACQUELINE LENORE CHAPMAN, Concord, Massachusetts. BFA—Apparel Design. Glee Club 1, 2, Secretary 2; Textile Club 2, 3; Student Council 2, 3; Dean’s List 2; Ski Club 2. DAVID WILLIAM COULTER, Newton, Massachusetts. BF A—Apparel Design. Drama Club 1, 2, 3, 4, Drama Club Key 4; Student Council 4; Glee Club 1, 2. JUDITH SUSAN SASKA, Forest Hills, New York. BFA—Apparel Design. Drama Club 1, 2, 3, 4, Board 2, 3; Textile Club 2, 3, 4; Portfolio 4; Athletic Association 1; Film Society 1, 2, 3, 4; Take-A-Break Costume Designer 4. JEAN THOMPSON, Cherry Valley, Massachusetts. BFA—Apparel Design. BEVERLY WHITE, Groton, Connecticut. BFA—Apparel Design. DEPARTMENT OF APPAREL DESIGN THE APPAREL DESIGNER, in order “‘to assume with confidence a responsible professional career, must have: 1. A rich background in historic fash- ion; 2. Complete mastery of all the skills required to interpret that background; 3. A knowledge of contemporary trends in art and economics; 4. A knowledge of people, what they do and what they need.” Edna Woolman Chase, Editor of Vogue. The foundation of the apparel design department rests on these four points. This department attempts to fulfill the needs of manufacturers by presenting an accurate cross section of the garment industry. During the first year mass production methods are stressed, with simplicity and low cost manufacturing as the primary attributes of design. With each year, production standards rise, as does the intricacy of design, culminating in the high styling of top level work. These actual trade techniques are supplemented by equally broadening courses in fashion trends, sketching, and costume evolution, all of which give the graduate of this department a solid background for the competitive world of fashion. NELLE W. LINK Head, Apparel Design Department DIVISION OF PLANNING Tue Division oF ARCHITECTURE, formerly the Division of Planning, comprises the Departments of Architecture, Landscape Architecture and Interior Architectural Design. Although these three departments train students to obtain dif- ferent degrees, each has a curriculum arranged to encourage a common pattern in education, especially in the design courses. This is possible because of the versatility of the faculty who have been trained in more than one field profession- ally; for instance, three members of the faculty hold two professional degrees in allied fields— architecture and landscape architecture, plan- ning and architecture. This allows a certain amount of flexibility in training which fosters an understanding and respect among the faculty and students and creates a feeling of unity among the three departments. This versatility is a factor in directing the student to develop as a designer in the broadest meaning of the term. However, the emphasis is not confined to aesthetic logic, for the basis of instruction is related to an awareness of the social and human aspects of the times. The philosophy of designing isolated objects is not subscribed to in this division; therefore, it is necessary to stimulate the students to think properly in their designing by introducing them to the technical and social changes in our society. This method of education creates a basis for confidence in the students’ ability to design as well as a basis for de- veloping a critical faculty without which no designer is outstanding. The division teaching continually stresses the need for developing intellectual curiosity, a personal philosophy and a set of ideals which will benefit and guide him throughout his professional life. Our aim is to graduate students who are dedicated to the creative act and who thoroughly understand that only by imaginative interpretation is it possible to create a significant environment for humanity. THE DEPARTMENT OF ARCHITECTURE provides a thorough training for the professional practice of Archi- tecture in which methods of research and interpretation of scientific information are used as a basis for design instruction. However, emphasis is on developing the student’s imagination and creative powers. As design cannot be taught, but must be learned, there is an attempt to create an atmosphere within the department which will foster learning. A student is encouraged to form his own philosophy rather than follow established ones because to be creative he must have a “mind of his own” and when combined with common sense will produce the 30 best guide toward philosophical thinking. The student’s training thus is designed to develop within him a sense of analysis as well as a creative ability. When creating new ideas in design, the student should be cautious and trained to interpret the significance of new ways of thinking as well as understand their impor- tance. Therefore, each student should develop his own critical faculty which will be trustworthy and objective. He should develop these faculties within himself until they become second nature, for only through considered self criticism will the architect produce works of merit worthy of respect in the future. J. CAROL FULKERSON_ Chairman, Division of Planning x HARRY CRUICKSHANK, Providence, Rhode Island. BS—Architecture. Student Council 2; Architectural Society 2, 3, 4, 5, Board of Directors 4, 5; Good Design Exhibition 3; Assistant Instructor of Design 5. ARTHUR HACKING, JR., Cranston, Rhode Island. BS—Architecture. Architectural Society 2, 3, 4, 5; Basketball 1, 2, 3, 4; Bowling League 4; Good Design Show 3; Spectrum 1. STANLEY P. JAMES, Lynchburg, Virginia. BS—Architecture. Architectural Society 1, 2, 3, 4, Board of’ Direc- tors 3; Bowling League 3, 4; Dean’s List 2,3. ARTHUR ROBERT KLAESON, JR., Rehoboth, Massachusetts. BS—Architecture. Architectural Society 2, 3, 4, 5, Board of Directors 5; Student Council 3; Athletic Association 3; Good Design Show 3; Bowling League 4,5. AMERICO MALLOZZI, Providence, Rhode Island. BS—Architecture. Architectural Society 2, 3, 4,5, President 5; Student Council 4, 5; Good Design Show 3; Bowling League 4, 5. ROBERT B. RICKER, Hamden, Connecticut. BS—Archi- tecture. Architectural Society 2, 3, 4, 5, Treasurer 5; Student Council 5; Bowling. 22 THEODORE ANTON SANDE, Cranston, Rhode Island. BS—Architecture. Glee Club 1; Architectural Society 2, 3, 4, 5, Treasurer 4; Board of Directors; Bowling League 4; Portfolio 4; Dean’s List 1, 2, 3, 4. WALTER S. SCHWANER, JR., Lincoln, Rhode Island. BS—Architecture. Architectural Society 2, 3, 4, 5; Good Design Show; Student Council 5; Bowling League 4, 5. VICTOR GEORGE ZACKSHER, Bayonne, New Jersey. BS—Architecture. Architectural Society 2, 3, 4, 5; Good Design Show 3. outdoor atrg.f 0° ry ig 6A assembly oreo plotform general purpose room , p dressing chair ‘ied storage boiler room a Pee. | ze gig RIE sa MARY ANN CLEGG, Mount Holly, North Carolina. BFA—Interior Design. LOIS GARDNER, Lenox, Massachusetts. BFA—Interior Design. Architectural So- ClELVa?y Ost: DEPARTMENT OF INTERIOR ARCHITECTURAL DESIGN WITH THE REALIZATION that the design of a building’s interior is integral with its plan and structure and cannot be thought of as a separate factor in design, the interior architectural design student is trained in the same design courses as the architectural student. Because of this the student gains an intelligent understanding of the design of the structure as a whole, and learns that a good design can only be accomplished when the same principles are applied conscientiously to all of its parts. So—in the teaching of Interior Architecture Design—we believe that a person’s experience with a structure begins with the chair he sits in, the floor he walks on, or the color, tex- ture and materials of the walls surrounding him. In his