ArtBistro

10 Worst Time Wasters at Work

Tania Khadder — Mon, 21 Sep 2009 13:33:00 -0700

Time flies when you're wasting it

These days, no one can afford to waste time at work.

Thanks to widespread downsizing, workloads are piling up. Unfortunately, extra hours in the day are not.

Maximizing your time at work can mean the difference between leaving at a reasonable hour (i.e. holding onto your sanity) and staying late unnecessarily. You’ve got a life outside work. Don’t you want to live it?

There are countless ways you waste time on the job.

Sometimes, it’s unavoidable. Other times, it can be overcome with a minor shift in your approach. Either way, the first step to addressing time wasters is to identify them.

Here are the 10 most common time sucks and some tips on how to defeat them.

Time Waster #1 →

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Culprit #1: Instant Messaging

While instant messaging can be a useful intra-office tool, its generally informal (and instant!) nature can also make it productivity’s worst enemy. How many times has a discussion about something work related quickly degenerated into a half-hour gossip session? And there’s always someone with a lot less to do who will tempt you into a chat marathon.

The solution: If you can’t disconnect completely, at least set your status to “Busy” for a good portion of the day. This will help deter frivolous chatter. If someone insists on bothering you with non-work related chit-chat, tell them (politely) that you are in the middle of something and ask if you can pick up the conversation another time (maybe during your lunch break?). Don’t feel bad about it – no one will fault you for your silence if you’ve got work to do. If they do, you probably don’t want to be chatting with them anyway.

Time Waster #2 →

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Culprit #2: Over-Reliance on Email

We’ve all become addicted to email as a form of communication. It’s convenient. It's also a great way to keep an electronic trail of your correspondence (helpful if you’re ever challenged on a decision or occurrence). But a lot of time is wasted on back and forth emails that would be more easily resolved as a verbal conversation. Don’t even get me started on the oh-so-common "reply-to-all" debacle.

The solution: If there’s something that needs to be discussed, opt for a face-to-face conversation. Is the person you need to speak to on the other coast? Call them. And if you still want a written record, write up a quick email after the conversation outlining where things left off and send to all relevant parties. On the surface it seems like more steps, but it can mean the difference between an hour of work and a two-day back and forth email discussion.

Time Waster #3 →

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Culprit #3: Meandering Meetings

“Meetings about meetings.” You know the kind –- you get together for an hour and all you end up with is a list of what should be discussed in yet another meeting. Sure, meetings are an essential part of the workplace. But if run poorly, they can be a colossal waste of time.

The solution: Meetings should have a purpose; a set of tangible goals you want to accomplish. This should be realized by tackling a set agenda, which should be distributed to attendees before the meeting starts. Stay focused on the task at hand. If there are visual aides, have them set up and ready to go before the group enters the room. Finally, make sure you really need a meeting: if what you have to say can be just as easily shared in an email to the group, why get people up and away from their work?

Time Waster #4 →

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Culprit #4: Short Gaps Between Meetings

Speaking of meetings, what about those 15-30 minute gaps between them? What do you ever really accomplish in that time? Usually, very little. Sure, it gives you a bit of time to decompress, but it also takes you in and out of meeting mode for no apparent reason. If you have several meetings a day, that limbo time can amount to a couple hours of waste.

The solution: Schedule your meetings back-to-back if you can; you’ll knock them out more efficiently. The time in between is better clumped together at some point in the day so it can be used for productive endeavors.

Time Waster #5 →

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Culprit #5: Reacting to Interruptions

You’re in the middle of something when you get an “urgent” email. You reply, only to be accosted by a phone call shortly after. You hang up, only to be faced with yet another email that demands your response. And on and on. Before you know it, it’s 4pm and you still haven’t made a dent in what you’d started first thing this morning. Sound familiar? The average employee works for just 11 minutes before being distracted. No wonder we’re struggling to get things done.

The solution: It’s unavoidable – the hyper-connected workplace will throw constant interruptions at you. The trick is to learn how to react to them without taking away from the task at hand. If you’re busy, let your phone go to voicemail. Set aside three times a day where you manage your inbox. Of course, there are instances where an email demands an urgent reply. But more often than not, it doesn’t. Know the difference.

Time Waster #6 →

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Culprit #6: Ineffective Multi-Tasking

Everyone likes to think they’re great at multi-tasking. And maybe you are. But there’s a limit to how many things you can do at once without taking away from the quality of your work and, ultimately, slowing down the process. Shifting between five different projects at once? You’re probably wasting your time.

The solution: Prioritize and then break up your day accordingly. It’s the key to successfully completing any project. Write down everything you hope to achieve and assign a set time to do so based on importance. Don’t move on to the next task until you’ve really completed the previous one. Not only will you do a better job when you’re focused, you’ll also force yourself to finish something within the time allotted.

Time Waster #7 →

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Culprit #7: Disorganized Workspace

Your primary workspace might be the top of your desk, your desktop computer or most likely, a combination of the two. Either way, if it’s messy, you’ll end up wasting a lot of time looking for things.

The solution: A scattered workspace makes for a scattered mind. De-clutter, and you’ll manage your work more efficiently. Before you leave the office, clear your desk of cans, cups, food and paperwork. Use that file cabinet for something other than your box of saltines. Recycle paperwork you’re never going to use. And don’t add unnecessary items to your files – if you don’t need to print something out, don’t. Your company’s shared drive is perfectly capable of storing documents tidily.

Time Waster #8 →

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Culprit #8: Personal Communications

In the olden days, it was a little harder to get in the way with personal correspondence at work. Today, you can be constantly connected to friends and family without anyone really noticing. It’s no longer a question of “Will I get caught?” so much as “How much time am I wasting?” If you’re checking Facebook religiously, G-Chatting with friends or responding to personal emails the same way you do professional ones, the answer is: a lot.

The solution: These days, employers understand that you may spend some time at work doing personal things (after all, you spend so much time there). Leave your personal correspondence for your lunch break. You can check your various accounts all at once, guilt-free. Be firm with your friends and family about contacting you during work hours –- if they’re not reaching out to you between nine and five, you’ll be a lot less tempted to check in. You’ll also have a better time overcoming Culprit #5.

Time Waster #9 →

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Culprit #9: Web Surfing “Breaks”

You need to step away from what you’re working on so you search for reviews of that movie you’ve been dying to see. Before you know it, you’ve got six tabs open in your browser. You’re looking up concert tickets, shoes, today’s news and the etymology of a words. No need to ask where your afternoon went. Your browser history says it all.

The solution: Know your limits. If you’re tempted to look something up, wait until you’ve at least finished what you’re working on. Preferably, leave this type of search for your lunch break or the end of the work day. It’s just too easy to get sucked in when there’s endless information at your fingertips.

Time Waster #10 →

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Culprit #10: Cigarette/Coffee Breaks

Everyone needs to step away from their desk every once in a while. In fact, it’s been said that taking breaks can often make you more productive. But if you’re going out for a smoke or a coffee run every half hour (sounds extreme, but not totally unrealistic), you’re reducing your productivity to the bare minimum by never really getting into the groove of your work.

