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A s h l e y M o o r e

My name is Ashley Moore. I am a fourth year Graphic Design student at Harding University in Searcy, Arkansas. I am from Cary, North Carolina. I enjoy knitting in my spare time because it allows me to express my creativity. Just like graphic design, knitting begins with a problem to solve and the tools to solve it. The creative solution that comes from those makes the hard work worthwhile. My objective is to gain experience in the field of graphic design and apply my knowledge and skills. I aim to build a career in graphic design by obtaining experience and contributing to the success of an established graphic design firm.

Contact me: [email protected]

A s h l e y M o o r e

P r e c i s i o n W e i g h i n g

I rebranded a small business called Precision Weighing. I designed a logo and stationary which are currently in use. Additionally, I designed and built a new company website for information and sales.

D i a b e t e s S i s t e r s

I designed this binder and all of its pages for Diabetes Sisters. I worked with behaviorists who wrote the copy and I worked with the client to design what she needed.

W r i t i n g C e n t e r

Working with a client from the Harding University Writing Center, I was able to design new branding which was considered for the following year.

P r o m o M a g a z i n e

I designed a cover and layouts for Promo Magazine with a clean, modern look.

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ContentsWas it all a dream?

Inception Movie Reviews

Want a New Pet? Taming the Wild

Why Exercise Won’t Make You Thin

There are two ways to react to “Inception.”

The first way is to sit there, your mouth slightly open, watching all the reality-tweaking scenarios on-

screen — and then, after 15 minutes, throwing up your hands and walking

out. The second way is to sit there, your mouth slightly

open, watching all the reality-tweaking scenarios

on-screen — and, at the end, putting your hands together

in applause and making plans to come back. Count

me in the second camp.

“Hello! How are you doing?” Lyudmila Trut says, reach-

ing down to unlatch the door of a wire cage labeled

“Mavrik.” We’re standing between two long rows of

similar crates on a farm just outside the city of Novosi-birsk, in southern Siberia, and the 76-year-old biolo-gist’s greeting is addressed not to me but to the cage’s furry occupant. Although I don’t speak Russian, I rec-

ognize in her voice the tone of maternal adoration that

dog owners adopt when ad-dressing their pets.

As I write this, tomorrow is Tuesday, which is a

cardio day. I’ll spend five minutes warming up on the

VersaClimber, a towering machine that requires you

to move your arms and legs simultaneously. Then I’ll do 30 minutes on a stair mill. On Wednesday a personal trainer will work me like

a farm animal for an hour, sometimes to the point

that I am dizzy — an abuse for which I pay as much as I spend on groceries in a

week.

1716By Evan Ratliff“Hello! How are you doing?” Lyudmila Trut says, reaching down to unlatch the door of a wire cage labeled “Mavrik.” We’re standing between two long rows of similar crates on a farm just outside the city of Novosibirsk, in southern Siberia, and the 76-year-old biolo-gist’s greeting is addressed not to me but to the cage’s furry occupant. Although I don’t speak Russian, I recognize in her voice the tone of maternal adoration that dog owners adopt when addressing their pets

.Mavrik, the object of Trut’s attention, is about the size of a Shetland sheepdog, with chestnut orange fur and a white bib down

his front. He plays his designated role in turn: wagging his tail, rolling on his back, panting eagerly in anticipation of attention. In adjacent cages lining either side of the narrow, open-sided shed, dozens of canids do the same, yelping and clamoring in an explosion of fur and unbridled excitement. “As you can see,” Trut says above the din, “all of them want human contact.” Today, however, Mavrik is the lucky recipient. Trut reaches in and scoops him up, then hands him over to me. Cradled in my arms, gently jawing my hand in his mouth, he’s as docile as any lapdog.

Except that Mavrik, as it happens, is not a

dog at all. He’s a fox. Hidden away on this overgrown property, flanked by birch forests and barred by a rusty metal gate, he and several hundred of his relatives are the only population of domesticated silver foxes in the world. (Most of them are, indeed, silver or dark gray; Mavrik is rare in his chestnut fur.) And by “domesticated” I don’t mean captured and tamed, or raised by humans and conditioned by food to tolerate the occasional petting. I mean bred for domes-tication, as tame as your tabby cat or your Labrador. In fact, says Anna Kukekova, a Cornell researcher who studies the foxes, “they remind me a lot of golden retrievers, who are basically not aware that there are

good people, bad people, people that they have met before, and those they haven’t.” These foxes treat any human as a potential companion, a behavior that is the product of arguably the most extraordinary breeding experiment ever conducted.

