IS Projects

This summer I was fortunate enough to attend an internship at IS Projects in Ft. Lauderdale FL. I discovered this internship opportunity through a printmaking faculty member. Upon figuring out logistics and transportation, I applied with a resume, cover letter, and 5 samples of my print work. The application was followed up by a phone interview during which Ingrid Schindall, MICA alumna and founder of the press, notified me of my admittance.

IS Projects is an ever-expanding printing press and shop that has much to offer for practicing artists and those who aspire to get involved with print media alike. Currently employed by IS Projects are Jess, Sammie and Melissa. Jess is the manager for Nocturnal Press, IS Projects’ in-house printing press. Nocturnal Press functions as a mainly commercial operation in which anyone can commission prints ranging from business cards, promotional material, to wedding invites and even commissioned pieces. Sammie is responsible for scouting and getting in touch with artist for visits and residencies at the studio, as well as for month-long exhibits in IS Projects’ gallery space. IS Projects also offers workshops that are open to the public such as block printing, etching, letterpress, screen printing, and other processes that are overseen by Sammie. Melissa’s is a hands on printing assistant that has an immense amount of printing experience, from traditional printing to screen printing and bookmaking.

I was involved in projects that span the scope of processes that IS Projects has to offer. My internship was initially kickstarted with a lesson in letterpress printing which I had never done before. The first project Ingrid set us up with was a pangram: a sentence or verse that contains all the letters of the alphabet. In this case, we were composing a poster as an ode to the late Jon Selikoff, who Ingrid had obtained much of the 100-year-old wood and lead type that makes up the bulk of her collection. The text block contained an early version of the chorus from “Take Me Out To the Ball Game” by Albert von Tilzer. The type we were using for the pangram was the font “Columbus” which is the font used for the Cracker Jack logo. Ingrid emphasized that for her, the research that goes into these projects was equally important as the print itself. 

Setting type was a toilsome yet rewarding process. Most of the handset type we were using was over 100 years old. Setting type of that age is quite tedious as different letters receive different wear, which fractionally varies the heights of each. This was particularly present with the lower-case vowels. In order to pull clean, consistent prints in which all of the letters print, much time is devoted to "makeready," the process of preparing the type for printing. This involves analyzing each individual letter and carefully adjusting the heights to flush. 

I also worked on a handful of artist books, assisting with binding, adhering additional elements such as pop ups, and curating the editions. The artist books showcased an array of binding styles including spiral bound, stab bound, glue binding and others. Along with learning letterpress using photopolymer, wood, and lead type, various binding styles I was able to engage with screen printing.

I was very thrilled that along with the exposure and experience gained through the internship, Ingrid encouraged interns to take on personal projects. Along with learning letterpress using photopolymer, wood, and lead type, various binding styles I was able to engage with screen printing once again! I decided to incorporate screen printing with bookmaking and have begun composing a four page panoramic accordion book.

My biggest takeaway from the experience was making the most of your resources, the significance of adequate planning, as well as networking with practices that overlap with your own. Probably the most valuable lesson was seeing how print can function in both a commercial and fine art setting when maximizing your materials and equipment. For example, the excess paper strips from prints are cut down and used to make business cards and monogram pads. Especially for artists beginning their own practice, it is an immensely useful to plan in order to maximize your materials and time management.

Having the opportunity to engage with homegrown press just a hop down the coast from my backyard was such a wonderful experience. Everyone at IS Projects was pleasant to work with and were open to making anything a teachable moment. I felt very welcome here and would definitely consider returning to see what projects and events they have in the works.

R/GA

I applied to over 20 companies and R/GA was one of the few that responded. I got my first interview acceptance email on the day of the Internship + Career Fair at MICA, which was the first touchpoint of getting into R/GA. After two phone calls with the recruiter and a phone call with the Design Director, I was offered to be a Visual Design Intern at R/GA's Los Angeles office.

I had applied to R/GA's Los Angeles, New York, and Chicago offices. When I arrived at the office, the first week made me realize why they chose me for their LA office. My portfolio included many branding samples, and the LA office focuses on branding more than their other eight offices. 

The on-boarding process consisted of different workshops and information session about R/GA. I found out that R/GA started as a production company making title screens for Alien and Superman. Then they evolved into a global digital marketing and consultant agency with eighteen offices around the world. 