The solution: It’s a good idea to look away from your computer every fifteen minutes or so. But when it comes to breaks outside the office, reserve them to three a day: one mid-morning, one at lunch time, and one in the afternoon. Taking your full lunch break is key. If you’re out of the office for a solid hour mid-day, you’ll feel less of a need to step out for smaller breaks. And you’ll be able to get into the work groove – and stay there! – more often.

What Not to Say During an Interview

By Alexi Calvo | HRGuru — Wed, 16 Sep 2009 09:13:00 -0700

The truth is most people sabotage their own interviews. Instead of putting their best foot forward, they put off the interviewer by acting cocky, unsure of their talent, having bad manners, or by simply acting weird. HRGuru has interviewed several recruitment experts to bring you unbelievable true stories of what actually happens behind interview doors. If you want to land that new job, follow this interview advice from the interview experts:

Acting Cocky Doesn’t Help You>>

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Acting Cocky Doesn’t Help You

It doesn’t bode well for you to walk into an interview as if you’ve already been hired. In order to impress the interviewer don’t put down past coworkers or employers. When asked about the internet security policies of their past employer, a candidate was quoted as saying , “Well, it was a stupid policy anyway.” Mentioning that your former employer was dumb in any way doesn’t show how superior you are--what it does do however-- is show that you bad mouth people and aren’t a fiercely loyal worker.

During an interview don’t bring up your future salary. Candidates (who were not hired) have been known to start asking for a raise before even being offered a position! We all know that you are trying to get a job in order to make a living, just try not to be so transparent. Your interviewer wants to know that you have chosen to interview at their company because of the outstanding product or service they offer not just because you need a paycheck.

Also, applicants during an interview have been known to ask, “How soon can I transfer to a better job?” and even “Can I telecommute because the drive is too much in the morning?” As an interviewee you have to remain humble. The company is choosing you and not the other way around. On the flip side you don’t want to come off as unsure of yourself.

Be Confident>>

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Be Confident

Never say that you don’t know how to do something. When HR asks you about certain skills necessary for the job, rather than admitting that you don’t have a certain skill simply explain that you are a fast learner and can easily be taught. You want to come across as someone that can take on any task.

If you‘re wondering how you’re doing during the interview, fight your instinct to ask, “How am I doing?” That would be interview suicide. If you ask the interviewer for feedback while the interview is taking place it’s quite evident that you are not confident. Stay calm, bite your tongue, and continue with quiet dignity.

Finally, don’t tell the interviewer that you are willing to work for less money. This shows that you are okay with undervaluing yourself and that you are not business savvy and perhaps even desperate. If the company deems the salary appropriate for the position, take it.

Watch Your Manners>>

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Watch Your Manners

Candidates have been known to ask right off the bat, “So when do I get to meet someone who actually has the power to hire me?” This is a very rude thing to say to the person taking time to interview you. Give every person you meet at your potential employer’s company the respect they deserve. You never know who you will meet and what they can do for you. Knowing this, do not leave your cell phone on during an interview or ask the recruiter if you can leave it on since you are waiting for an important call (yes, actual candidates have asked this.) The question is what is more important, a phone call or your interview? This of course means that eating lunch during an interview is also not a good idea no matter how famished you may be.

You will be judged on everything you say. Keep in mind that the interviewer doesn’t know you and they often won’t realize when you are joking around. That said, never make racist comments. While you are at it, avoid stereotypes. Starting off a sentence with, “You know how women/men/gays/blacks/Asians/kids/old people/handicapped are…” may be offensive to the interviewer since just as they don’t know you or your background, neither do you know theirs. Be sensitive and avoid politically incorrect statements like the plague.

Never Get Too Personal>>

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Never Get Too Personal

An interview is not a therapy session. The interviewer doesn’t need to know that you need to make at least $20 dollars an hour because your alimony will take half. TMI! Keep the conversation career-oriented and focused on what you can do for the company. I know it’s tempting to give your life history when an interviewer asks, “Tell me about yourself…” However, this is a trick question. It’s not open ended. Talking about how much your former boss had it out for you is indeed career-oriented-- but better left unsaid. You don’t want to come off as a trouble-maker so pick and choose exactly what you want the interviewer to know about you. Don’t offer up embarrassing and self incriminating info when you haven’t even been asked for it.

Some Things Are Better Left Unsaid>>

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Some Things Are Better Left Unsaid

Did you exaggerate a little bit on your resume? Keep that to yourself. We don’t have to divulge all of our secrets. Your resume got you in the door and now you can finally prove yourself so don’t self-sabotage. Other ways to self-sabotage are mentioning that you are planning to have another child, moving out of town, have the itch to go back to school, or have any medical issues. You want to present yourself as low-maintenance and honest.

If you are interviewing at several other organizations don’t tell the interviewer. Even though you may think this makes you more desirable, it can always backfire. You don’t want to notify your current company’s HR department that you are looking for a job elsewhere unless you like the idea of walking around with a “Fire Me” sticker on your forehead. Keep your career moves to yourself and be smart about what you divulge.

Some Final Words Before You Walk into Your Interview…

Wait through the silence and lulls in your interview. You may feel uncomfortable during these gaps in conversation but if you feel you’ve answered the question, there is no need to ramble aimlessly since we know what that will get you…zero job offers. Finally, if you are asked, “What is the least favorite thing you like to do?” Do not answer, “Interview.” Okay, off you go, Good luck!

Refine Your Graphic Design Skills

Valerie Atkisson / ArtBistro — Wed, 18 Mar 2009 12:05:00 -0700

The graphic design industry is constantly evolving. Graphic design jobs have become more demanding and competitive than ever before. It is essential to refine your design style to make sure that you stay on top in this industry.

Read these helpful articles to improve your style.

h4. "Let's Advertise":http://artbistro.monster.com/education/articles/8321-lets-advertise

h4. "What's Your Sign?":http://artbistro.monster.com/education/articles/8497-whats-your-sign

h4. "Is this a Logo or a Brand?":http://artbistro.monster.com/education/articles/7731-is-this-a-logo-or-a-brand-

h4. "What Type is Your Type?":http://artbistro.monster.com/education/articles/7277-what-type-is-your-type

Your Guide to Creating a Better Portfolio

Valerie Atkisson / ArtBistro — Mon, 26 Jan 2009 15:12:00 -0800

Creating a portfolio for a new job, gallery, or school may seem like an overwhelming task. Luckily, you can find help here from professionals who have mastered the art of creating a great portfolio. Here are some articles that will guide you to create your outstanding portfolio.

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h4. "How Can You Be More Original?":http://artbistro.monster.com/education/articles/7887-how-can-you-be-more-original

h4. "Create the Design Portfolio that Will Get the Job":http://artbistro.monster.com/education/articles/7844-create-the-design-portfolio-that-will-get-the-job

h4. "Create Your Best Portfolio for Graduate School":http://artbistro.monster.com/education/articles/7933-create-your-best-portfolio-for-graduate-school

How Do Artists Make Money?

Valerie Atkisson / ArtBistro — Mon, 21 Jul 2008 12:12:00 -0700

How do artists make money? Many people who are not artists wonder about this, and many seasoned artists wonder the same thing! Of course artists know that to make money, you sell your work. But there may be other ways of making money that you may not be aware of. Here are the top 10 ways that artists make money. Each has a short description and a link to an article full of advice from the experts. This quick reference guide will help you get on the right track to make a career as an artist.