courses, covering all the elements of good design; and in his shop work where he experi- ences the actual execution of forms conceived to meet contemporary human needs, the student develops a philosophy and a faculty for criticizing Science and technology continually alter man’s activities and habits and its impact greatly influ- ences his created environment. Thus the pattern of man’s changing activities tend to become per- manent as they are the result of perceiving new needs. This is the stimulant which increases the wealth of the resources of our civilization, caus- ing new forms of expression to be created. The creation of these new forms and their relation to our environment is a challenge to the man of talent who in turn must solve the task of achieving harmony in our modern civilization. Only the creative talent can perceive the shape of the world of today because he alone envisions the symbols of the culture of our time. objectively all works of art and of recognizing in any of them the same applied principles. In so doing, he develops his own creative ability for becoming an architectural interior designer. ERNEST LICHBLAU Head, Department of Interior Architectural Design 18) ALAN SHAW LOUD, South Weymouth, Massachusetts. BF A—IJnterior Design. Good Design Show. JAMES MARKARIAN, Worcester, Massachusetts. BFA—Interior Design. Student Council 3; Basketball 1, 2, 3; Good Design Show 3; Architectural Society 2, 3, 4. WALTRAUDE KUNIGUNDE SCHLEICHER, New York, New York. BFA—Interior Design. Wildprett Scholarship 2, 3; Architectural Society 2, 3, 4, Secretary; Board of Directors 2, 4; Good Design Show 3; Student Council 4; Dean’s List 2, 3. en wi ae tk DIVISION OF FINE ARTS HODE ISLAND SCHOOL OF DESIGN is a complex of many individuals—faculty, staff, Ro students—brought together by a common goal, education. The Division of Fine Arts is a vital part of that complex, in itself a parallel to the larger make-up of the whole school. There is a bringing together of individuals who share in the uses of the fine arts as an educational tool. This is the most clearly evident factor that can be said to characterize the Division of Fine Arts. Fine arts as a tool for education is not a new idea; quite the contrary, it is one of the oldest. As an idea and a practice it had meaning for the Greeks, the Romans, for the Christians of the Middle Ages, for the knowledge seeker of the Renaissance; and today fine arts is a well established part of almost all institutions of higher learning. of Let us consider what peculiar properties of the arts make them useful to education in general. Education has to do with transmission of ideas and activities with a view toward understanding what has gone on before and what is going on now so that we may better be able to live our lives fully and usefully. The arts, as an activity of man, have a long history and a body of tradition inextricably woven into the fabric of human expe- rience. If we are to know what we are and where we come from, contact with the arts is desirable and provides us with a continuing activity against which we may measure our own progress. Secondly, the measure of success for a work of art is quality, the quality of the work itself, and without regard to other usefulness or application. This is a very important consideration, for the student while he is in school, is able to study and experiment, free of the necessity to meet the pressures and requirements of commerce or the galleries. This sort of study and experimentation provides a background and reservoir of understanding upon which he may later draw, extending and developing this understanding into a useful force which may find expression in a variety of applications. In this sense, the study of the whole makes more potent the understanding of the parts and is in keeping with the sound educational idea of moving in an orderly fashion from the general to the particular. The final property of fine arts that lends itself so well to the educational idea is the simplicity or primitive quality of the tools and methods involved. It is revealing to consider that for all the varieties of form and expression art has taken in its long history probably no other single activity of mankind has changed so little in its basic concepts, tools, meth- ods, and materials. This means that the student can work as the masters have worked; and there is a real relationship in tools and methods, even though he may deal, in some cases, with highly technical and advanced means, methods and equipment. Traditionally for this division, the basic disciplines are drawing, painting and sculp- ture. These disciples find their most direct expression in our everyday life in the fields of illustration, advertising design and ceramics. One might say that the basic disciplines at the same time they have value in their own right, act also as a foundation and support to those other expressions whose requirements are more exciting and demanding. Such requirements being necessary because the final products of the illustrator, advertising designer and ceramist are often results of many cooperating men and techniques, each one of which must do his particular work according to the governing specifications. Most of our students at some time or other in their school life partake of many if not all of the activities of the five departments within this division. Of course, most of the exchange and interchange of students, courses and teachers is implicit in the curricula of the various departments. There is no need, I think, to point out that departmental desig- nations and curricula are designed not as barriers but as definitions of areas of interest and concentration. There is not much division within the Division. There is a tendency to talk around the subject of fine arts. One senses the need for justification, sometimes more strongly from those who are practitioners than from any- one else. The fine arts today speak for themselves as they always have, but not always 38 with the clarity we desire. Sometimes it is a question whether the lack of clarity is the result of poor speaking or poor listening. As an idea that may act upon the making of things by man and does, in fact, become operable at any time that the consideration for all other characteristics outside of quality becomes of secondary importance, fine arts may well be said to be a concern of all of us who make things. Such a concern is not at all limited to any one geographic or curricular area of this school. | In conclusion, I would like to say that the more I have to do with fine arts in rela- _ tion to teaching and education, the more evident it becomes that there is inherent in it | conditions particularly well suited to the idea of education at a high level: suited to the transmission of ideas and provocative thought in such a manner that the receptive student can absorb, expand and work with those ideas and thoughts in a plastic manner. That is, he becomes involved in the problem, not merely a receptacle or storehouse for pat ideas, no matter how good they may be. By their nature the arts are born of the very essence of the plastic idea, an idea governed by a form, susceptible of change, developed in a state of flux and crystallized at a point that is the perfect union of idea, form, and material. G. A. FRANKLIN Chairman, Division of Fine Arts oh, DEPARTMENT OF PAINTING _ Deposited within the painting de- partment, almost as though in trust, is a philosophy of art distinct from practical requirements and an assort- ment of the simplest, oldest and most universally understood artistic means. These means are the crayons, chalks, paints and inks. They are