A number of designs using Adobe, Sketchup, AutoCAD, and Costume Design.

1. Adobe Illustrator
This is an example of Illustrator drawing work. All of the snowflakes are vector illustrations, easily manipulated and re-sized. A multi-color gradient gives
metallic dimension to the single gold snowflake, and Photoshop effects were
used to created the dissolved look of the background of the inside of the
card.

2. This is a vector I created as an assignment, we were tasked with making a vector based on
an existing JPEG drawing, the image can now be easily re-sized or colored without becoming pixelated.

3. Misti & John
June 28, 2014
The above image of a yellow owl is a jpeg, and
the green owl is a vector created in Illustrator
based on the jpeg, but able to be rendered in any
color.
The image on the right was also created in Illustrator. This image was designed to be a hanging
tag that would be looped around a small bottle
of champagne as a wedding favor. The bride
wanted shades of seafoam green with a hint of
gold. The champagne glasses and bubbles are
vector drawings.
the Bubbly and C
op
eleb
P
rate
s!
wit h U

4. Adobe Photoshop
This image was crafted entirely in Photoshop, using only Filter effects. Some effects used were Difference clouds to create the
planets, Polar Coordinates to manipulate the shapes, Lighting Effects to created directed shadowing, Twirl to create galaxies,
Layer Dissolve to create stars, and the airbrush to highlight points in the background.

5. This above image is a painting from the 12th century
Genji Monogatari Emaki. This scroll has obviously deteriorated in the years since it was painted, leaving the
casual viewer entirely unaware of the original vibrant
colors, particular those of the Junihitoe robe, the elaborate 12 layer robe. These images were an attempt to use
a few different Photoshop techniques to re-create the
bright colors of these robes. Above left is the original
image, and above left has been manipulated to make
it brighter and more vibrant, but the robes still lack in
vibrancy.
This image with the textiles overlaid in Photoshop
uses layers and shading to create a semblance of the
original robes appearance. The image below using
specific hue manipulation to alter the image itself to
make it more vibrant rather than overlaying textures.

6. These are the before and after of two
family photos from the 1920’s that I
was able to restore in Photoshop. In
addition to adjusting the color, I used
a number of tools. The clone stamp
was used to smooth out imperfections
and the healing brush fixed damage.
The patch tool was also used, most
notably in the lower image, where the
“Zeta Nu” text was fully restored on
the rightmost white swimsuit after
in had completely eroded with time.
Now the photos can be seen far more
clearly.

7. Just a few fun Photoshop images showing a number of different techniques.
The image above of the bowls with large roosters on them in a sculpture in
from of the Central Plaza Mall in Lampang, Thailand. I used image adjustments
and a few different artistic filters to give it the appearance of a detailed, brush
stroked painting.
The two fantastical animals were created using Layer Masking techniques, I
seamlessly blended two images into one, with the goal of making the original
image difficult to separate from the addition.

8. Adobe InDesign
janelle monae is:
album release party
september 6, 2013
doors open at 10
This front and back of a direct mail-type
postcard was created in InDesign using a
number of Photoshop effects. The photo was layered with a translucent design
and overlaid with text.
machine
1254 boylston st
boston
THE ELECTRIC
LADY
first 25 guests
will recieve
a free copy
of janelle
monae’s new
hit album!
This above image was manipulated in Photoshop to
give it a translucent greyscale effect.
Drink Specials all Night
machine
1254 boylston st
boston ma