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h2. Selling Your Work

h4. Commercial Galleries

Commercial galleries typically sell artists' works at a commission. The typical commission that galleries take is somewhere between 40% and 50% of the sale of the work. This is determined by the contract. Whether you submit your work for sale by consignment or enter into an ongoing relationship with a gallery, the parameters should all be written down in a contract. We have put together two guides for you. One is: "Are Commercial Galleries Essential to Artists Careers?":http://artbistro.monster.com/news/articles/7418-are-commercial-galleries-essential-to-artists-careers. The other is: "How to Get Gallery Representation":http://artbistro.monster.com/news/articles/8862-how-to-get-commercial-gallery-representation These essential articles will help you navigate the commercial gallery system.

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h2. Nonprofit Galleries

Nonprofit galleries typically show work that is young, edgier, and cutting edge. Depending on the gallery, they will take a commission - usually not more than 30%. Nonprofit galleries typically do not “represent” artists or enter into contractual relationships with them. For the "411 on non-profit galleries and our tour of nonprofit galleries near you, click here.":http://artbistro.monster.com/news/articles/7528-the-411-on-non-profit-galleries

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h2. Out of Studio

Many artist sell their work out of their studio by arranged visits or "open studios arranged with other artists.":http://artbistro.monster.com/news/articles/7747-open-studios-and-selling-your-artwork If you are represented by a gallery, that agreement may extend to “studio sales” or all sales of your work. If you do not have a formal relationship with a gallery, you obviously retain 100% of the sale. "How can you get the most out of open studios? Read here.":http://artbistro.monster.com/news/articles/7747-open-studios-and-selling-your-artwork

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h2. Online

More artists are selling their work online. Any commission from an online website would be determined by the terms of use contract that you agreed to. Different sites charge a different percentage of a commission. Anywhere between 1-5% is normal; 10% is on the high end. "Click here to read: Best Practices for Selling Work Online.":http://artbistro.monster.com/news/articles/7625-best-practices-for-selling-art-online

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h2. Private Commissions

Artists will do work on a commission basis. If collectors want a personalized work of art like a portrait, they will commission an artist. The artist sets the price and usually asks for a percentage of the price up front.

If you have a formal relationship with a gallery, they will likely take a cut of any commissioned work that they bring to you. Terms of commissions will be stated in your contract. Artists who do a lot of commission work have been interviewed to give you: "Best Practices for Making Commission Work":http://artbistro.monster.com/news/articles/7666-best-practices-for-artists-making-commission-work

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h2. Public Commissions

Artists are commissioned for public art usually in connection with a new building or construction project. Many states have a law that specifies that 1% of the total building cost go to art for the building. Usually state and city art groups have the latest information of what program is currently accepting applications.

There are also private funds for public art like "The Public Art Fund":http://www.publicartfund.org/ and "Percent for Art":http://en.wikipedia.org/wiki/Percent_for_Art. When artists get a public work commission, they typically get 20% of the total cost of the project as an artist’s fee. "Click here to read: How to Win Public Commissions.":http://artbistro.monster.com/news/articles/7935-how-to-win-public-art-commissions

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h2. Grants

There are many grants for artists. They are very competitive to get, but as one mentor of mine advised me, "Don’t give up until you have applied ten times." Grants vary in how much money they award. Some grants are privately funded and some are publicly funded. Some are given for a specific project that you propose and some are given outright for the work that you do. "Read our guide on how to successfully apply for a grant.":http://artbistro.monster.com/news/articles/8198-how-to-get-an-artist-grant

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h2. Residencies

There are many residencies for artist to get “away from the world” and focus on their work. The length of the residency varies and the amount of money granted to the artist varies too. Some residencies actually charge money. But many will cover at least some if not all costs. You must apply for these residencies and have a flexible work schedule to go.

Many times the most valuable asset of a residency is not the money granted, but the professional network an artist forms while there. The network may include other artists, guests, curators, and other influential people in the art word. Read: "Best Practices in Applying for Residencies.":http://artbistro.monster.com/news/articles/8125-all-you-need-to-know-about-artist-residencies

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h2. Museums and Art Centers

Artists generally don't see a cent from exhibits in a museum. In some cases, however, they do. Installation artists are typically given an artist fee for creating a temporary installation. The fee can be set by you or the museum. Find other ways that museums can help an artist's career and hear what a curator has to say about the business of museums. "Read: Do Museums Pay Artists?":http://artbistro.monster.com/news/articles/8311-do-museums-pay-artists

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h2. Teaching / Guest Artist Programs

One of the most popular ways to make money as an "artist is to teach.":http://artbistro.monster.com/news/articles/7821-how-to-make-money-as-an-artist-teaching Teaching opportunities at a college level are competitive, but don’t overlook guest artist programs. There may be ways to get a teaching job that you have not thought of. "Break out ahead of the competition with this advice.":http://artbistro.monster.com/news/articles/7821-how-to-make-money-as-an-artist-teaching

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Nine Steps to Becoming a Designer

Valerie Atkisson / ArtBistro — Tue, 01 Apr 2008 08:19:00 -0700

Do you want to become a designer but don’t know where to begin? Here is a nine step guide to help you along the way. You will learn about the different paths to a career in the arts, how to choose a school, and how to get your dream job. This guide is meant for prospective, current, and second career designers.

Please click on the links below to access a comprehensive description for each step. You will be able to go to the next step from each page.

h4. Table of Contents

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h4. "Step One: Recognize Your Design Abilities":http://artbistro.monster.com/benefits/2959-step-one-reognize-your-design-abilities

h4. "Step Two: Research Design Careers":http://artbistro.monster.com/benefits/2991-step-two-reseach-design-careers

h4. "Step Three: Narrow Your Interests in Design":http://artbistro.monster.com/benefits/2990-step-three-narrow-you-interestes-in-design

h4. "Step Four: Identify Lacking Design Skills":http://artbistro.monster.com/benefits/2961-step-four-identify-lacking-design-skills

h4. "Step Five: Choose a Design School":http://artbistro.monster.com/benefits/2962-step-five-how-to-choose-a-design-school

h4. "Step Six: Networking for Designers":http://artbistro.monster.com/benefits/2992-step-six-networking-for-designers

h4. "Step Seven: Internship":http://artbistro.monster.com/benefits/2969-step-seven-get-an-internship

h4. "Step Eight: Interviewing":http://artbistro.monster.com/benefits/2973-step-eight-interviewing

h4. "Step Nine: Follow Up and Do Not Give Up":http://artbistro.monster.com/benefits/2974-step-nine-follow-up

Five Points Illustrators Must Know for Art School

Dani Jones — Tue, 01 Apr 2008 08:17:00 -0700

*1. Formal education is necessary.* Most people might think that art can be easily self-taught, and that any good hobbyist has a good shot at becoming a successful illustrator. The truth is, learning to draw and paint is one of the most challenging and frustrating tasks a person can take on, and having experienced instructors can ease and speed-up the process immensely.