My supervisor was the Creative Director in charge of the Creative Department and managed around seven designers. I worked on over ten client projects and my responsibilities included assisting designers with tasks, creating mood boards, creating visual audits, pinning up the images from the mood board and visual audit file that I created, designing layouts, creating mockups, and making sure slide-decks are visually consistent by tweaking fonts and layouts to a more cohesive form as a whole. I’m certainly most proud working hard and being offered a full-time job when I graduate from MICA.

One of my biggest take-aways from this program was the field knowledge I gained that you cannot learn in school. I learned a lot more technical skills at R/GA since a college experience is more based on conceptual thinking and theories. With that said, I’ve learned how to use the Adobe Creative Cloud programs at a deeper level and I’ve learned how to use a program called Sketch which I have never used in the past. 


Working at an agency, especially a big one, made me realize how much I love working on different kinds of projects. I would not enjoy only working on one brand. Being able to work on different client projects would help me become more versatile as a designer and keep the work fresh and exciting. I’m super excited to go back to R/GA when I graduate. Having the company’s name on my resume will certainly open up a lot of opportunities to work at other agencies or big design companies in the future.

NPR's Next Generation Radio

During my Sophomore year at MICA, I came across an opportunity to work with NPR as the in house illustrator. Back then, they selected 1 illustrator out of a pool of 280 applicants. I was rejected. Towards the end of the semester, I received an email about the possibility of working with NPR's Next Generation Radio on a project in Baltimore. I immediately said yes but was rejected again. Nevertheless, he suggested that I email him if I would be interested in the project in the future. During the Spring semester this year, I emailed him again which he immediately responded. He offered me the opportunity to work as the project illustrator for the next four consecutive projects. What I learned from this experience was to highlight emails from job opportunities we were interested in, and always email back with an updated portfolio.



The organization I worked in was an NPR sponsored journalism project called Next Generation Radio. We traveled across the United States to train and prepare journalism students for the industry through week-long projects. The common theme of the projects is “First Days in America.” My role was to create illustrated portraits for the student reporters a week before the project. During the weeks in Syracuse, Reno, Philadelphia, and Austin, I shadowed all the interviews on the first two days and create 3-6 illustrations each week for the published stories.

Working as the project illustrator for Next Generation Radio was a valuable experience. This was my first time turning in multiple projects in an extremely tight time frame. I gained the ability to work much more efficiently by creating original color palettes, concept designs, and compositions. I also developed two distinctly different styles for my work in editorial illustration, based on different deadlines and the various tone of the stories.

Before the projects, I would have never imagined myself illustrating an Iranian scientist who is interested in molecules, nor an Egyptian butcher who is making a positive impact in the community by operating a store for halal meat. Next Generation Radio offers an incredible platform to network with people who work in various industries. By shadowing the reporters’ interviews, I felt an immense connection with the stories that I was illustrating. There are no “subjects” in an interview, but people from different areas that share similar stories with us as immigrants.

As a visual solver and a storyteller, in every story, I always ask myself, “what is at stake.” The focus statements are extremely important in finding unique conceptual solutions. I am proud of my contribution to the team; I believe that my illustrations have elevated their stories, which also help them in gaining attention to the published articles. Moving forward, I want to continue my work as an editorial illustrator. The illustration is not just a decorative element in our lives, it serves a purpose in underlining the everyday stories that reflect contemporary social phenomenon. I want to help people tell their stories.

Make Studio

Make Studio is a nonprofit organization that serves as a supportive platform for artists with disabilities. Each of the artists essentially work for Make Studio and create work to be displayed either at the studio or at off site exhibitions. The studio also helps manage the sales of work. They provide critique when necessary and offer art therapy to those that need/want it. I had some background knowledge about Make Studio from my research in preparation for the internship fair at MICA, and spoke with their representative at the fair. After speaking with them, I sent a follow up email afterwards and through that correspondence was able to secure an interview. 



My responsibilities included a bit of studio upkeep, but my supervisors and I made sure my experience was more enriching than just that. I often assisted with pulling work for shows and was able to voice my opinion in the process. I installed and selected work for the Everything Else (A Market Space) exhibit featuring Nicole Dyer and Amanda Burnham. I searched for exhibition opportunities for the studio, archived artwork, and spent time with the program artists. I offered critique and guidance while the artists were working and documented their progress and behaviors in studio logs. 


I am most proud of the connections I have made with the people at Make Studio – both program artists and supervisors. I am proud of the projects we’ve all completed together and the insightful conversations we’ve had. I am now able to more accurately install, document, store, sell, and archive artwork. This internship also allowed me see how exhibitions are organized and planned, including the artwork selection process for upcoming shows.