in _ beginning as well. These means have remained almost unchanged materially for centuries, while civil- some other egintudaral philos- Ts in the conene whose BEC: ing gf Ea ae the reasons for their use, that is being an artist, still defy “practical explanation, though the _ power of man to fashion these ma- erials into a profoundly moving anguage justifies the ‘apie very existence. Fundamentally the painter will make with paint, chalk or ink a ; symbol of man’s stature which will take his lifetime to accomplish. With these simple means and with the sincere desire of the school to 2 help if possible, the individual paint- : er is encouraged to set his sights on the ‘private, personal creative act _ second to none the world has known. usta ye “spirat tion, and means merely that no apes freedom of the creative act. _ The accomplishments which set our standards are compounded of nowledge, assimilated skills, logic and a low regard for ec wane in y PEM ; : ‘ ie rials general the expressive means of our — wn earliest childhood and of man’s © : statement of . universal truth or a. This does not occur as a flash of in- a middleman and no practical need a stands between the painter and his rhs . competition —a formidable chal- : lenge. but highly important to the _ general. Hence we pick up mate- simple in themselves but worked with by people anything but simple. The full import behind the urge to put these simple means to work is manifested in a rigorous educational process whether within a stimulating institutional climate or the lonely existence of the self- taught. It is in the pursuit of this educa- tion that the experiences we share with other people are rewarding, and the realization that a consider- able body of knowledge will un- avoidably be held in common makes it wise to share in the give and take of collective effort to the utmost of our ability. Drawing and painting in a man- ner that keeps pace with the individ- ual’s ever increasing intelligence is the program of the painting depart- _ ment—the standards are not depend- ent on practical need. Though the common denominator of the class- room work in drawing and painting may seem something short of in- spired, it is unrestricted by special requirements and does in fact rise to impressive heights according to the group’s capacity to read freedom into an explanation of principles in- volved. When the students rise to the occasion in these classes it must be in homage to a principle. No artificial or practical objective exists. There is no special use for the draw- ing or painting except as it opens the way for further knowledge, greater control, and a heightened curiosity about an important lan- guage, all aiming towards the ma- ture intellect with something pro- found in its mind and a need to express it. _ From time to time the student has the sensation that he has performed “an important act that cannot be de- } DIVISION OF FINE ARTS fined in terms of a client require- ment. He can be impressed only by a sense of learning in the aggregate. We cannot go beyond that in ex- pressing what Giotto, Tintoretto or Rembrandt learned. Without altering these objectives the painting department undertakes to reveal the principles of drawing and painting to students from other departments in th e school and that manner fulfills its responsibility to the college as an educational force. Specifically the painting depart- ment provides this educational serv- ice without specialization to the Textile Design, Advertising, Illus- tration and Sculpture departments as well as to its own students at the sophomore level. At this level all the students involved are privileged to work with the instructors who are on the college staff because of their professional ability as draftsmen and painters. For this period in their education they are as much drafts- men and painters, free of trade limi- tations, as their individual abilities will allow. At the junior level the fundamen- tal drawing courses in the college have been completed and all but the Illustrators and Painters have turned their attention toward their special- ties. What they have learned of draw- ing and painting in the common workshop of the painting depart- ment they now put to work within the reference of their special use for it, according to their departmental interest. On through the third and fourth year the Illustration students continue to study painting as it is offered as a major study without re- quiring that it be modified to fit their specific needs. This has the virtue of bringing painter and illustrator alike an un- compromising respect for principles nk which are believed to underly paint- ing of any sort. The college believes that it is important that where stu- dents, from whatever department, come in contact with the mainstream of a course of study, it should be at the full value of that body of knowl- edge. And so it is that the painting de- partment operates as it does, inflex- ible with regard to what it is best qualified to offer — draftsmanship and painting distinct in themselves and revealed in the full importance of the part they play in the making of masterworks. The individual then goes on to use his knowledge as he sees fit. The department of his choice comes up with the finite ob- jectives he may have felt lacking in his experience in the painting de- partment. If he has made good use of his time in the drawing and paint- ing classes, later, when faced with requirements more to his liking, he will work with ease. Because the painter must make a personal and unique evaluation of art in its final form, no standards imposed while in school continue to be constant after graduation. There- fore the Painting Department can only offer to its major student a broad education bearing on the total artistic phenomenon but can pro- vide no practical answers and is not justified in prescribing clear cut final objectives, Requirements don’t exist outside the painter’s personal intel- lect and compulsion to create. All the great work in existence, while indispensable to his knowledge, can 42 only serve to show hie what fe: can- Ja not, in all honesty, put out as his. f ; ; organized when called forth at vari- own. He must set his own require- ments, and the sincere artist knows } — that they are unmercifully exacting. | GORDON F. PEERS Department Head DEPARTMENT OF ILLUSTRATION Illustration is an attitude toward picture making. Communicating an idea pictorially with visual repre- sentations that are comprehensible | to the audience to which the artist wishes to speak—this is the essence. The pictorial statement by which } the professional illustrator commu-— nicates is the reproduction; there- fore, an understanding of reproduc- tion processes and the proper man- ner of execution for them is essen-— tial, Invariably the illustrator must create within the bounds of an idea that is given to him. How intelli- gently and creatively he does this depends upon his attitude and his abilities. The tools of the fine art artist and those of the illustrator are the same. The difference occurs in .the use to which those tools are applied. HARVE STEIN Department Head DEPARTMENT OF CERAMICS The Ceramic program at R.LS.D. is an interacting combination of — technology and design. While the mastery of techniques is generally essential it is wot the goal of learn- ing. Familiarity with processes is a means of preventing the medium ; from standing as a barrier to the creative formation of an object. | Technology is only an aid. It helps to develop proficiency and skill, al- though such abilities are not suffi- cent in themselves. It is necessary to go beyond te learning