*2. Experiment as much as possible.* After you leave school and begin creating work for clients, you might not have the luxury, freedom, or time. So take advantage of the opportunity while you're in school.

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*3. Learn how to take criticism and get feedback while you can.* As an art student, you will probably hear one or two (or more) negative comments about your artwork. Don't take them personally or haughtily push them aside. In fact, criticism is the best tool for making your work better. Learn how to use both positive and negative comments to your advantage. And enjoy it while you can, because after school you will have to work out your creative problems alone in your studio.

*4. Learn how to work on a schedule.* Good, responsible illustrators CANNOT miss a deadline. If you find that you are constantly failing to finish assignments on time while you are in school, it does not bode well for your professional career. Learn time management and discipline skills in addition to your artistic ones.

*5. Art takes a little talent, and mostly work.* Try not to measure your success by comparing yourself to others around you. If you have the determination to create better artwork, it will come eventually. How far you go ultimately depends on YOU, and not your teachers, classes, or school. Draw as much as you can; complete personal paintings as well as your regular assignments; and remember that talent will only get you so far -- the rest is just plain hard work.

"Discuss these Tips on Student Bistro":http://artbistro.monster.com/discussions/11-student-bistro

Portfolio Development for Artists

Susan Myers / NYFA — Thu, 27 Mar 2008 06:11:00 -0700

Your portfolio is a valuable tool in your arsenal as an artist, and it is often the first opportunity you have to impress and influence those in charge of making the decisions and choices that affect you and your work. By developing and preparing a professional portfolio, every artist is taking a step towards ensuring her or his own success.

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In general, a portfolio consists of various presentation materials representing both the artist and her or his work. Some artists will have a very detailed and complex portfolio, but the basics almost always include: an artist resume and bio, an artist statement, work samples, press clippings or reviews of artwork, and, if appropriate, a query or cover letter. I see the artist's portfolio as an evolving assortment of credentials that can be modified and tailored for any particular audience. While each artistic discipline has its own conventions and standards in preparing a professional portfolio, all artists can benefit from the information and suggestions included below.

h4. Related Links

p(. "Create an online portfolio":http://artbistro.monster.com/account/photos

p(. "Ten Tips for Success in the Art World":http://artbistro.monster.com/careers/articles/136-ten-tips-for-success-in-the-art-world

p(. "Discussion: Portfolio Reviews":http://artbistro.monster.com/discussions/6-pollsdiscuss-portfolios

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h4. Artist Resumes and Bios

Just as an employment resume outlines employment history, experience, and skills, an artist resume details the accomplishments, endeavors, knowledge, and abilities of an artist. There are many common conventions that all professional resume should follow. Remember, an artist resume is not an “artistic” resume. You want to present yourself and your accomplishments in a professional manner.

Artist resume are organized by headings or categories that outline your particular artistic activity. Under each heading—listed by date with the most recent event first—list and then summarize the necessary information. Headings should stand out and can be bulleted, bold, underlined, or italicized. The specific categories you include depend upon the artistic discipline with which you are involved.

Typically, an artist resume is one to four pages in length. Most artists have two versions of their resume prepared: a long version and a one- or two-page version. Your resume should be easy to read, typed, and printed on quality paper. Resume paper should be muted in color. I prefer to see resume printed on white, off-white, or ivory. Font size should be no smaller than 10 pt., and should be a font type that is easy to read. I find it helpful to include a date in the upper right-hand corner of my resume. The date helps remind me when I last updated my resume , and it also lets others know if my resume is current.

The artist resume is different from a curriculum vitae or artist bio. The c.v. is a record of all professional activities within academic careers, and is intended for use in academic situations only. An artist bio, while containing information similar to the artist resume, is presented in a different format than the resume. An artist bio is most often written in the third person and in paragraph form, and it highlights the information present on your resume.

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h4. Artist Statements

Many artists are downright intimidated by the thought of writing an artist statement. We have all read too many bad artist statements. In addition, I think artists hear a lot of different advice when it comes to writing about their work. The best statements I have read are written by the artists themselves. Statements written by those with a commercial interest tend to be more marketing pieces than informative statements—which in certain situations is appropriate. So again, know your audience.

In some instances you will be asked for a general artist statement, and in other circumstances you may be asked to provide a statement about a particular artwork. The best tip to start with is to limit the length of your statement to one double-spaced page maximum. Your artist statement should discuss both the conceptual (your ideas, concerns, and how they manifest themselves in your work) and technical or formal aspects of your artwork. Your statement may include information on any influences you feel inform your work. Keep it simple, concise, and straightforward.

h4. Work Samples

Your work samples are the most important component of your portfolio. Work samples can range from slides and photographs to manuscripts, disks, and videos, depending on your artistic discipline. You have seconds to impress a panel, juror, agent, producer, or other professional with your work! Ideally, most artists should have their work documented and/or edited professionally.

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All artists should supplement their work samples with a work sample description sheet. This sheet should include all pertinent information such as titles, dimensions, materials, date completed, length of performance, where preformed, your role in the performance, and any other technical, synoptic, or descriptive information that can inform your work. If submitting work samples to a competitive application process, ask the sponsoring organization how your work will be viewed, how much time the panel or judge will spend reviewing your work samples, and what the selection process is like. These types of questions can help you select the appropriate work samples to include in your application. It is the administrator's job to answer these types of inquiries and to assist artists in preparing their applications.

h4. Other Written Materials

Artists also use their portfolio to apply for specific projects, funding programs, residencies, or other competitive opportunities. In these circumstances, you may be asked to submit a project description, statement, proposal, or cover letter. These written materials should be focused and relate to the requirements of the particular opportunity. Be passionate and sincere in the presentation of your work, and always conclude with thanking the panel, juror, and/or organization for their time and consideration.

As a starting point, request previous recipients’ proposals from the organization to which you are applying. Oftentimes a description or the actual proposal are posted on organizations’ Websites or included in previous years’ press release information. Don’t be afraid to ask for examples. The big benefit in applying to lots of various opportunities is that you will get better and more efficient at preparing your statements and proposals.

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General questions to address in these types of written materials include:

Why are you the ideal candidate?
What will you bring to the program or project?
What technical qualifications, abilities, or personal assets can you contribute?
How will you benefit from the opportunity?
How will the opportunity advance your career as an artist?
What will you do with the money? How will funding be used?

h4. Final Considerations

As I stated at the beginning of this essay, your portfolio is often the first opportunity you have to impress and influence those in charge of making the decisions and choices that affect you and your work, so remember that presentation matters. Spelling, obvious grammatical mistakes, and a sloppy presentation will make you appear unprofessional.

Be sure to proofread your entire portfolio carefully. You may find it beneficial to have a friend or colleague read over your written materials and provide suggestions or input. Be sure to label all the contents of your portfolio. If you are mailing out your portfolio, send it in a suitable container that will protect your materials in transit. If you expect your portfolio returned to you, include a self-addressed stamped envelope. If you state in your cover or query letter that you will follow-up the distribution of your portfolio with an in-person visit, telephone, or email, make certain you do so. Also, update the materials in your portfolio regularly. There will come a time when you will need to edit out old or irrelevant information. Your portfolio should evolve along with your development as an artist.