I thoroughly enjoyed learning more about curatorial work. As an artist, it is important for to understand how work is marketed, what type of work appeals to a space the best, etc. I was also able to learn more about art therapy, a career I had considered pursuing in the past, and what type of requirements would be needed to obtain an art therapy license. Most importantly, I learned what it takes to run an exhibit space efficiently and understand how to archive work within a gallery/studio. 

Maryland Art Place

While exploring opportunities through the MICAnetwork, I came across a call for internship applications at the Maryland Art Place. The internship description included experience in a non - profit gallery setting which guides the intern the various activities the gallery conducts which immediately thrilled me. Using this description I drafted a cover letter and edited my resume accordingly and emailed them the same. After a few weeks, I was asked to partake in an interview over the phone where I was asked questions about my previous experience and what I value about working collaboratively and also individually. At the end of the call, I was offered a position as an intern for the summer and then coordinated further over email to secure a weekly schedule.

I learned early on in the internship that Maryland Art Place was first formed by the Maryland State Arts Council who granted funds to form an organization that promoted contemporary art. They prioritize living, emerging and mid-career artists with the understanding that the organization plays a critical role in providing a platform for artistic growth within the contemporary, visual, fine arts realm. They support this vision through annual programs including exhibitions and provide the promotion of artwork sales outside that of a commercial gallery. Maryland Art Places still works with Maryland State Arts Council to form a Maryland State Artist Registry and Resource Bulletin which aides in empowering local artists.

Throughout the internship, I worked under the Registry Coordinator and Program Manager at the organization. I was awarded a wide range of tasks such as installing and de -installing exhibitions, packing artwork, working on resource bulletin, aiding the Maryland State Art Council’s registry, facilitating open calls, visiting other galleries, handling social media, gaining insight into finances and donations and speaking to artists. Some of the open calls and exhibitions I was involved in include Out of Order, Baker Artist Exhibition, IMPACT Hotel Indigo, and the MSAC Juried Show.

I am extremely proud of the fact that I was able to shift and alter my skills to manage every project that was given to me and be able to reach many other organizations and people as a result. By shadowing my supervisor and taking on her advice, I have learned that it is vital to take on every opportunity you can and apply to many open calls. She taught me not to be afraid of getting a rejection and always allowing my determination to help me stand out from the rest. The most vital aspect of this internship for me was the access to resources, open calls and artists I gained and the opportunity to learn about how a gallery can aid in showcasing emerging artists.

I am now confidently able to handle a company’s social media account, post and find artist opportunities and communicate with artists and other galleries. The internship has helped me solidify my dream of being an artist and one day having my gallery which advocates for emerging women in the arts. A thought which was shared with me by my supervisor and will stay with me is that persistence even in the lowest of times is what makes the difference and I hope to ensure my determination never falters.

Walters Art Museum

I had already worked with the Walters Art Museum through a previous fellowship, this summer internship gave me the opportunity to turn my idea into a pilot program. ​The Walters Art Museum is a cultural hub in the heart of Baltimore. Located in the city’s Mount Vernon neighborhood, the Walters is free for all. The museum’s collection spans more than seven millennia, from 5,000 BCE to the 21st century, and encompasses 36,000 objects from around the world. My supervisor was the amazing Dr. Julia Marciari-Alexander, Executive Director of The Walters Art Museum.


I created a pilot IGTV program that serves as both and educational and curatorial project; the show ​Women & Wonders​ is set to premiere in 2020 to educate The Walters public on their collection while celebrating women during “The Year of the Woman”. I am most proud of taking on a project that I had little to no experience with and making it into a production that both myself and the institution can be proud of. Taking on such a big task in such a short amount of time showed me my constant ability to rise to the occasion and do let my work speak for itself; the newest skill I acquired this summer is video editing and creating a full visual-audio production. The time I spent learning about this new talent I have been able to create short videos about my developmental process in my thesis and share it with potential funders and partners. This summer has been one of great chances and even greater results.

The Institute of Contemporary Art Miami

The Institute of Contemporary Art Miami is a privately funded museum that features established as well as up and coming contemporary artists. It is also one of the only museums in Miami that grant free admission. This summer, I interned in the education department of the museum. The education department at the Institute of Contemporary Art Miami has many facets. The education department hosts Family Day on every third Sunday of the month, where families are encouraged to visit the museum and take part in curated educational art activities that relate to either a theme or a special exhibition at the museum. Although this is not solely what the department does or is responsible for, the overall aim of the education department in the museum is to make contemporary art more accessible to more students, whether it be through local education organizations, programs or schools.