9. Embodying
The
Sacred in
Yoruba
Art
The Newark Museum
June 4 - August 25th, 2008
Embodying the Sacred in Yoruba Art is co-curated by Christa Clarke, Newark Museum’s Curator
of Africa, the Americas and the Pacific, and Carol
Thompson, the Fred and Rita Richman Curator
of African Art at the High Museum of Art in
Atlanta.
The accompanying catalogue includes a comprehensive essay by Dr. Babatunde Lawal, Professor
of Art History at Virginia Commonwealth University and one of the foremost experts on Yoruba
art, who served as exhibition consultant.
Embodying the Sacred in
Yoruba Art
Ceremonial Sword and Sheath (Udamalore)
Yoruba, 19th-20th century
Who are the
Yoruba?
Across cultures and throughout time, great works of art
have been inspired by spiritual beliefs. For the Yoruba,
one of Africa’s oldest and most influential cultures,
art and spirituality are often intertwined. Works of
art give visual form to the divine and inspire religious
devotion. In turn, they are made powerful by spiritual
forces. Aesthetics play an important role in the manifestation of the sacred. As the Yoruba say, art has the
power to fa ajú móra (magnetize the eyes), becoming
àwòwò–tún–wò (that which compells repeated gaze).
Embodying the Sacred in Yoruba Art, co-organized
by the Newark Museum and the High Museum of Art,
explores the relationship between art and the spiritual
world in Yoruba culture. The exhibition presents nearly
seventy works of art in diverse media, including recent
gifts to the organizing institutions from the collection of
Bernard and Patricia Wagner as well as works from the
Museums’ own collections.
Although a diverse culture, the Yoruba are united by
religious beliefs, language and a common tradition of
origin rooted in the institution of divine kingship. The
city of Ilè–Ifè, the ancient capital where the king’s palace
is still located today, was urbanized as early as the eighth
century and became a major center of artistic production
by the eleventh century. The Yoruba today make up one
of Africa’s largest ethnic groups with more than twenty-five million living in Nigeria, as well as in the neighboring countries of the Republic in Benin and Togo. In
the United States, an estimated one-sixth of all African
Americans are of Yoruba ancestry.
Onà: The Poetics of Art in Yoruba Cultures
The exhibition begins by addressing the creation and appreciation of art in the Yoruba world. At the entrance, visitors
will encounter an impressive Epa headdress that embodies the concept of onà, a Yoruba word meaning “design,” “unique
form,” or “embodiment of creative skill.” Epa headdress are created and worn to celebrate cultural achievement in
annual or biennial performances. This headress, sculpted from a single block of wood, has an elaborate composition
featuring a leopard pouncing on an antelope, while a rooster perches on the leopard. An astonishing artistic achievement in terms of form, the composition dramatizes the tension of warfare while hinting at the delicate interplay of forces
in the Yoruba cosmos.
The Newark Museum
June 4 - August 25th, 2008
The Newark Museum is one of the nation’s leading
repositories of Yoruba art, thanks to a pledged gift of
more than thirty outstanding African art works from
New Jersey collectors Bernard and Patricia Wagner. The majority of the pieces donated are Yoruba
sculpture and will enrich an existing collection of
approximately one hundred and twenty-five works of
Yoruba art.
Oríladé:
The Head is a
Crown
Amì Òrìsà:
Sacred Symbols
The first section of the exhibition focuses
upon art that glorifies the head, valued in
Yoruba culture as a seat of intelligence and
the site of perception. Both the theological and political importance of the head in
Yoruba art is emphasized. The head is to
the individual what Olodumare (the supreme being) is to the cosmos—a crown
and a source of power. The Yoruba word
oríladé—the head is a crown—is a metaphor for this relationship. According to
Yoruba religious belief, the head has two
aspects: the outer refers to the physical
head or that which is visible, while the
inner aspect refers to one’s spiritual core.
The spiritual conception of the head is
given visual form through the creation
of a range of art works, including shrines
dedicated to an individual’s “inner head”
as well as beaded crowns and other royal
regalia worn by leaders.
The second section, the largest of the
exhibition, provides an introduction
to and overview of the realm of Yoruba
deities. Yoruba traditional religion recognizes more than four hundred gods
and goddesses, known as òrìsà, and a
supreme creator, Olòdúmarè. It is to the
orisa that shrines are built and sacrifices
offered. Worship normally begins with
songs and oríkì (head praise), inviting
the “inner head” of an òrìsà to descend
on an altar. The “inner head” of a deity
is signified by a natural object or nonfigurative work (àmì), empowered with rituals and charms and placed on an altar.
Often these powerful signifiers are kept
in a container, buried in the ground, or
hidden. Their ritual power is enhanced
aesthetically by the addition of ornamented pottery, liturgical implements,
and sculptures on an altar.
Odúndé, Odúnjo:
Masquerade
Festivals
In a dramatic visual crescendo to the exhibition, the final section features a variety of
Yoruba masquerade genres. The Yoruba
hold many annual festivals which include
masquerade performances to give form to
the sacred and to project wishes and ideals
vital to the social and spiritual well–being
of the community. The expression Odúnde,
Odúnjo! sums up the enthusiasm with
which the general public looks forward to
the annual masquerade celebrations such
as Egúngún, Epa or Eléfòn, and Gèlèdé.
Masking reflects the belief that the human
body is a work of art that makes the spirit
visible in the physical world.
This brochure was created using InDesign. It is an example of a mailer
that could have been sent out for the
“Embodying the Sacred in Yoruba
Art” exhibition that was staged at the
Newark Museum in 2008 while I was
working there as an intern. I used
photos of objects from that exhibition to create this example of a bright
and vibrant direct mail brochure. All
of the text is from the original exhibition materials. I wanted to create
something that would instantly catch
the eye if seen among a pile of mail,
while still effectively communication the content of the exhibition.
The front image is a beaded Yoruba
sword sheath, and the back is an image of three Egungun dancers, allowing the reader to see these objects in
their traditional setting. The center
pages are a number of images of objects overlaid on a patterned Yoruba
textile background. An image of the
actual exhibition is also included inside as a small preview for a reader
who would receive this in the mail.