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Many artists today are supplementing their physical portfolio with a digital version either on the Web or presented on CD-ROM or DVD. Consult with other artists in your field concerning new conventions and ways to represent yourself. Keep an eye out for portfolios you feel are successful or include interesting components and materials. I find it helpful to keep a collection of these items for my own reference. Also, make note of what you don't like. With more and more artists graduating from undergraduate and graduate programs each year, artists must take responsibility for the development of their career by preparing a professional portfolio that stands out among those of their peers.

"Ten Tips for Success in the Art World":http://artbistro.monster.com/careers/articles/136-ten-tips-for-success-in-the-art-world

h4. Bibliography

Adams, Max. The Screenwriter's Survival Guide: Or, Guerrilla Meeting Tactics and Other Acts of War. New York: Warner Books, 2001.
Topics include pitching, the etiquette of “getting read,” and managing your relationship with an agent. Adams also provides lists of screenwriters’ directories and organizations, a generic release form, format examples for cover pages and query letters, and other useful resources.

Alterman, Glenn. Promoting your Acting Career. New York: Allworth Press, 1998.
A compact but comprehensive guide to making it on stage and screen.

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Frumkes, Roy and Rocco Simonelli. Shoot Me: Independent Filmmaking from Creative Concept to Rousing Release. New York: Allworth Press, 2002.
Shoot Me is an irreverent, enticingly human look at the challenges of making one’s own movie, as well as a bold response to the DV-driven hype of fast-and-easy success.

Grant, Daniel. The Business of Being an Artist. Third edition. New York: Allworth Press, 2000.
Packed with real-life anecdotes from successful artists, The Business of Being an Artist provides thoughtful and timely advice on how to develop a career and overcome the pressures that arise when art becomes business.

Lang, Cay. Taking the Leap: Building a Career as a Visual Artist. San Francisco: Chronicle Books, 1998. One of the best books on how to begin developing a career.

Lazzari, Margaret R. The Practical Handbook for the Emerging Artist. Belmont: Wadsworth Publishing Company, 2001.
Primarily designed to help visual art students make the transition from art school to their own practice, this book is also an excellent resource for practicing artists.

Lyon, Elizabeth. The Sell Your Novel Toolkit: Everything You Need to Know About Queries, Synopses, Marketing, and Breaking in. New York: Perigee, 2002.
Elizabeth Lyon offers novelists the wisdom of her experience as an author, book editor, writing instructor, and marketing consultant. Step-by-step, she details what editors want, what questions to ask them, and how to develop a marketing strategy.

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Smith, Constance. Art Marketing 101: A Handbook for the Fine Artist. Cincinnati: F & W Publications, 2000.
This book contains information about résumé writing, portfolio preparation, marketing, legal concerns, contracts, and other important business topics for artists. While this book is intended for visual artists, most of the information is relevant to artists in all disciplines.

"www.amc.net":http://www.amc.net
The Website of the American Music Center has a special resource page that lists publications and programs focused on professional development for composers.

"www.collegeart.org/caa/career":http://www.collegeart.org/caa/career
The website of the College Art Association has a great section on career development that includes recommended conventions for the artist resume as well as the curriculum vitae. The College Art Association is a membership organization comprised of individuals who by vocation or avocation are concerned about and/or committed to the practice of art, teaching, and research of and about the visual arts and humanities.

Allworth press lists over 75 titles targeted to artists working in all artistic disciplines. Most titles focus on career building skills and business or technical topics.

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Susan Myers is a visual artist and metalsmith. Her work has been exhibited throughout the United States, including at the New York State Museum in Albany, NY; Everson Museum of Art in Syracuse, NY; Craft Alliance, in St. Louis, MO; and The Society for Contemporary Craft in Pittsburgh, PA, among others. Myers has taught 3D foundations and metalsmithing at Syracuse University and metalsmithing at the State University of New York at Oswego. Myers received her M.F.A. from Syracuse University.

She is actively involved in the Society of North American Goldsmiths, a national arts organization, co-coordinating emerging-artist portfolio reviews for its annual conference. She has written several reviews of art and contemporary craft for Metalsmith magazine. Currently, she develops programs and information services for artists as the program director at Artist Trust, a Washington State not-for-profit organization whose sole mission is to support and encourage individual artists working in all disciplines.

_Related Links_

p(. "Create an online portfolio":http://artbistro.monster.com/account/photos

p(. "Ten Tips for Success in the Art World":http://artbistro.monster.com/careers/articles/136-ten-tips-for-success-in-the-art-world

p(. "Discussion: Portfolio Reviews":http://artbistro.monster.com/discussions/6-pollsdiscuss-portfolios

"NYFA.org":NYFA.org

Funding Your Education

Student Aid on the Web — Thu, 27 Mar 2008 06:08:00 -0700

Two more grants were made available as of the 2006-07 school year for first year college students who graduated from high school after January 1, 2006 and for second year college students who graduated from high school after January 1, 2005. Click here for additional information.

h4. We can help make your education affordable!

[widget:9_steps_guide_art_benifits]

The Department's Federal student aid programs are the largest source of student aid in America. If you're interested in financial aid for college or a career school, you've come to the right place. These programs provide more than $80 billion a year in grants, loans, and work-study assistance. Read on to find out more and to find out how to apply for this aid.

U.S. Department of Education student aid is the largest but not the only source! You can find out here about other sources of federal aid and about scholarships. Nonfederal financial assistance programs and requirements often vary from school to school, so check with the schools you're interested in for information about state and institutional aid.

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New: Financial Aid Estimator Tool - FAFSA4caster

The FAFSA4caster provides students with an early estimate of their eligibility for federal student financial assistance. Students considering furthering their education beyond high school can use this FREE tool to:

* Calculate their eligibility for federal financial aid, including grants
* Reduce the time it will take to complete the Free Application for Federal Student Aid (FAFSA), the p(.qualifying form for all federal student financial aid

Federal Student Aid is excited to provide this tool to help students and their families evaluate their options for planning and paying for education beyond high school. To access FAFSA4caster, visit "www.FederalStudentAid.ed.gov":www.http;//FederalStudentAid.ed.gov.

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h4.Applying for Financial Aid

The Free Application for Federal Student Aid (FAFSA) is the form used by virtually all two and four-year colleges, universities and career schools for the awarding of federal student aid and most state and college aid.

h4. Student Aid Eligibility

Find out what determines eligibility for federal student aid programs.

h4. The PIN

The Federal Student Aid PIN is the personal identification number that serves as your electronic signature or access code on our Web sites.

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h4. Get a PIN

If this is your first time filling out the Free Application for Federal Student Aid (FAFSA), and you haven't applied for a PIN, you should do so now. Your PIN is what allows you to complete the FAFSA paper-free! You'll need your PIN to make online corrections to your FAFSA, including changing your name and address, or adding/changing the name of a school to receive your application data. The PIN is also your identifier to let you access personal information in various U.S. Department of Education systems.

h4. Transfer your MyFSA profile to FAFSA on the Web

If you've already created a MyFSA account, click here to automatically transfer much of your MyFSA profile to FAFSA on the Web so you won't have to repeat this information when you apply. If you haven't created a MyFSA profile yet, we encourage you to click on the MyFSA link in the left margin of this Web site. With MyFSA, you can create a personalized “folder” to record your career and college searches, track your progress in the college planning and application process, and much more!