It started more than a half century ago, when Trut was still a graduate student. Led by a biologist named Dmitry Belyaev, researchers at the nearby Institute of Cytology and Ge-netics gathered up 130 foxes from fur farms. They then began breeding them with the goal of re-creating the evolution of wolves into dogs, a transformation that began more

years. But he wasn’t just looking to prove he could create friendly foxes. He had a hunch that he could use them to unlock domestica-tion’s molecular mysteries. Domesticated animals are known to share a common set of characteristics, a fact documented by Darwin in The Variation of Animals and Plants Un-der Domestication. They tend to be smaller, with floppier ears and curlier tails than their untamed progenitors. Such traits tend to make animals appear appealingly juvenile to humans. Their coats are sometimes spot-ted—piebald, in scientific terminology—while their wild ancestors’ coats are solid. These and other traits, sometimes referred to as the domestication phenotype, exist in varying degrees across a remarkably wide range of species, from dogs, pigs, and cows to some nonmammalians like chickens, and even a few fish.

Belyaev suspected that as the foxes became domesticated, they too might begin to show aspects of a domestication phenotype. He was right again: Selecting which foxes to breed based solely on how well they got along with humans seemed to alter their physical appearance along with their dis-positions. After only nine generations, the researchers recorded fox kits born with flop-pier ears. Piebald patterns appeared on their coats. By this time the foxes were already whining and wagging their tails in response to a human presence, behaviors never seen in wild foxes.

Driving those changes, Belyaev postulated, was a collec-tion of genes that conferred a propensity to tameness—a genotype that the foxes perhaps shared with any species that could be domesticated. Here on the fox farm, Kukekova and Trut are searching for precisely those genes today. Elsewhere, researchers are delving into the DNA of pigs, chickens, horses, and other domesticated species, looking to pinpoint the genetic differences that came to distinguish them from their ancestors. The research, acceler-ated by the recent advances in rapid genome sequencing, aims to answer a fundamental biological question: “How is it possible to make this huge transformation from wild animals into domestic animals?” says Leif Andersson, a professor of genome biology at Uppsala University, in Sweden. The answer has implications for understanding not just how we domesticated animals, but how we tamed the wild in ourselves as well.

In recent years the institute has been work-ing to obtain permits to sell the surplus tame foxes as pets, both domestically and in other countries. It would be a way not just to find a better home for the unwanted foxes, they suggest, but also to raise money for the research to continue.

As for Mavrik, Luda Mekertycheva was so enthralled by the chestnut-colored fox and another playmate that she decided to adopt them. They arrived at her dacha outside of Moscow a few months later, and not long after, she emailed me an update. “Mavrik and Peter jump on my back when I kneel to give them food, sit when I pet them, and take

Tam

ing the

Wild

Only a handful of wild animal species have been successfully bred to get along with humans. The reason, scientists say, is

found in their genes.

than 15,000 years ago.

With each generation of fox kits, Belyaev and his colleagues tested their reactions to hu-man contact, selecting those most approach-able to breed for the next generation. By the mid-1960s the experiment was working beyond what he could’ve imagined. They were producing foxes like Mavrik, not just unafraid of humans but actively seeking to bond with them. His team even repeated the experiment in two other species, mink and rats. “One huge thing that Belyaev showed was the timescale,” says Gordon Lark, a University of Utah biologist who studies dog genetics. “If you told me the animal would now come sniff you at the front of the cage, I would say it’s what I expect. But that they would become that friendly toward humans that quickly… wow.”

Miraculously, Belyaev had compressed thou-sands of years of domestication into a few

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By Kenneth Turan

There are two ways to react to “Inception.”The first way is to sit there, your mouth slightly open, watching all the reality-tweaking scenarios on-screen — and then, after 15 minutes, throwing up your hands and walking out.

The second way is to sit there, your mouth slightly open, watching all the reality-tweaking scenarios on-screen — and, at the end, putting your hands together in applause and making plans to come back.

Count me in the second camp.