10. Tempting
Tarts
I needed this text from InDesign
to have a white backing, so I used
Illustrator to make an object out
of the text, create a white background, and group the objects. I
then imported the text into InDesign to apply it to the image.
In order to place
text on this image,
I had to remove
the pie server from
the above image. I
used Photoshop to
create the image on
the right by removing the pie server
and filling in the
empty space with
woodgrain.
101 Recipes
to Tempt
and
T
antalize
Your Taste
Buds!

11. 3-D Drawing in SketchUp
These are some examples of my 3-D
drafting in Google SketchUp.
I created an exterior model of a home
and then drafted a model of an interior room with wall details, windows,
and furniture.

12. These are some example of my drafting
in AutoCAD. These images were drafted as CAD drawings and then converted to PDF drawings to be easily viewed.
The image on the left is a floor plan for
a bedroom with an attached bathroom.
The bathroom features a built-in tub
that is included in the construction plan
for the building of this room. The image below is a structural image of the
bottom of a large column that would be
bolted to an existing floor.
BATHTUB
BEDROOM
BATHROOM
E:FloorPlan.dwg, 12/17/2013 1:56:47 PM, DWG To PDF.pc3
Drafting in
AutoCAD
E:ColumnPlan.dwg, 12/17/2013 1:58:32 PM, DWG To PDF.pc3

13. Related Design Work and Artwork
This sari garment was designed for the character of
Titania and created by me
as a class assignment. I used
fabric and appliqué to create a rich, three dimensional
look to the costume.
In a class I was tasked with creating a costume from a production
of A Midsummer Night’s Dream
set in any time period we chose. I
made the decision to set my production in British-occupied India
circa 1860, with the fairies having a
design look inspired by Hindu gods
and goddesses. This image of Puck
on the left is inspired by images
of Krishna, a classic mischievous
figure in the Hindu pantheon of
Gods, much like Puck.
This before-and-after image
of the character Bottom
utilizes classic imagery of
Hindu demons to manifest
his transformation from
man into the hideous creature Tatania will fall in love
with.

14. These are a few images from a production of Into The Woods
I designed for Greasepaint Productions, a student theater group
at Bryn Mawr College. I had a small budget and a director who
wanted to move the production to a more modern setting than
the normal fairy-tale world of the show, so I centered the design
around bright jewel tones and a whimsical combination of 1950’s
flared dresses and over the top 80’s vibrant colors. I did not want
the show to feel centered in any specific time period, but rather
feel as if it was an environment of magical realism. The set was
set was very minimalist and monochrome, so the costumes had
the majority of the burden on them to set the tone of the show.
The above two yellow and blue gowns I designed specifically for
this show. I chose the fabric and sewed them by hand. I also did
a few character sketches for the director, like the above sketch of
the Narrator/Mysterious Man character. In addition to the garments I made, a large number of the other garments were pulled
from stock or purchased by me. I also worked on the design of
the set and props, as seen in the next set of images.