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h4. Student Aid Report (SAR)

Have you already filled out the FAFSA and received your Student Aid Report (SAR)? The SAR contains the information you reported on your FAFSA. Here's a description of the SAR and how it's used. Your SAR must be complete and correct before you can receive federal student aid.

h4. Federal Student Aid Programs

If you're eligible, the Federal Student Aid office has a variety of programs to help you pay for your education after high school. Click on Grants, campus-based aid, Stafford Loans, PLUS Loans (parent loans) and PLUS Loans for graduate and professional degree students for more information about these programs. For information on Consolidation Loans, click on "Repaying Your Loans" and go to "Loan Consolidation."

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h4. Borrowing Responsibly

If you decide to take out a federal student loan to help pay for school, you're taking on certain serious obligations. Find out what they are and how to maintain your account in good standing.

h4. Understanding Federal Student Aid

Our booklet, Funding Education Beyond High School: The Guide to Federal Student Aid will answer any questions you might still have. Funding Education Beyond High School: The Guide to Federal Student Aid is a comprehensive source of information about the Department's federal student aid programs and includes an overview of federal student aid, as well as more detailed information on the application process and student loans, for example. Whatever your questions, you'll find the aid information you need in this publication.

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h4. Other Sources of Federal Student Aid

We encourage you to explore other federal Web sites to find out about additional aid sources. For example, veterans and their dependents, students training in various medical fields, and persons interested in earning funds in exchange for community service may link to other federal agencies for program descriptions and qualifications.

h4. State Aid

Even if you're not eligible for federal aid, you might be eligible for financial assistance from your state. Contact your state higher education agency for more information.

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h4. Finding Scholarships

Under the Robert C. Byrd Honors Scholarship Program, ED gives money to state education agencies to provide scholarships to graduating high school seniors. Each state education agency has its own application and deadline. To find your state agency's Web site, click here.

You can find out about nonfederal scholarships and other sources of aid in several ways, including contacting the financial aid offices at the schools you plan to attend and checking information in a public library or online. But be careful. Make sure scholarship information and offers you receive are legitimate. Don't get scammed: You don't have to pay to find scholarships. Click here to check out our information on nonfederal sources of aid and how to avoid scholarship fraud.

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h4. Sample Award Package

Most schools will prepare an "award letter" that will inform you of the types and amount of student aid you will receive at that school. Once you've selected the types of aid you want to receive, that selection is referred to as an "award package."

h4. Financial Aid Wizard

Explore your financial aid needs and options with a step-by-step process for calculating your cost of attendance and expected family contribution, and discovering potential scholarships and loans available to you. If you're planning on going to college in the future, we can't predict what you might be awarded then, but you can find out what you'd get if you applied this year. Use that as a guide as you prepare for the time you enter college.

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h4. Tax Break

Find out how the Hope and Lifetime Learning Tax Credits can help with education costs by reading IRS Publication 970, "Tax Benefits for Education."

h4. Saving Money for College

Paying for college is easier when you can invest money in a Coverdell Education Savings Account (formerly an Education IRA) that will accumulate interest tax free, and when you can withdraw money from this account without penalty. Also, it's possible to put money into a state- or institution-sponsored prepaid tuition plan and not pay taxes on it until you withdraw the money.

h4. Reducing College Costs

The typical cost of attendance includes not just tuition, but room and board, fees for special programs or activities, books, personal items, and traveling to and from college.

"http://studentaid.ed.gov/PORTALSWebApp/students/english/index.jsp":http://studentaid.ed.gov/PORTALSWebApp/students/english/index.jsp

"Step Five: Choose a School":http://artbistro.monster.com/careers/articles/227-step-five-choose-a-school

"Nine Steps to a Career in the Visual Arts":http://artbistro.monster.com/careers/articles/160-nine-steps-to-a-career-in-the-visual-arts

Step Six: Networking for Designers

Valerie Atkisson / ArtBistro — Wed, 26 Mar 2008 14:32:00 -0700

Careers are built on networks.

Your network consists of your classmates, your teachers, your family, friends, and mentors. These are people that support you and want you to succeed. Ask them if they know of any opportunities for you. Build your network.

h4. Who is Doing What You Want to Do?

Again, like suggestion number two, do your research. Meet people who are doing what you want to be doing. Meet them at a recommendation of a friend, at "ArtBistro":http://artbistro.monster.com/community, at a social or networking event (openings, conferences etc.), and parties.

[widget:9_steps_guide_design_benifits]

h4. Be Sociable

"Spend time getting to know people":http://artbistro.monster.com/careers/articles/104-go-beyond-your-resume-to-build-your-job-search-skills and telling people about yourself. Have a short statement, no longer than 30 seconds to tell them something about your work and yourself. Experiment with these and find the most effective ways of presenting yourself in different situations. Some networking opportunities are more casual some are more formal.

h4. Networking and Cards

Ask people how they got where they are. Express your interest in their work ask if you can see more. Keep in touch by asking them for a card. Give them a card with your website on it, if they seem interested, invite them for a studio visit or a time to show them your portfolio. Or you can follow up with an invitation via email.

h4. "Previous Step":http://artbistro.monster.com/benefits/2962-step-five-how-to-choose-a-design-school

h4. "Next Step":http://artbistro.monster.com/benefits/2969-step-seven-get-an-internship

Step Two Research Design Careers

Valerie Atkisson / ArtBistro — Wed, 26 Mar 2008 14:17:00 -0700

Here is the fun part!

Find out about the various careers in the design field. There are many types of designers: Graphic Designers, Animators, Interior Designers, Typographers, Fashion Designers, Product Designers, Illustrators, etc...

h4. What you can do with a design major?

[widget:9_steps_guide_design_benifits]

"*Graphic designers*—or graphic artists—plan, analyze, and create visual solutions to communications problems. They decide the most effective way of getting a message across in print, electronic, and film media using a variety of methods such as color, type, illustration, photography, animation, and various print and layout techniques. Graphic designers develop the overall layout and production design of magazines, newspapers, journals, corporate reports, and other publications. They also produce promotional displays, packaging, and marketing brochures for products and services, design distinctive logos for products and businesses, and develop signs and signage systems—called environmental graphics—for business and government. An increasing number of graphic designers also are developing material for Internet Web pages, interactive media, and multimedia projects. Graphic designers also may produce the credits that appear before and after television programs and movies."

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*Fashion designers* help create the billions of clothing articles, shoes, and accessories purchased every year by consumers. Designers study fashion trends, sketch designs of clothing and accessories, select colors and fabrics, and oversee the final production of their designs. Clothing designers create and help produce men’s, women’s, and children’s apparel, including casual wear, suits, sportswear, formalwear, outerwear, maternity, and intimate apparel. Footwear designers help create and produce different styles of shoes and boots. Accessory designers help create and produce items that add the finishing touches to an outfit, such as handbags, belts, scarves, hats, hosiery, and eyewear. (The work of jewelers and precious stone and metal workers is described elsewhere in the Handbook.) Some fashion designers specialize in clothing, footwear, or accessory design, while others create designs in all three fashion categories.