It’s just grade-A filmmaking.There are plenty of explosions, sure, and fight scenes, and gadgetry. There’s Leonar-do DiCaprio as the hero, Marion Cotillard as the femme fatale and enough globe-trotting locations to fuel two 007 films.But it also takes place in the mind — or, rather, in several minds at once, as our heroes pursue their prize through dreams within dreams. In fact, by the climax, the action is occurring in at least four separate and simultaneous realities. To quote our old friend Neo — “Whoa.” As in “Memento,”

though, the fractured storytelling is not only in service of the story, it’s the only way to tell the story. Our hero Cobb, you see, is a thief of the subconscious — hired by corpo-rations to slip into a business rival’s dreams and steal an idea. Or, in this case, plant an idea. It’s a risky strategy, but then this is a risky film. Audiences have become used to being passive creatures, especially during the summer; “Inception” demands you pitch in, too. If you want to enjoy the movie, you have to be part of the team.It’s a great team, too, starting with DiCaprio.

And the film’s ending — it doesn’t really conclude — is just ambiguous enough to leave you wondering. Which is Nolan’s point. “You create the world of the dream,” Cobb says early on, explaining how he does it. “You bring the subject into that dream, and they fill it with their secrets.” It’s a good clear description of how Cobb

does what he does — getting inside our minds and tricking us into helping. And it’s a job Nolan knows by heart.

By A.O. Scott

So “Inception” is not necessarily the kind of experience you would take to your next shrink appointment. It is more like a diverting reverie than a primal nightmare, something to be mused over rather than analyzed, something you may forget as soon as it’s over. Which is to say that the time — nearly two and a half hours — passes quickly and for the most part pleasantly, and that you see some things that are pretty

amazing, and amazingly pretty: cities that fold in on themselves like pulsing, three-dimensional maps; chases and fights that defy the laws that usually govern space, time and motion; Marion Cotillard’s face.

The accomplishments of “Inception” are mainly technical, which is faint praise only if you insist on expecting something more from commercial entertainment. That audi-ences do — and should — expect more is partly, I suspect, what has inspired some of the feverish early notices hailing “Incep-tion” as a masterpiece, just as the desire for a certifiably great superhero movie led to the wild overrating of “The Dark Knight.” In both cases Mr. Nolan’s virtuosity as a conjurer of brilliant scenes and stunning set pieces, along with his ability to invest grandeur and novelty into conventional themes, have fostered the illusion that he is some kind of visionary.

But though there is a lot to see in “Incep-tion,” there is nothing that counts as genu-ine vision. Mr. Nolan’s idea of the mind is too literal, too logical, too rule-bound to al-low the full measure of madness — the risk of real confusion, of delirium, of ineffable ambiguity — that this subject requires. The

unconscious, as Freud (and Hitchcock, and a lot of other great filmmakers) knew, is a supremely unruly place, a maze of inad-missible desires, scrambled secrets, jokes and fears. If Mr. Nolan can’t quite reach this place, that may be because his access is blocked by the very medium he deploys with such skill.

And the limitations of “Inception” may sug-gest the limits not only of this very talented director, but also of his chosen art form at this moment in its history. Our dreams feed the movies. The movies feed our dreams. But somehow, our imaginations are still hungry.

By Stephen Whitty

Dreaming is life’s great solitary adventure. Whatever pleasures or terrors the dream state provides, we experience them alone or not at all. But what if other people could literally invade our dreams, what if a technology existed that enabled interlopers to create and manipulate sleeping life with the goal of stealing our secret thoughts, or more unsettling still, implanting ideas in the deepest of subconscious states and making us believe they’re our own?

Welcome to the world of “Inception,” writ-ten and directed by the masterful Chris-topher Nolan, a tremendously exciting science-fiction thriller that’s as disturbing

as it sounds. This is a popular entertain-ment with a knockout punch so intense and unnerving it’ll have you worrying if it’s safe to close your eyes at night.

For “Inception” is not only about the dream state, it often plays on screen in a dreamlike way, which means that it has the gift of be-ing easier to follow than to explain. Specif-ics of the plot can be difficult to pin down, especially at first, and guessing moment to moment what will be happening next, or even if the characters are in a dream or in reality, is not always possible. But even while literal understanding can remain tan-tilizingly out of reach, you always intuitively understand what is going on and why.