of methods—to draw upon ees all life as a reservoir of ideas. Noth- — ous intervals to help formulate ae pia for solving the new problem | facing ‘the student. Some ‘may call this | “native ability,” “intuition,” - “sub-conscious reasoning,” “revela- tion,” or any other similar term that _ sounds mystical and self-important. — Certainly this is an over-simplifica- _ tion of how creativity takes place; — yet whatever one wishes to call the E operation, he should be hazily aware | that what he is and what he wants : 1 to be in the future depends in great 4 measure on how well he is willing to understand himself, a To design and fabricate creative products requires a way of viewing — ing is so insignificant that it is to be — spurned as worthless. The creative person finds value in the most im- — probable locale as well as in the most - logical situation. From such curi- pressions into objects which — the — artist hopes — will fulfill the needs of society. A competent artist should — have interests in the whole art field | — assuredly stronger interests and — abilities in some areas than in others. — A continuous effort should be — made to hold a broad concept of art and to develop a working knowl- edge of as many phases of design as time permits. It is necessary there- fore that the student in ceramics be- _ ; 3 q csity flows the reconstruction of im- 4 { ; . ; ; ; t E _ gin to form a philosophy concerning — the creative act. This is a start to- ward knowing himself—not as one — filled with self-esteem, rather with ei _a consuming desire to improve his |, understanding of life. In the study of ceramics tradi- — tional views are used as guiding fac- _ tors. They are not mandatory prin- — ciples by which “good” and “bad” — are judged. Students are urged to | visualize how altering conditions — Ae | affecting daily existence influence oa _ contemporary products. The process of sen Brow: euler re oy, tions of current problems, not re- productions of past glories. A sense of personal responsibility leaves little room for shunning phy- sical labor or of becoming a dilet- tante. The student attempts to de- velop working habits that are com- patible not only with the material _ but with his fellow students as well. : _ We hope our students gain the cour- 3 age to be independent and efficient _ yet willing to be an integral part of _ their times, believing wholehearted- ¢ ly in the future. Rp te . § ee 7 e E 4 ¥ 3 ie ; LYLE PERKINS Es iss . Department Head _ DEPARTMENT OF SCULPTURE s The™ fine design and splendid equipment of the sculpture depart- ment are usually the first things that _ take the visitor's eye, and with some | justification since as a visual mani- _ festation of an educational activity SPE takes an exciting form. However, 5 _ the VALUE of the activity is perhaps less in evidence since its manifesta- tions are not limited to the exact - locale of the studio itself. This, of course, is the area where he student who majors in sculpture as a preparation for professional activity will do most of his work. He engages in modelling and carv- ing, and the study of the human _ figure. Methods and materials are _ important to him but equally impor- tant is understanding of what it is _ that makes the form of that art what : we call sculpture. It is this last con- _ sideration, understanding sculptural 3 form through experience, that makes work in the Sculpture Department valuable as a basis for the under- sanding of ices in three dimen- e xperimentation—a seth for solu- sions. Thus for the Division of Fine Arts the sculpture department is the educational core for those areas of a student's development that deal with three dimensional form. GILBERT A. FRANKLIN DEPARTMENT OF ADVERTISING Advertising design is basically concerned with the problem of com- munication in order to persuade. In the view of this department advertis- _ ing design is a specialized phase of a broader field, Graphic Design. Graphic Design is concerned with the graphic arts and the craft of printing. The task of planning undergrad- uate studies which will develop ar- _ tists capable of meeting these basic professional requirements does at times seem near impossible. Pres- sures from both student and profes- sional for specialized and directly | applied technical knowledge con- stitute a major problem in planning. In our effort to achieve a working balance between technical knowl- edge and individual expression we try to proceed on the assumption that: a. design of a form is a function of its use, - b. achievement of form in a design depends upon proper use of tools, of materials, and of the tech- niques necessary to exploit the full possibilities of tool and ma- terial, c. design of a form is successful in- sofar as it communicates meaning through satisfaction of psycho- logical or sensuous need. On one level of interpretation these assumptions relate advertising design to merchandising, to print- ing, to engraving, to typography, to paper and to the ultimate response of a public or “‘reader.”’ Insofar as they succeed in this, these assump- tions satisfy and describe the techni- cal requirements of our profession. On another level of interpretation, these same assumptions can relate advertising design to an understand- ing of traditional expression and forms and thereby to an inquiry into man’s rational and emotional nature. The first set of referents requires that we gain knowledge in objective professional practice as well as in the root processes of our craft. The second set of referents re- quires that we gain knowledge of ourselves and of fellow human be- ings as they are given expression in the liberal and fine arts. Thus our problem is manifold. We try to meet it by dealing with the material content, the “subject matter’ so to speak, in breadth as well as in depth. We try to develop individual insight and understand- ing, with their accompanying urge to explore and invent. At the same time we try to construct a frame- work of specific knowledge and skills through which finite solution of problems can be given expression. We have for the past several years been engaged in the development of a Graphic Arts Workshop. By means of the workshop idea each student is free to explore in terms of his par- ticular needs the basic nature of graphic marks reproduced on a plane surface. Incidentally the book in which you read this is largely a by-product of the desire to explore, to relate and to test possibilities of graphic form. Our workshop, by offering the means to work with type, silk screen, etching, wood or lino cut, photog- raphy or engraving make less for- eign the basic printing processes. 