*Illustrators* typically create pictures for books, magazines, and other publications and for commercial products such as textiles, wrapping paper, stationery, greeting cards, and calendars. Increasingly, illustrators are working in digital format, preparing work directly on a computer. Illustrators also delve in the world of motion, character development and animation.

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*Medical and scientific illustrators* combine drawing skills with knowledge of biology or other sciences. Medical illustrators draw illustrations of human anatomy and surgical procedures. Scientific illustrators draw illustrations of animal and plant life, atomic and molecular structures, and geologic and planetary formations. The illustrations are used in medical and scientific publications and in audiovisual presentations for teaching purposes. Medical illustrators also work for lawyers, producing exhibits for court cases.

*Cartoonists* draw political, advertising, social, and sports cartoons. Some cartoonists work with others who create the idea or story and write the captions. Most cartoonists have comic, critical, or dramatic talents in addition to drawing skills.

*Sketch artists* create likenesses of subjects with pencil, charcoal, or pastels. Sketches are used by law enforcement agencies to assist in identifying suspects, by the news media to depict courtroom scenes, and by individual patrons for their own enjoyment.

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*Art directors* develop design concepts and review material that is to appear in periodicals, newspapers, and other printed or digital media. They decide how best to present the information visually, so that it is eye catching, appealing, and organized. Art directors decide which photographs or artwork to use and oversee the layout design and production of the printed material. They may direct workers engaged in artwork, layout design, and copywriting.

*Photographers* produce and preserve images that paint a picture, tell a story, or record an event. To create commercial-quality photographs, photographers need both technical expertise and creativity. Producing a successful picture requires choosing and presenting a subject to achieve a particular effect, and selecting the appropriate equipment. For example, photographers may enhance the subject’s appearance with natural or artificial light, shoot the subject from an interesting angle, draw attention to a particular aspect of the subject by blurring the background, or use various lenses to produce desired levels of detail at various distances from the subject.

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*Interior designers* draw upon many disciplines to enhance the function, safety, and aesthetics of interior spaces. Interior designers are concerned with how different colors, textures, furniture, lighting, and space work together to meet the needs of a building's occupants. Designers are involved in planning the interior spaces of almost all buildings—offices, airport terminals, theaters, shopping malls, restaurants, hotels, schools, hospitals, and private residences. Designers help to improve these spaces in order to boost office productivity, increase sales, attract a more affluent clientele, provide a more relaxing hospital stay, or increase the building's market value.

After you have found out as much as you can about different ways you can go with design, find out if you know anyone that is a designer or look at the work of the designers on "ArtBistro":http://artbistro.monster.com/community. Search for professions under "Specialty". Ask them about their career; this could be called an Information Interview. For example: What do you like most about your career? What do you like least? Are you satisfied with the pay? What does it take to be successful in your creative profession?

h4. "Previous Step":http://artbistro.monster.com/benefits/2959-step-one-reognize-your-design-abilities

h4. "Next Step":http://artbistro.monster.com/benefits/2990-step-three-narrow-you-interestes-in-design

Step Three: Narrow Your Interests in Design

Valerie Atkisson / ArtBistro — Wed, 26 Mar 2008 13:59:00 -0700

Having researched the possibilities in the arts, think of which areas interest you most. Research how much money the professions usually pay.

h4. Median Annual Salary

Median annual earnings of salaried *photographers* were $26,170 in 2006.

[widget:9_steps_guide_design_benifits]

Median annual earnings of *Illustrators* were $49,170 in 2006.

Mean annual earnings of *Graphic Designers* were $43,830 in 2006.

Mean annual earnings of *Fashion Designers* were $69,270 in 2006.

Median annual earnings of *Interior Designers* were $46,750 in 2006.

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Median annual earnings of *Animators and Multi-media* were $51,350 in 2006.

Mean annual earnings of *Art Directors* were $78,420 in 2006.

Designers usually develop their skills through a bachelor’s degree program or other postsecondary training in design.

Earnings for self-employed designers vary widely; some well-established designers earn more than salaried designers.

Think about how much money you would like to make. Compare this with the salary range you have
"researched":http://www.payscale.com/?af=2540&src=2540-A. Narrow the choices down to those that fit your skills, desired income and interest.

h4. "Previous Step":http://artbistro.monster.com/benefits/2991-step-two-research-design-careers

h4. "Next Step":http://artbistro.monster.com/benefits/2961-step-four-identify-lacking-design-skills

Step One: Recognize your Design Abilities

Valerie Atkisson/ArtBistro — Wed, 26 Mar 2008 12:41:00 -0700

You’ve got talent!

You have great ideas about how to communicate something visually. You are interested in computers and like to look at how websites and logos are designed. You enjoy art and design classes. You play with imaging software to make images look better and create your own animations, characters, or fashions. You are thinking about a career in design.

[widget:1978]

h4. Recognize your strengths

That is great. First, you want to recognize what you do well. Is your strength with observational drawing? Color? Telling stories visually? Flash animation? Creating three-dimensional models? Do you learn imaging softwares quickly? Make a list of your strengths and ask your friends, family or teachers what they think your strengths are.

h4. Art or Design?

Think about whether you enjoy executing your own ideas or succeeding other's expectations for their ideas. If you enjoy working on your own ideas you may be happier in your career as an artist. Artists make work based on something that they want to communicate and then try to sell the work. Designers typically work creatively to fulfill a need of a client such as: a logo, a redesigned home, a dress, a product, an illustration for an article. There is enormous room for personal creativity when working on a design project while fulfilling the clients desires.

h4. "Next Step":http://artbistro.monster.com/benefits/2991-step-two-research-design-careers

Step Four: Identify Lacking Design Skills

Valerie Atkisson/ArtBistro — Wed, 26 Mar 2008 12:40:00 -0700

What Skills Do You Need?

Look at the skills that you have and the skills that you will need to acquire to become the designer that you want to be. These skills will include leaning new software and principles of good design such as: color, spatial relationships and typography It will also be helpful to you to know about the history and theory associated with design.

h4. Consider Non-Design Skills

You may decide that you need a broad based set of artistic skills rather than a narrow set. For any professional, good writing skills are a must. You also may need to better your writing and researching skills in association with your job. Other skills/classes that would come in handy especially if you would consider being self-employed would be: Business, Communication, Accounting and Advertising.

h4. "Previous Step":http://artbistro.monster.com/benefits/2990-step-three-narrow-you-interestes-in-design

h4. "Next Step":http://artbistro.monster.com/benefits/2962-step-five-how-to-choose-a-design-school

Step Five: How to Choose a Design School

Valerie Atkisson/ArtBistro — Wed, 26 Mar 2008 12:35:00 -0700

What are Your Priorities?

There is no perfect school. What you have to do is to find one that matches your priorities. The factors to consider are:

* Location

* Cost

* Reputation

* Strengths of the program

* Teachers that you want to work with

* Facilities

Try to determine if the school can improve your strengths and your weaknesses that you have determined in Step 4. You will probably want to visit schools before and or after you have applied and been accepted to be able to determine which ones most closely fit your priorities.