Shooting “Inception” in six countries, preferring to do elaborate stunts in camera whenever possible but expert at utilizing computer-generated effects when neces-sary, Nolan and his team (including produc-tion designer Guy Hendrix Dyas, special effects supervisor Chris Corbould, visual effects supervisor Paul Franklin and stunt

coordinator Tom Struthers) have come up with some unforgettable set pieces. As detailed in a thorough cover story in American Cinematographer magazine, the standout imagery includes: a 60-foot-long freight train that barrels down the middle of a city street, shot in the vicinity of 7th and Spring in downtown L.A. with a replica of the train engine placed on the chassis of an 18-wheel tractor-trailer; a 100-foot hotel corridor built so it could rotate through 360 degrees to mimic a zero-gravity experience; and a mind-altering CGI scene that has a Paris street roll up and over itself like it was some kind of a tapestry instead of a steel and concrete boulevard.

Speaking of Paris, it’s one measure of how wide-ranging Nolan’s influences are that he used the classic Edith Piaf song “Non, Je Ne Regrette Rien” as a key plot element. The pleasure of “Inception” is not that Nolan, as the song says, regrets nothing, it’s that he has forgotten nothing, expertly blending the best of traditional and modern filmmak-ing. If you’re searching for smart and nervy

Christopher Nolan’s mind-bending, intelligent, exciting and disturbing sci-fi extravaganza, starring Leonardo

DiCaprio, blends the best of traditional and modern

filmmaking.

Was it all a dream?Inception Movie Reviews

F r e d & M i a h

I designed the packaging for Fred & Miah shampoo, conditioner, cologne, and perfume. I used a design that would appeal to men and women.

C i t r u s S o a p

I designed the branding and packaging for these bars of soap with citrus flavors in mind. The soap is made of all natural ingredients and targets both men and women.

F l a g D e s i g n s

I was asked to design and hand paint a series of flags for a high school winterguard. The flag designs are based on a show theme and spun by winterguard members in competitions throughout the season.

F i n e A r t

Top Left: Copy of a Master PaintingTop Right: Lacey Screen PrintBottom Right: Mia Pastel Drawing

A s h l e y M o o r e9 1 9 . 6 2 2 . 2 4 8 5 • a s h l e y m 1 0 3 @ m e . c o m

E d u c a t i o n Harding University, Searcy, Arkansas - Bachelor of Fine Arts - Graphic Design Graduating May 2012 • GPA - 3.84 - Dean’s List five semesters

E x p e r i e n c e F r e e l a n c e D e s i g n e r 2011 - Precision Weighing: Branding and Stationary 2010 - Green Hope Winterguard: Flag Design

I n t e r n s h i p s2011 -

2011 -

I was exposed to the digital world of design through my internship at MicroMass in Cary, NC. I had the opportunity to observe and contribute to app design,web design, and mobile web design. In addition to the design experience, I had the opportunity to work as ateam with behaviorists, an account team, and other creative members.

I completed an internship at Harding Press in Searcy, Arkansas. I had the opportunity to be exposed to allthe parts of a printing press. In addition to working on design in the pre-press, I worked with different aspectsof the press.

B F A C u r r i c u l u mDrawing and Composition • Multimedia Drawing and Rendering • Human Anatomy and Design • Two-D Design • Computer Graphics Design • Advertising • Marketing • Ancient to Medieval Art Survey • Renaissance to Present Art Survey • Basic Type Design • Color Theory • Painting 1 • Graphic Design 1 and 2 • Graphic Design Profession • Printmaking 1 and 2 • Photography •American Art History • History of Graphic Design • Advanced Graphic Design 1 • Internet Communication

S o f t w a r e K n o w l e d g eApple Mac OSX • Photoshop CS5 • Illustrator CS5 • Indesign CS5 • After Effects CS5 • Microsoft PowerPoint • Microsoft Word • Microsoft Excel

H o n o r s & H o n o r sE x h i b i t i o n s Academic Achievement Scholarship American Studies Institute Alpha Chi Honor Society

E x h i b i t i o n sStevens Art Gallery, Lectureship Exhibit 2011Stevens Art Gallery, Printmaking Exhibit 2011

References available upon request.