43 Affluence Joy for each season. tering a profession, we try to pro- practice and procedure. Advertising is a business and we make clear the terms in which it, as all business en- terprises, fills this role. The study, analysis, planning and program- - ming which go into the formation | of modern advertising are concretely | studied. Because of differences in individ- . ual capacity and interest, our student is flexible, is diversely equipped. Even though the same background is supplied them all, they can, and in | their professional life now occupy, situations as varied as designer for a linotype foundry, agency art direc- tor, artist, account executive, sales- man-designer for a printing house, layout or production planner for book or magazine publishers, tele- vision artist, etc. ‘We hope that through the stu- dent’s ability to master and thereby rise above the limiting tendencies of technique, discipline and profession- ea a sad anatomy courses of the di- piel sion. During this aes ey sup. in. ee and indliviclaal’ ee which the fine arts provide. It is Satya to Diag out here that a vide detailed study of professional | ality will grow and strengthen, that they will be united with the stu- dent’s own sense of purpose in the arts so as to lead him to a discovery of his own interests and abilities and - produce in him a commitment to his work which has meaning and there- by the promise of ultimate success. Our hope as educators is that stu- dents in this department will be equipped, not only to practice suc- cessfully in a field of their own choice, but also that they will grad- uate to a life of continued learning. To assist in this we try to supply pre- liminary knowledge of the tech- niques and habits of study. A -life- long concern with the meaning of a problem, with the excitement over discovery, with the passion to find form in one’s own experience and the experience of others will, we feel, bring the graduate closer to answers to his problems which in- deed are the problems of life. JAMES PFEUFER Department Head gram bus Wyslider oe aq eg and passe rye as well graphic Pe ane to use ie. This printmaking is not deal. with as an isolated phenomenon in as ager eT Roe Cartage mechanics, or only as the craft o yn ee ees NE By yg To Rather, an attempt i is made to combine all of these techniques into the entire growing awareness” of the student working within the drawing tradition of the Rhod . a adobe School of Design. The classic and r renaissance graph. ic techniques: serve as an introduc- tion. Then within the studio work- shop the student uses this knowledge as a cee ‘to his exploration into a . drawing. Palneaes : ne techniques are _ taught as a pure art form, the meth-— _ods involved are fundamental in commercial printing. The course serves, therefore, as a pertinent part of the program of the weceeewee and illustration student, oH ERBERT L. FINK — DEPARTMENT OF ILLUSTRATION EDITH ALLARD, Norwood, Rhode Island. BF A—Illustration. Science Fair Scholarship 1; Class Vice President 2, 4; Ski Club 1, 2, 3, 4, Secretary 4; Student Council 2, 4; Dean’s List 1, 2; Drama Club 1, 2,4. PATRICIA AYEARST, Westport, Connecticut. BF A—Illustration. Drama Club 1, 2, 3, 4; Dean’s List 1, 2; Fencing 1; Glee Club 1; Portfolio 4, Advertising Manager. JOYCE GRAY BAKER, Providence, Rhode Island. BFA—TIllustration. DIANE BEEHLER, New Haven, Connecticut. BF A—IIlustra- tion. PAULINE DUGAS, Attleboro, Massachusetts. BF A—lIIlustration. Drama Club 2; Class Secretary 2; Newman Club 4. 49 NANCY LOUISE FATZINGER, Springfield, Massachusetts. BFA—Illustration. Glee Club 1, 2; Ski Club 1; Spectrum 4, Circulation Manager; Portfolio 4; Assistant to Head of Dormitory 3. EDWARD JOSEPH MAFFEO, New Haven, Connecticut. BF A—Illustration. Newman Club 2, 3; Fine Arts Society 4. LEANORA OLIVEIRA, Tiverton, Rhode Island. BF A—Illustration. SANDRA PRATT TREACY, Montclair, New Jersey. BFA—Illustration. Class Treasurer 1; Glee Club 1, 2, 3; Librarian 1; Drama Club 1, 2; Dormitory President 3; Fire Captain 3. RICHARD HAYWARD SANDERSON, Wayland, Massachusetts. BF A—Illustration. Glee Club 1; Fine Arts Society 4. PAULA SCHWARTZ, Mt. Vernon, New York. BFA—lIllustration. 50 DEPARTMENT OF PAINTING MARTHA JOANNA STICKNEY, Providence, Rhode Island. BF A—Illustration. Drama Club 1, 2, 4, Board of Directors 4; Fine Arts Society, Board of Directors 3, 4; Dean’s List 1, 2,3. ROBERT VAN LEUVEN, St. Louis, Missouri. BF A—IIlustration. Student Council 1. GAIL WHITMAN, West Dennis, Massachusetts. BF A—TIllustration. DORIS K. ADAMS, Bound Brook, New Jersey. BFA—Painting. Glee Club 1; Student Council 4. RONALD BINKS, Oak Park, Illinois. BF A—Painting. National Scholastic Scholarship 1; Sydney Burleigh Scholarship 4; Class Vice President 1; Class President 2; Film Society President 3, 4; Portfolio Photographer 4. ail HOWARD BURNS, Cleveland, Ohio. BF A—Painting. Fine Arts Society 4. ELLEN R. COOGAN, Providence, Rhode Island. BF A—Painting. Glee Club 1; Student Council 3; Drama Club 3, 4, Secretary 4; R.I.S.D. Theater Key 4; Fine Arts Society 4. FREDA GUTMAN, Montreal, Canada. BFA—Painting. ANN MARGARET LAANES, Rutherford, New Jersey. BF A—Paint- ing. Ritchie Fund Scholarship 2; Drama Club 2; Fine Arts Society 4. JEANNE MARIE MASON, Brockton, Massachusetts. BFA—Painting. Fine Arts Society, President 4; Glee Club 1, 2; Drama Club 1, 2, 3, 4; R.I.S.D. Theater Key 4. MARVIN DEAN RICHARDSON, Livingston, New Jersey. BFA—Painting. 52 DEPARTMENT OF ADVERTISING DESIGN NANCY STETSON, Arlington, Massachusetts. BFA—Painting. RACHEL JANE SWEENEY, Nova Scotia, Canada. BF A—Painting. Dormitory President 3. RAMON P. J. ALVAREZ, Providence, Rhode Island... BFA—Advertising. Drama Club 2, 3; Glee Club 1, 2; Portfolio 3; Basketball 2, 3; Student Council 3, 4, President 4; R.I.S.D. Dance Band 2. JOAN ELAINE BARNEY, East Providence, Rhode Island. BFA— Advertising Design. Sailing Club 1, 2, 3; Drama Club 4. ays} ELAYNE SCHWARTZMAN CANTER, New Haven, Connecticut. BFA—Advertising Design. Dormitory Secretary 3; Block- print 4. NANCY CUTTING, Waterville, Maine. BF A—Advertising Design. JEAN DAVIO, Agawam, Massachusetts. BFA— Advertising Design. Student Council 1, 2; Spectrum 3, 4, Advertising Manager; Fine Arts Society 3, 4, Board of Directors; Port- folio 4, Art Editor; Art Director’s Conference 4. RITA DERJUE, Warwick, Rhode Island. BFA—Advertising Design. Ski Club 1, 2, 3, 4; Spectrum 3, 4, Advertising Sales Manager 3; Blockprint 1. SYLVIO A. DEROUIN, Woonsocket, Rhode Island. BFA—Advertising. Dean’s List 2, 3. Spectrum 2, 3, 4, Art Editor 3, 4; Portfolio 4; Fine Arts Society 3, 4; Art Director’s Conference 4. DIANE DROUET, Sandy Hook, Connecticut. BFA—Advertising Design. 54 IRENE CLAIRE FREDETTE, Pittsburgh, Pennsylvania. BFA—Advertising Design. Portfolio 4, Copy Editor. EMILIO A. GROSSI, Cranston, Rhode Island. BF A—Advertising Design. Student Council 1, 3; Spectrum 3, Editor; Fine Arts Society 3, 4, Board of Directors; Art Director's Conference 4; Dean’s List 3, 4. BRIGITTE HANF, West Cornwall, Connecticut. BFA— Advertising Design. Spectrum 2, 3, 4, Art Editor 3, 4; Portfolio 4; Student Council 4; Glee Club 2; Drama Club 2; Fine Arts Society 3, 4; Art Director’s Conference 4; Dean’s List 2, 3. JOSEPH D. HOPKINS, JR., Somerset, Massachusetts. BF A—Adver- tising Design. Student Council 3, 4; Publications Committee 3, 4, Chairman 4; Spectrum 3, 4; Portfolio 4, Production Manager; Fine Arts Society 3,4. BARBARA HYDE, Saylesville, Rhode Island. BF A—Advertising Design. Drama Club 4; Sailing Associa- tion 4; Industrial National Bank Award 4; Rhode Island Philharmonic Award; Art Director’s Conference 4. WARREN JOHNSON, Fanwood, New Jersey. BF A—Advertising Design. Drama Club 1, 2, 3, 4, Prop Master 4; Student Council 1, 3, 4; Blockprint 4; Portfolio 3, 4, Photography Editor 4. Do LINCOLN E. MILLER, JR., Shrewsbury, Massachusetts. BF A—Advertising Design. Student Council 4. ERIC R. MOANEY, Montclair, New Jersey. BF A—Advertising Design. Class Treasurer 2; Camera Club 1, 2, 3; Fencing 2; Ski Club 1; Glee Club 1, 2. ROBERTA ANN MULLIGAN, Pawtucket, Rhode Island. BF A —Advertising Design. Class Treasurer 2; Drama Club 1, 2) 3, 4; Newman Club; Ski Club 1, 2. SALLY R. NIELSEN, Brunswick, Maine. BF A—Advertising Design. Portfolio 4, Editor; Spec- trum 2, 3, 4, Production Manager 3, 4; Student Council 3; Class Vice President 3; Art Director’s Conference 4; Dean’s List 1; Drama Club 1, 2; Dormitory Secretary 1; Fine Arts Society 3. DANIEL SHEA, Fall River, Massachusetts. BF A—Advertising Design. Drama Club 2; Glee Club 2, 3; Portfolio 4; Student Council 3, Vice President 3. ROBERT LEONARD VAUGHAN, Waban, Massachusetts. BF A—Advertising Design. 