[widget:1978]

h4. Art School or University/Liberal Arts

There is also a decision to be made about art schools vs. universities. In many ways these are similar institutions. The main difference is that art schools will typically focus the general education requirements around design and a greater portion of your credits to be in design. This can be good if you have determined that you want a specialized education. Typically the level of academia for your general education will be better at a university or liberal arts college. This may be a better approach for students who want a strong higher education with their art degree.

h4. "Previous Step":http://artbistro.monster.com/benefits/2961-step-four-identify-lacking-design-skills

h4. "Next Step":http://artbistro.monster.com/benefits/2992-step-six-networking-for-designers

Step Seven: Get an Internship

Valerie Atkisson/ArtBistro — Wed, 26 Mar 2008 12:32:00 -0700

On the Job Training

An internship is a great way to network and to get on-the-job training for
graphic designers, photographers, illustrators and other design oriented
careers. Go to your school's career center and ask about internship
opportunities. Ask your professors if they know of any internships. If your
school already had a program set up find out about it early.

[widget:9_steps_guide_design_benifits]

h4. The More Internships the Better

It is a great idea to do multiple internships in college. You will gain a
broader experience in the field and you will have a better idea of what kind
of work place environment that you are looking for. Do you prefer small or
large companies? You can better assess whether you would be a good fit for
the team or boss you would be working with.

h4. "Previous Step":http://artbistro.monster.com/benefits/2992-step-six-networking-for-designers

h4. "Next Step":http://artbistro.monster.com/benefits/2973-step-eight-interviewing

Step Eight: Interviewing

Valerie Atkisson/ArtBistro — Wed, 26 Mar 2008 12:29:00 -0700

Preparing for the Interview

When someone is interested in your work, set an appointment to show them
your portfolio. This could be a formal interview for a job or informal, to
ask them if they know where your work might fit, given any positions they
know of that are open.

If the appointment is more than a week away call (or email) them the week of
the appointment to confirm. If the appointment is within a week, call (or
email) them the day before and confirm. Make sure directions and location of
the meeting are clear and if they are coming to you, that they have your
phone number. Be on time if you are traveling.

h4. Preparation Will Help you Relax

Remember that this interview is not just a review of your work but they are
also assessing you as a person to see if you are easy to work with and/or
would fit with their team or gallery. Be yourself, but be prepared. Before
talking about your work, the interviewer/curator will want to know about
yourself. Prepare a short statement noting some background information and
highlighting a recent accomplishment. Ask the interviewer/curator a
get-to-know-you question or two to see if you have anything in common.
Relax, and enjoy this opportunity to get to know someone new. The
conversation will turn to your work and your abilities. Know before hand
what you want to get across about your abilities and work. When asked a
question, you can answer the question and get across what you want at the
same time. Politicians do this (And they aren¹t much smarter than you are
they?). Do this by making short statements about achievement or abilities
that you possess then provide a specific example to illustrate that
statement.

??Continue reading on next page.??

[page]

For example: I meet deadlines. In college I worked at the student newspaper
in graphic design. We had strict deadlines for our work to be done. I was
able to meet these deadlines even with a heavy course load.

This may sound canned but it is an effective way to communicate what you
want about your work and highlight your abilities. After practice, this will
come naturally. Write down before hand what you want to get across and
practice this. You can slightly adjust your answers to their questions. The
more preparation, the better you will do.

h4. Wrapping up

Stick to the schedule. Do not take up more time than the interviewer has
allotted for. On the other hand if you hit it off and you are having a great
time talking, don't cut it short. Leave a good impression. Thank them for
their time and consideration. Most importantly, express your interest and
enthusiasm for the opportunity. Ask when you might meet again or hear from
them.

h4. "Previous Step":http://artbistro.monster.com/benefits/2969-step-seven-get-an-internship

h4. "Next Step":http://artbistro.monster.com/benefits/2974-step-nine-follow-up

Step Nine: Follow Up

Valerie Atkisson/ArtBistro — Wed, 26 Mar 2008 12:21:00 -0700

Practice Will Give you Experience

Interviewing gets easier the more you do. Look at them as a learning
experiences and opportunity to sharpen your verbal communication skills.

h4. Follow Up

Follow up with the person with in a couple of days unless they have
specifically told you not to contact them. Again, express your interest in
the job and thank them for their time. You may do this via a mailed note,
email or phone call. If you did not get the desired result, you may want to
ask the interviewer if they know of any career opportunities that would fit
with your work. Use the information that they give you. Keep networking and
following up with your contacts. Over 90% of jobs are filled by using your
network. Don't give up! If you did get the job, Congratulations! It is time
to celebrate!

h4. "Previous Step":http://artbistro.monster.com/benefits/2973-step-eight-interviewing

Nine Steps to Becoming an Artist

Valerie Atkisson/ArtBistro — Wed, 29 Aug 2007 17:32:00 -0700

Do you want to become an artist but don’t know where to begin? Here is a nine step guide to help you along the way. You will learn about the different paths to a career in the arts, how to choose a school, and how to get a job or a gallery show. This guide is meant for prospective, current, and second career visual artists.

h4. Table of Contents

Please click on the links below to access a comprehensive description for each step.

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h4. "Step One: Recognize Your Abilities":http://artbistro.monster.com/benefits/articles/335-step-one-recognize-your-abilities

h4. "Step Two: Research Art Careers":http://artbistro.monster.com/benefits/articles/337-step-two-research

h4. "Step Three: Narrow Your Interests":http://artbistro.monster.com/benefits/articles/388-narrow-your-interests

h4. "Step Four: Identify Lacking Skills":http://artbistro.monster.com/benefits/articles/389-step-four-identify-lacking-skills

h4. "Step Five: Choose a School":http://artbistro.monster.com/benefits/articles/390-step-five-choose-a-school

h4. "Step Six: Networking":http://artbistro.monster.com/benefits/articles/391-step-six-networking

h4. "Step Seven: Internships":http://artbistro.monster.com/benefits/articles/392-step-seven-internships

h4. "Step Eight: Studio Visits":http://artbistro.monster.com/benefits/393-step-eight-studio-visits

h4. "Step Nine: Follow Up and Do Not Give Up":http://artbistro.monster.com/benefits/articles/394-step-nine-follow-up-and-do-not-give-up

[widget:9_steps_guide_art_benifits]

Step Nine: Follow Up and Do Not Give Up

Valerie Atkisson/ArtBistro — Tue, 28 Aug 2007 16:27:00 -0700

Studio Visits Give You Experience

Studio visits get easier the more you do. Look at them as a learning
experiences and opportunity to sharpen you verbal communication skills.

h4. Follow Up

Follow up with the visitor within a couple of days unless they have
specifically told you not to contact them.

[widget:9_steps_guide_art_benifits]

Again, express your interest in
the opportunity and thank them for their time. You may do this via a mailed
note, email or phone call. If you did not get the desired result, you may
want to ask the visitor if they know of any shows or galleries that would
fit with your work. Use the information that they give you. Keep networking
and following up with your contacts. The majority of gallery/show slots are
filled by recommendation. Don't give up! If you did get the desired
result. Congratulations! It is time to celebrate!

h4. "Previous Step":http://artbistro.monster.com/benefits/393-step-eight-studio-visits