15. In addition to creating the costumes for Into The
Woods, I also worked on the set and props. The entire
show, including the set, was designed to be very “selfaware” and involved breaking the fourth wall at a number of moments, so the set was designed and painted to
evoke the image of a forest, and to give a simple monochrome atmosphere to serve as a backdrop to the bright
costumes. Black twisting branches were painted on large
hanging panels that were up or backlit with various colors depending on the scene.
The wolf mask above was created by me out of Sculpey
clay. The show required that the actor playing the wolf
change into and out of his costume very quickly, so a
mask that could easily slip on and off was needed in
this case. It was also important that the audience still be
able to recognize that the actor was the same one that
had been playing the prince in the scene before.

16. Costume Design at the McCarter Theater
These two costumes were a collaborative effort between myself, my direct superior, and the
designer Anita Yavich. Anita made the sketch shown above for the play Phaedra Backwards
at the McCarter Theater in Fall 2011. The play was set in an ancient Grecian world with
modern stylistic influences. The shop worked with her to chose the fabric and create the
pleating. My draper and I then worked together to set up the fabric for the two garments. I
then took over the project and did all of the stitching and small details. After the garments
were fitted, I worked with the designer and actors to create necessary alterations.

17. This costume is from a play called “The
Convert”, which was performed at McCarter Theater. The play, which is set in
Zimbabwe in 1890, features an actress
dressed in the native garments of the
Shona people. The drawing on the left by
the designer Paul Tazewell was based on
extensive historical research. I helped my
draper to create the leather skirt based on
the drawing, and then took over the rest
of the costume. I completed the beaded
embroidery on the leather skirt. I also
consulted with the designer to choose
beads, and then strung the beads for the
waistbands.
I also did extensive work on the wristbands. Traditionally, these wristbands are
worn by the Shona people for life, they
are hammered gold bands that cannot be
taken off the wrist or ankles.
Obviously, heavy, loudly clanging gold
bangles would not have worked well on
stage, so working in conjunction with
the costume shop I helped conceptualize and create wristbands out of plastic
piping that were wound around leather
cuffs. They could be easily snapped off
and on, and they allowed the actors ease
of movement while still giving off an
authentic appearance. I also did all of the
painting and sewing work on the wristbands, layering golds and copper tones.

18. The Convert also involved a large amount
of garment distressing, in order to make the
garments feel well worn and dirtied by the
dry, dusty soil and air in the surrounding environment of the play. This was very important, as the only set piece used was the inside
of a living room - the costumes and their red
clay tones were the only link for the audience
as to the appearance of the world these characters inhabited. It also helped to highlight
the class levels of the characters - those seen
as “lower-class” were easily recognizable by
an audience member. One of my main jobs
during the convert was distressing a majority
of the costumes using a number of techniques- dip dying, painting, using powered
dyes, and even using red clay and dirt.
This is another costume from The Convert that I helped
to conceptualized and distress. My draper made the muslin
mock up of the garment, but I cut and sewed the entire
final garment.

19. Craftworks
This slide is an example of a few sculpture-based projects that I took on
during my undergraduate years. The
images to the right are “magic wands”
created for an original musical being
performed for a theater’s major’s graduate thesis. I used wrapped paper and
hot glue to make the body and raised
designs on the wand. My goal was to
make an object that appeared to be
carved from wood, but one that was
light, easy to handle, that could not be
easily broken, since the wands were
thrown around quite a bit during the
show. I then painted them with acrylics.
These small polymer clay robots were created as set dressing. I used Super Sculpey to sculpt them and then baked them so they would hold
their shape. I then painted them silver and sealed the paint with a glossy finishing spray. I then added the eyes and small items they each
hold. I tried to work individual personality into each figurine.

20. I created these two garments in conjunction with my draper for the
McCarter Theater’s performance of
Travesties, the play by Tom Stoppard.
The plaid skirt features hand sewn
pockets and a detailed waistband, and
the charcoal skirt has a number of
small, hand placed tucks to add detail.
The work on both jackets and skirts,
shown here about halfway finished,
shows precision and attention to detail in every stage of their creation.
I also worked on the creation of this
large decorative hat with the first
hand, who also served as our milliner. We carefully chose and attached a
number of outlandish details to it to
help shape the audience’s perception
of a more outrageous female
character.
Kathleen Scalera