56 — Ten — att = Satin ii vex = Zot LAF Z_, He Si q i . VN —, MATER Q WY = WATS ea YS AN IS LL eet SG te ANS Ss | soe ay 1), Se = as SQ = NWF Paste . j=iaN AMID ZS vA ih ( NS La DEPARTMENT OF CERAMICS JEANNE LUANE SISKA, Westfield, Massachusetts. BF A—Ceramics. Fine Arts Society 4. GEORGIANNA FULKER- SON, Providence, Rhode Island. BFA— Ceramics. Drama Club 1, 2, 3, 4, Execu- tive Board 4; Ski Club 2, 3; Student Coun- cil 2, 3, 4; Class Secretary 4. ° ’. aa Fe - aes = $6 é A | ‘ ee tS e Fat Vai! y p £24 x 7 a els Bes ge ae ++ —_ Pinas Me fie a owe Pe y ee “se ae prc ke Hg wate veuaetety ‘ ew ve re Te Bag Bees nae 4 é Lisi tt ir se as nee ya minal sy dy ee ; “f + iy ; é a std fa, a a ha Gate yi se aC ii ier Mare a Fa! - ti ri ae 2 nace Baa ae Uo eaN ee ote ae A HCA Dae eee ne, fete ge RHE Wa) I He I An Fn Si atiee cas aps airs on eet ee ooh = t LoS. Rexenxe swerve 1G Thea pre Reith so Ae ee aco op akties ee Sh sat a he yg Ui ig eM (tly 3s) SN I i ok ‘i ie wnsatt | | | esc DIVISION OF TEACHER EDUCATION WE BELIEVE THAT THE AIM of education is to present to the student knowledge of the world as a unity; to acquaint the student with the great- ness of the past and present so that he will be able to think independently and clearly; and so that he may use this knowledge to contribute to the future. The teacher must help create a sense of reality in dealing with his subject and its materials. The teacher must evoke in the student an intellectual curiosity, an imagination, an ability to “spin the gossamers as well as forge the anchors of the mind, .. . to love all beauty, whether of nature or of art, to hate all vileness, and to respect others as himself,” as Thomas Huxley so neatly puts it. These general aims apply directly to the spe- cific field of Art Education. Here, of course, we must take into account the specialized area: its specific history, its unique tools, its own special relationship to general education and to the world at large. The Teacher Education program has as its immediate and long-range goal the attraction and education of people able to inspire others in the arts of visual communication. These people should have mastery not only of the teaching craft—art, if you will—but must also have a command of and love for some specific area of the visual arts, such as painting or sculpture. Teaching is not an asylum for failures—a haven for “last resorters.” ‘Teaching demands the utmost in capability, the highest degree of integrity. The teacher who falls asleep on hear- ing her own lectures usurps the prerogative of her pupils. In developing a corps of competent, dedicated art teachers, we create a matrix from which will emerge a young people not only more sensitive to the visual world, but also more sensitive to the needs and realities of life itself. DR. H. JONATHAN GREENWALD Director, Office of Teacher Education Rhode Island School of Design 61 62 IRVING BECKENSTEIN, New London, Connecticut. BS Art Education. ROSILINE DUFFY, Pawtucket, Rhode Island. BS — Art Education. MURIEL M. HULBERT, Rehoboth, Massachusetts. BS — Art Education. Student Council 3. GRETCHEN M. KIEHN, North Attleboro, Massachusetts. BS — Art Education. nina i cies watioelastiiuimiait Not available TRUDY M. PEASE, Providence, Rhode Island. BS — Art Education. VIRGIL RASTA, Woonsocket, Rhode Island. BS — Art Education. DIANNE M. RATCLIFF, Pawtucket, Rhode Island. BS — Art Education. Student Council 4. VIOLET E. SCHEIBE, Warwick, Rhode Island. BS — Art Education. RUTH E. SITTELL, Rio Piedras, Puerto Rico. BS — Art Education. ROBERTA MARIE THIBAUDEAU, Saylesville, Rhode Island. BS — Art Education. Newman Club 1, 2, 3, 4, Secretary 2, President 3, 4; Spectrum 3; Dean’s List 1, 2; Student Council 3, 4. 63 CLUBS AND ACTIVITIES RAMON ALVAREZ, President; JUDITH KAUFMAN, Vice President; STUDENT COUNCIL OFFICERS japsn casHELt, Secretary; GEORGE PATTON, Treasurer 66 DONALD KIRK, President; EDITH ALLARD, Vice President; SENIOR CLASS OFFICERS GEORGIANA FULKERSON, Secretary; JOANNE EGAN, Treasurer 67 THE THEATER OF During the 1955-56 school year the R.I.S.D. Drama Organization has enjoyed an upsurge in popularity and participation. A kind of rejuvenation or rebirth has taken place. Many students who otherwise might not have been interested were attracted by the professional business- like attitude of the Club’s new direc- tor, Mr. Albert Cohn and by the group’s ambitious plans for the im- mediate future. In addition to the Club’s annual schedule of two plays a year a series of Studio meetings was planned simi- lar to those in professional theater wings and workshops. Several of these have already been held with great success. As the group had hoped, much interest and participation was stimulated among those students who do not ordinarily attend the Club’s regular meetings or take part in pro- ductions. The program at these meetings usually consists of several studied readings followed by criticism from the director and the group as a whole. On several occasions the meetings have been concluded with an experiment in acting technique, i.e. naturalistic exercises in emotion and sensation. Fresh standards have been raised; new goals have been set. emma au , meting te EDWARD HILL; Chairman ELLEN COOGAN;; Secretary seemancer NORMA LOMBARDI; Business Manager - AUDREY WESTHEAD; Member-at-Large : ROBERT BLACK; Stage Manager JEANNE MASON; Costume Mistress MARGO STEVENS; Social Chairman MARTHA STICKNEY; Advertising Manager KRISTIN HALL; Recording Secretary BARBETTE FOSTER; Corresponding Secretary MARGOT STEVENS; Social Chairman R COLONE Tue Newman Cvs has a very distinct position within the general structure. of a university or college community. The educational process must assume responsibility for all the needs of students, must be concerned with the many facets of mind and soul, of spirit and of will, which go to make up the living of the human being. The college or university dedicated to the discipline and cultivation of the mind finds itself in the position where it must seek partners in its enterprise. The Newman Club then is a part of the educational effort at the higher level in the total. R.I.S.D. community. Its real purpose is to deepen the spiritual and enrich the temporal lives of its members through a balanced program of religious intellectual and social activities. And as the club through its program is strong and vital and effective, so is our whole educational process enriched and kept alive and vital, ROBERTA THIBAUDEAU; President PATRICIA MURPHY Vice President ELEANOR SCHIAVO; Corresponding Secretary HELEN MARTINS; Recording Secretary JOHN MULLEN; Treasurer CurisTIAN AssociaTION. All meet together everywhere, and in your meetings wait upon the Lord, and take heed of forming words, but mind the Power, and know that which is eternal, which will keep you all in Unity, walking in the Spirit, and will let you see the Lord near you and amongst. Purposes of the Christian Association; 1. To pro- mote the spiritual growth of the men and women of the Rhode Island School of Design and to increase Christian faith among them through worship and study; 2. To provide fellowship and understanding among students of various denominations and to contribute culturally and socially to the student body; 3. To affiliate itself with the school and community through service. LYNN MacCUBREY; President NANCY BENEDICT; Vice President DOROTHY HEBDEN;; Secretary RICHARD BEASLEY; Treasurer THe GLerE Cxus brings together those who derive fun and enjoy- ment from sharing one common interest: that of singing. To share this interest means only that one is willing to blend his voice with others, for the blending of these voices not only brings