I have worked with the Institute of Contemporary Art since I was a sophomore in high school. Once I graduated, I was asked to be brought in as a contractor to implement a portfolio prep program that I had already piloted on my own at a local library the summer before. By this point I had already met and established relationships with most of the staff and programmers at the museum, one of which was my direct supervisor, Morel Doucet, an alum of both my former high school and an alum of MICA. I reached out to Morel during the MICATalks event about taking up the portfolio prep teaching position again and also inquired about any other opportunities to work in the museum for the summer. He told me to speak to Lisa Fernandez who then offered me an internship position through the education department.

Since both my supervisors had different roles in the museum, my responsibilities were often broken up by scheduled tasks. One of my main responsibilities at the museum was assisting in the summer immersive tours. What makes these tours immersive is that they are taught through the inquiry method; this means that instead of lecturing, we prompt the students to investigate and we encourage curiosity by asking specific questions about the works and the intentions of the artist. This summer I took part in giving over 20 tours during the duration of my internship. Aside from touring, I worked alongside Morel to brainstorm and write out lesson plans for workshops and for immersive tours in the museum, writing and editing blurbs for programming and sending out confirmation emails from the 20+ sites we were hosting for the tours. Alongside Alyssa, I worked on Family Day event activities and prepping. In the weeks leading up to Family Day, I was in contact with the volunteers to make sure they knew where to go and what to do. On Family Day, I was in charge of directing the volunteers to their tasks and setting up the signage around the museum. Throughout the day I helped the families carry out the activities, alongside the volunteers and then help deinstall the room at the end of the day.

Another part of my internship was being aware and knowledgeable of the artists on exhibit at the museum. Upon my arrival, the Visitor service team sent me the powerpoint presentations that the tour guides use to study the work on exhibit and tour the public with. These gave me a base for the tours I took part in teaching, the lesson plans I wrote up, the presentations I had to create based on these artists and introducing these ideas to the students from the portfolio prep program. Towards the end of my internship, I had the pleasure of taking part in co-teaching the portfolio pre 2-week program for middle school students who aspire to apply to magnet art high schools. During the duration of the program, Jacob Marrero, Glysed Barboza and I partnered in creating a curriculum and lesson planning two weeks for these students. A few of the points we emphasized were the elements and principles of design, color theory, contour drawing, perspective, thumbnail sketching, self portraiture, personal narrative, critiquing and the theme of this year’s program was identity. Throughout the program, there are multiple mini-projects and lessons and then one personal project at the end for a final exhibition.


Working as an intern with ICA, everyday I learned something new. My supervisors guaranteed that either through experience or conversation, I would continuously learn about the museum, non-profits, being a practicing artist, outreach, teaching or knowledge on how to function as a working adult. Touring allowed me to understand the works of Ettore Sottsass, a very important designer, Paulo Nazareth, a very politically influential multi-media artist, Guadalupe Maravilla, a performance artist who combines the divine with the scientific and Eric Paul Reige, an influential performance artist. Being that I make wearable soft sculpture and also enjoy doing performance art, learning about these artists have allowed me to understand and consider how wearable sculpture and soft sculpture, specifically, can be considered of high-esteem and have served as an example of how I can showcase this kind of work in a museum. Working on the production and execution of Family Days was humbling: being so directly involved with children and their parents allowed me to have a direct line of impact in terms of the educational activities and opened my eyes, even more, to the power of outreach. Lesson planning alongside Morel has allowed me a crash course on not only the artists on exhibit, but also art history, science and politics. I feel as though I took a class this summer on political science and art matters. Working at the ICA has allowed me to regain confidence in the fact that art and artmaking is impactful and can transcend the white esteemed wall in a gallery. I have a more clear idea of what I want to do with my MAT degree once I graduate MICA: possibly work in the education department in a museum, where one would have more lee-way in terms of teaching non-traditional material in more innovative ways. As a result of this internship I have refined my public speaking skills, I have fine-tuned my writing skills, and have learned to work with younger children. 

I have learned a whirl-wind of information regarding how a non-profit, privately funded museum functions, how an education program within this kind of museum thrives, the logistics of making a project and how it gets carried out, how to give tours and give lessons based on the inquiry teaching method--which has proven to be more effective-- and understand more succinctly how I would like to move forward both as a creator, a student and an educator. I have also created a network of educators and artists that I feel have given me pools of advice that I can confidently take into my next steps as a student and creator.