enjoyment to the club members, but to those who listen. The superiority of the productions offered this year was due to the individual opinions offered by the members in regard to the music and planning of these productions, and as a result of this co- operation, the club this year has attained a prestige never before encountered. RAYMOND MATESICH;; President JOANNE KALLSTROM; Secretary DAVID GRIST; Treasurer 13th Century Romanesque Crucifix. Spanish 71 FILM SOCIETY RONALD BINKS; President DONALD HATCH; Vice President DAVID LEWIS; Secretary DOROTHY HEBDEN; Treasurer SPECTRUM PETER BRADFORD; Editor SYLVIO DEROUIN, BRIGITTE HANF, EDWARD DOUGLAS, GEORGE DECROSTA; Art Editors JEAN DAVIO; Advertising Editor PATRICIA MURPHY, EDITH STEWART, Advertising Sales SALLY NIELSEN, HELEN CASHELL; Production Managers NANCY FATZINGER; Circulation JOANNE EGAN; Copy Editor JAMES PFEUFER, EMILIO GROSSI; Advisors ELSIE TUFENKIAN, Secretary BLOCKPRINT JOHN DALTON; _ Editor-in-Chief MARJORIE FOSS; Managing Editor DENISE HILLMAN, ALBERT GOSTA;, JR: News Co-Editors ROBERTA ROHRBACK, CYRUS PIPoLic.: Feature Co-Editors ELIZABETH MATHINOS; Circulation Manager EDITH STEWART; Business Manager MARGRIT LIPPMAN; Advertising Manager FRANK FOSTER; Photography Editor JEANNE MATHESON; Sports Editor ve eae BOR EZASK Wb Beka SING) oe best a ee ae ky ee A ASK 74 FORMAL Take-A-Break Weekend, anxiously awaited, too soon ended; flowers faded, but not so the memories. Fri- day evening’s glittering formal at the Biltmore, complete with swirling gowns, tiara’s, laughter and dances, was the start of RISD’s biggest social event. Precisely at 11 o’clock the introduction and presentation of Colonial bouquets to the Queen nominees was followed by the crown- ing of Joanne Egan, Take-A-Break Queen. More dancing, more gaiety, spiced with the music of Ralph Stuart and Richard Hayman. Then, as a solitary bell tolled the hour of 1 o’clock, the Take-A-Break Formal, February 17, 1956 came to an end. No dance could compare with it. VARIETY SHOW Lights! Music! The Curtain! Roaring Twenties ov ertook the RISD stage as one of the best TAB Variety shows on record. The chorus, the songs and the skits cleverly focused their themes on that “flaming era”. Humor and hi jinks ran rampant in the form of emcees Joan Strauss and Jim Baldwin. Shrieks of laughter accompanied the faculty skit a la Ziefgield, with their “blazer boy” chorus and that unforgettable finale complete with breathtaking beauties, booming can- nons, fireworks and fluttering flags. The everpopular Octet pleased all, along with ballads, dance numbers and particularly the heart-rendering saga, “Little Nell”. After the show, everyone convened to the informal dance at the Narra- gansett Hotel. High spirits and a snappy beat kept all toes tapping. Waterman Dorm proudly accepted the coveted trophy cup for their hilarious satire on the Silent Flicks. Providence Journal Photo The music played on and the people danced on until they couldn’t . . . that was Saturday of TAB, Feb. 18, 1956. JAZZ CONCERT Sunday afternoon in Memorial Hall, an unforgettable experience! Dixieland man, Dixieland Jazz... that’s the word! The word was spread because the hall was mobbed. Dud Lee and his Dixieland All-Stars blasted away from 3 to 6 pm. Dixie clapped their hands and stomped their feet to numbers like “the Saints”, “Basin Street” and all the other favorites. Ellie Schiavo’s “Ya Gotta See Mama!” brought the house down to say the least. The old hall couldn’t have been as lively, noisy or smoky as it was during Take-A-Break’s last stand, Sunday, February 19, 1956. lovers is Misqcamnut i S S 4 ie om 8 = ° ™ © S BS % ix 2 S � Pa SSS a am we SJ OY ( ie | = ) ROCKS OF SILVER, Wott: |Z, ii Streaks of Gold, } AW MOUNTAINS OF COPPER, ! 3 Til if] MINES OF SULPHUR. ze ———_ i ) ht Uy Hie! ye Penniless, Hie! fl yy” Lt “jf To Plautus’s Treasury: iN (Uti Textile Club The Textile Club is a profes- sional organization of under- graduates interested in further- ing their knowledge of textiles. Its function is to offer a com- bination of social and educa- tional activities. They provide speakers and films of interest to “ah OE x eee the fabric designer, apparel de- ae = signer, textile designer and chemist. In this way, the club helps to coordinate alumni and undergraduates. RosBert Buiack; President DoNnALD VERMETTE; Vice President Janet Novick; Secretary Nancy BENEpIcT; Treasurer Pretty 3 @ Picture. gREF POMISSIO,, � a Y, soa, ee eee 78 Society of Mechanical Design The Society of Mechanical Design gives students in the field of Machine Design, Industrial Design and Engineering an op- portunity to have speakers, movies, and discussions on top- ics of interest to them. By hold- ing these various forms of edu- cational activities, the club has tried to inject new thoughts and ideas into the minds of its group and thereby to inspire better and improved designs. MITCHELL WatAn; President Frank Lucasik; Vice President EUGENE CARAMENTE; Secretary DoNnaALp Bryant; Treasurer Architectural Society 1. To encourage an expanding interest and association with inter-related fields of archi- tecture, landscape architec- ture, and interior design and with the purposes they serve within the compass of plan- ning in a free society. 2. To establish and maintain, in conjunction with and sup- plementary to the school library, a collection of cur- rent technical books and publications. 3. To promote a closer associa- tion between students and alumni of the Planning Divi- sion. AmeErRIcoO MALLozz1; President Leste Moore; Vice President Caro, HynpmMan; Recording Sec. MayjoriE Oxtson; Cor. Secretary Rosert RicKErR; Treasurer fe Industrial Design Society 1. The Society is created for the purpose of holding group discussions and obtaining ca- pable speakers and films on topics chiefly of interest to the people in the field. 2. To promote and maintain interclass communications. Harocp NortuH; President Osxar HEININGER; Vice President MeEtTTE Arup; Secretary Rino Cont; Treasurer PEGGIE PINCHEM, THE GREAT TO-NIGHT AT TIGHTSEOE PLACE. “ {' No Postponement on Account of Ss the Weather. Fine Arts Society 1. To encourage an expanding interest and association in Fine Arts, and its related fields, with the purposes they serve in contemporary soci- ety. 2. To establish and maintain, in conjunction with and sup- plementary to the school li- brary, a collection of current technical books and publica- tions. 3. ‘To promote a closer associa- tion between students and alumni of the Division of Fine Arts. JEANNE Mason; President PETER BrapForp; Vice President Mayjorie DuNLop; Secretary Epwarp Hix; Treasurer Ae ems The objects of the American Association of Textile Chemists and Colorists are to promote an increased knowledge of the ap- plication of dyes and chemicals in the Textile Industry, to en- courage research work on chem- ical processes and materials of importance to the textile indus- try, and to establish for the members channels by which the interchange of professional knowledge among them may be increased. DAMIANO CarRAMENTE; President Epwarp Costa; Vice President RaymMonp ALLEN; Secretary ALLEN GROovER; Treasurer 72 80 © © ©) ___@o0s8 os. 93 OF m—e—sr- eee - - wowace ear ee eel ee Cam om we eee ae ae = PEANUTS -= HOT DOG.-é 3SAUHRKRADI OLS RS SAILING ASSOCIATION i PETER GEORGE; Commodore DANIEL MORRIS; Vice Commodore KRISTAN HALL; Recording Secretary BARBARA FOSTER; Corresponding Secretary DOUGLAS SMITH; Treasurer 6 [ON oem RBYrBOPrr ¢Eheschons “hie TOWE TO, STQ | Il ALLAN COPELAND; President |} JOHN LODER;; Vice President EDITH ALLARD; Secretary CAROL SWOPE; Treasurer KOOL-AID STATION 81 INDEX OF SENIORS Adams, Doris’ Kinane cee: 51 Kaufman: Judith) seen. eee 22 Pease, Gertrude: M.4....4555.) eee 63 Allard’ Editht]: 9.4 ee ne 49 © Kiehn, Gretchen’M. 2..0.125ee 62 Peavey, Robert ¢.:sc.1ti- sesastetest eee 15 Alvarez, Ramon) Pi] ours eo ee 53°= Kiaeson) Arthur Rave ae ee a2 Peterson, Helfrid W. ..c....c10-eee 17 Ashton sir, Harold eyes 5 ce eee 1$a¢ Caaneés; Anne M. eee ee aes Prosser; Harold sce 35h ah 17 Ayearsts Patricia tte ae 49° Loud, Alan Swiaccte toons eee 36 Prosser, Kenneth Si), .cmiier-aaisas ogee 17 Babacan,NeclasP 4.08401 eee 21 Mafieos Edwards |i sneer 50 Rasta, Virgilisc..nncen auger nen 63 Baker; Joyce-Gray.n.2 see 49 Mallozzi Americo=..5) ee 32 Ratcliff, Diane: M.:2: tet ser cee 63 Barnty; {Joanmactes. - ena ee 53.5) Markarian, James Cia teccssnsesavteorsernte 36 Richardson, Marvin D. ...............c000 52 Beckensteinsp livin cee eee eet ees 62 Mason. eanne Ml sense tetera pemeeret 52 Ricker, Robert Gece Se Beehler; Diane Ee 4.226 che: 49 Masterson, Charles: Pjat4.2 ese 25 Rodgers,... Leslie .c4ss eee 22 Benson, Donald. Evins) eee 16 Mernll), Richard £4-4e2, ae ee 15 Sande, Theodore Al his. 2.(..u01 ae 33 Benz, Edwin Hie oe ee 26 Millersjrs Lincoln: Fasaen cee 56 Sanderson, Richard jes. 7s 50 Binks Ronald'C, ae. ee Bl ) ’Minguy, Maurice ste a. scteaceetrce me 17. Sanderson, Robert Hi ). sae 17 Burns Howard Mignone 5D Minors: Jann . Lig ete cer cee ere 15 Saska, Judith S. iscsi waste 29 Canter, Elaine Swartzman.................... 54 Moaneyse Erich Rum ae ne eee 56 Scheibe; Violet E; «..:cccquetraeeeee 63 @apillonsHeleng tae eee 98a MoschyJames:G ia seer ne ete 22 Schleicher, Waltraude Kot. cacpe 36 Caramente, Eugene J. ..........0...c000cc00 16 Mulligan, Roberta :A.¥...05.02a ee 56 Schochor; Gloria sane eee 22 Carlson, Kenneth: ho eee oF Nielsen, Sally Retr er ae eee eee 56 Schwaner, Walter 722 eee oo Ghapman® Jacqueline eee 28 North; Haroldi Barca ee eee 15 Schwartz, Paula foaroaskc ta tele hee Re 50 Clegg Mary tAnnien gene fast e 35 Oliveira sLeanora.A 5.5. ee 50 Shea, Daniel. Fy: one eee 56 Coogan Pllani Reenter 52 Francis, Jr-pAndrews Wise eee 24 Siskay Jeanne Lins seccssuea ay! Coulter’ David) Ware ee ee 28 Fredette Si rene Gt eee 55 Stetson, Nancy Rian 53 Gitting Nancyo one see ee 54. — French; Alan ® on tcasenauceups cect 14 Stickney, Martha J.....2.)25-.5 see 51 Gruickshank. Hatryo-= $9 Fulkerson, Georgiana ix......c02-2oe ah Stoughton, Richard M.j ....:..0s:04.:.000shee ae Ambra osepiy. cee ete eee ae 16 Gardner, Lois!) cae eee nee ees 35 Suttell), Ruth gcse ee eee 63 Danovitch, Naomr Bs... 21 Goerge, Peter 2.:4%.),145 eee 14 Sweeny, Rachel J..:...2.6500 see 53 Davio, JeaniMage ee, 54 Greenman,(Patte Eo 21 Treacy, Sandy: Pratt.) once 50 Davis. (Clarice Bicester oe ee 13. Grossi, Emilio Alp. oe eee 55, -Thebbien, Leon’ Eitieic.an oe 26 Derjue Ritatee ee nk ee 54. Grover Alans M. i330 ee 25. Thibaudeau, Roberta M.nuhs.woqee 63 DeRouin, Sylvie A; c.95.5 eee 64 Guttmans Freda. ee, oe ee 52 Thompson, Jean F.7..2.:2.%0h55 ee 29 Distefano, Anthony V. .....c.c-sc0.e0seceneeese 14 Hacking; Jr., Arthur saceec eee 32 Van Leuven, Robert .2......0.,.s0eeee a Dore; Kenneth Batee5.enee eee 16 Hant, Brigitte, sooner ee ae 55 Vaughn, Robertin22scs ee 56 Drouet, Diane... a. 54 Hegemann, Manfred@y. 26. 14 Waterman, Jr., Byron...............cs ceo 26 Duffy Rosine 4.2, eee 62 Heininger! Oskar’. a aac ee ee 14 White, Beverly... c0.3-cesq itt ec eereaee 29 DugasePaulines ee eee ees 49 Hopkins, ) re) Oseph).D pee eee 55 Whitman, Gail Fn ee ecient eee 51 Beane Joanne serene ee eee pi Hulbert? Muriel Mita one 62 Wildprett, William’ Rive 22 Engelmann, Albert C4 ee 14 Hyde, Barbara J. .vaeses eee 55 Wittenberg, Babette Ros. eee 22 Farrington, James 2.50.0 eee 24) “James, Stanley. Pie ngnner eed ede 32 Yale, Paul. A. cad) on 17 Fatzingeer, Nancysliae eee 50 Johnson Warreny Koa ee 55 Zacksher,s Victor Ce ee 33 Feroce, John, |e eee ee 24 Jones, (Cynthia G. ten. ee Pal Zehnder) Gharles: Gar eee 15 ACKNOWLEDGMENTS PHOTOGRAPHY; Ronald Binks, Emilio Grossi, Frank Foster, Ernest Cominsky, Courtesy of the R.I.S.D. Theater, Courtesy of the Museum, Joseph D. Hopkins. ART; Sylvio DeRouin, Brigitte Hanf, Joseph D. Hopkins, Dean Richardson, Peter Bradford, Robert Barry, James Baldwin, Elsie Tufenkian, Charlotte Raetzer, Helen Cashell, Jeanne Siska, Maurice Wallach, Peter Fink. COPY; Andrew Francis, Judith Saska, English Department, Hazel Goff, Joanne Egan, Donald Hatch. ADVERTISING; Sandy Tracy. FACULTY ADVISORS; James Pfeufer, Gordon Allen, Joan Eddy. PRODUCTION; Leonora Oliviera, Richard Sanderson, Jane Oram, James Baldwin, Edward Hill, David Fisher, Nancy Fatzinger, Peter Bradford. ART Daniel F. Shea, Richard Shira, Ramon Alvarez, Erwin Hauer. 82 va + ie 3 Ay Ge ae now i thae here’ is an ant organization to Panine you will be proud to e that you. will SOF Seu an alumni office where you will ae be oe ae GOFF ’33 Alumni Secretary be ig dase CONGRATULATIONS AND BEST WISHES, PFISTER CHEMICAL Weomnonmmn OGEEIELED, NEW WUERS EY, Pfister for Fine Naphtho!s’ TRADITIONAL Ytnaon v Honiton Series 7 “ALBATA” THE WORLD’S FINEST WATER COLOR BRUSH Finest Pure Red Sable Hair Brushes that possess great strength and long fine points. Available sizes tyil PIGVS LSINY 2 STNIS Ns QUALITY Designers’ Superfine Gouache Colors Commercial Artists and Illustrators will find these colors superior to any poster or ordinary gouache color. A range of 59 colors of extreme brilliance, priced right for sea 000 through 14. 902 BROADWAY, NEW YORK 10, N. Y. 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Art and Drafting Supplies Picture Framing « Handicrafts BLOCK—the “buy-word” for Quality, Economy, and Technical Know-How. Students and Professionals shop at BLOCK’S,... your home of friendly, intelligent service. Block Artists’ Materials Co. NEW ENGLAND’S LARGEST ART STORE 76-78 Weybosset St. Providence 3, R. I. DE 1-3150 Opposite Arcade — At Bus Stop MAIL ORDERS — PHONE ORDERS = S Gide €y = es Wis PASE. ED Youll Cnjy HE ELEGANT SIMPLICITY OF TH $8 HOTEL NARRAGANSETT Providence 2, Rhode Island Where you ALWAYS shop with confidence” FELDSTEIN 225 THAYER STREET PROVIDENCE 6, R. I. @er 4 - MAR Scotland’s Finest Cashmeres COMPLIMENTS OF PROVIDENCE PAPER CO. 116 DORRANCE STREET PROVIDENCE, RHODE ISLAND CENTRAL PHOTO-PRINT COMPANY photostat copies of drawings, legal papers, photo etc.; identification photos sealed in plastic. . glossy stats for reproduction . fast service. 76 DORRANCE STREET PROVIDENCE, R. I. OFFSET PRINTING TEXTBOOKS e DIRECTORIES CATALOGS @ LABORATORY MANUALS ee BULLETINS PROMOTIONAL MATERIAL SPAULDING-MOSS COMPANY 415 Summer Street, Boston 10, Massachusetts Stymued FOR TYPEFACES WITH ACCENTS? Chances are we can supply accents for any book face you need — French, Spanish, Portuguese, Polish, (but no Greek, Russian, or Chinese ). For over a generation, we've practiced matching type to the message it must convey. We've accumulated both type resources and know-how to dress your job to do you proud — whether catalog, direct mail, publication advertising or any other printed work. May we send you our latest type book FREE? Just request it on your business letterhead. TYPESETTING SERVICE CO. 50 PECK STREET ° PROVIDENCE 3, R. I. Telephone: GASPEE 1-2264 Printed by Spaulding + loss 415 Summer Street, Boston. This book was printed offset lithography on 80 lb. White Coated stock and 40 |b. Kraft Wrapping paper, with the use of Baskerville and Bulmer type faces on the White Coated stock. There appears a No. 3 Garamond type face on the Kraft Wrapping. ae ies i ti Pek Pay bis 7h ay of eee | AA mt tc at call ee vi neva nw , ‘a ) ) i EAN SUM er ea, Fh, a HENIBN er hy 1 vi WA i , i ty 4 Vay £, 1 ‘ak ine i ) , 4 1: i a = - ae 7 gee Jag titer, ne