ArtBistro

What Makes a Good Art Instructor?

Fine Art Tips | Lori McNee — Mon, 21 Mar 2011 15:39:00 -0700

This article was originally published on FineArtTips.com.

Gary Holland began his studies alone, learning by copying famous artist’s paintings. Later he would study with such instructors as Daniel Green, Ramon Kelley and Zhang Wen Xin. His recent work includes paintings that reflect the life and culture of the world’s poorest children. Combining art with compassion, Gary Holland founded the For the Children, Inc. charity. Sales of Holland’s art and books help support underfunded orphanages in Haiti, Vietnam and China.

Don’t we all wish we’d had good art instruction when learning to paint!

I did not have that luxury 30 years ago. I just didn’t have the money to attend a good school — if one existed! Back then, very few strong art schools existed.

Discouraged and then disgusted, I quit trying. Instead, I studied music and learned my art skills from books (the 25 year learning curve).

Now I am passionate about providing good training for artists, precisely because I didn’t have good training. I know the chronic pain of struggling, doubting, and dreaming of being an artist. Perhaps that strikes a chord with you? [gate]

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“I’ve never met an artist whose spirit didn’t want to fly.” - Gary Holland

Here are some things I feel make for a good art teacher.

Next: The Optimal Art Instructor Should →

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The optimal art instructor should:

1. Be a working professional artist, not just a teacher.

2. If your work is abstract in orientation, be able to demonstrate that you can paint fruit, trees, and portraits.

• If Degas and Picasso could paint nice portraits in their early years, shouldn’t we? Most likely, your students want to paint representationally, at least for now.

3. Use demonstration to communicate more often than you use words.

• Artists are visual learners.

4. Teach the fundamentals. Teach simply, sequentially, and be able to clearly explain your method.

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• I personally believe that without solid technical ability (being able to quickly and accurately paint whatever I see), my ability to create real art (technique + spirit = real art) will not happen.

• Again, technique does not equal art. Art is technique, coupled with passion. It is this pairing that produces the visual expression of your soul. That’s art.

• Without this soulfulness, you are just decorating walls. (Read: high-priced wallpaper)

• Without solid technical skills, your creativity will remain dormant.

5. Learning to focus your instructional technique can serve to elevate the quality of your art.

• Condense your (technical) instruction into a simple 1, 2, 3-style lesson, with quick, clear demonstrations.

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6. I believe that technique can be taught, however turning technique into art (the infusion and expression of your spirit and technique) is best facilitated, not directed.

• Students need to find their own path to creativity. This is largely intuitive and can’t be taught.

• My goal after teaching solid technique is to offer students direction, then await the evolution of the artist-in-the-making.

• After learning some foundational technique, I try to facilitate their passion by exposing them to my favorite books, prints, galleries, psychological ideas, emotions, symbols and other forms of artistic passion.

7. From this, they slowly create their own path.

Like a butterfly with a broken wing, an art student should be inspired, nurtured and trained, then encouraged to fly away to be the best and most beautiful butterfly in the sky. The teacher moves from “teacher” to “cheerleader” once students begin to fly.

We are all lucky to have Gary share his talent and suggestions with us. I met Gary on Twitter and was very impressed with his paintings. He is an artist with true spirit and I think his paintings are magical like butterflies!

You can see his work here or go to HollandGallery.com If you want to study with him call for information: (208) 860-0603.

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Transition from Student Designer to Career Designer

Paul Carew — Mon, 03 Jan 2011 13:33:00 -0800

It can be difficult to merge into the graphic design “fast lane.” The transition from student designer to a first career job can be terrifying.

The feelings of being unprepared and/or overwhelmed are totally normal. As I spend time mentoring students at a college level, I have witnessed these emotions every semester.

Put your fears aside. With some research and preparation, these feelings can be overcome. I have crafted the following roadmap to help you merge "into traffic" safely.

Next: Approach the On Ramp →

Featured Author: Paul Carew, Carew Co.

Designing for “print + web” comes naturally, as Paul has held positions in many segments of the creative industry. Before starting Carew Co., Paul was creative director at Oliver Russell, a brand marketing agency. Paul helped the agency enter the interactive scene in the late 90′s, when he discovered his infatuation with all things digital. During his decade-long tenure, Paul performed strategic planning, design, and oversaw interactive work as a part of cross-media campaigns.

Paul’s clients have included 1-800-COLLECT, A&W Root Beer, Albertsons, Charles Schwab, Idaho Shakespeare Festival, Cinder Wines, and J.R. Simplot Company.

Carew began his career in New York City, serving as art director for Messner Vetere Berger McNamee & Schmetterer. He is a graduate of Tyler School of Art and has received numerous awards for his designs, including recognition by Print Magazine. Paul is also the Founding President of AIGA Idaho.

10 Ways to Make an Art Internship a Permanent Job

Elisha-Rio Apilado — Mon, 03 Jan 2011 11:16:00 -0800

From super intern to full-time pro!

Internships. College credit or learning experience..or both? Definitely both, but also consider it as an opportunity to become a full-time player in the design industry rather than just a student trying to pass a course. Internships should be treated as a real job, even if you're not paid! Your employer is giving you the giving you the opportunity to get your feet wet, enter the design business — learn from the experience. After all, they're taking time out of their busy workday to include you in and navigate you through the backstage part of the design business. Consider this experience indispensably awesome.

Even better, an internship doesn't have to end right there. It can become a permanent creative career! But it won't be easy. You need to follow the right steps and make it happen yourself. Yes, YOU need to make it happen. No one will do the work for you.

Let's start at the very beginning. First you need an internship — How do you do that?

1. Ask around.

Ask your professors, colleagues, your school's alumni crew and your academic advisors. It's similar to networking. These people are involved in the art industry in some way and may know of something that can help you out. Be polite and courteous (of course).

2. Look within yourself as an artist.

Look back through your projects as a student designer. Which ones did you enjoy doing most? Were you into technical, meticulous planned designs, like information designs? Or were you successful at expressing individuality through branding? Figure out what you're interested in and try to look for internships in that field. It also may be the case that you want to expose yourself to a side of design that you didn't get to practice much in school. Whatever it may be, remember, internships are a great learning experience.

3. Research those companies!

After you figured out what you want to do, find the companies that can offer you an opportunity to work with them! Remember that not all companies will be looking for interns so don't be discouraged. Narrow down your list and study each company's world by looking through their website or finding any online articles about them and their work. This will be extremely helpful if you get an interview.

Next: Rework Your Resume, Tighten Up Your Portfolio and Apply! →

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4. Rework your resume, tighten up your portfolio and apply.

It's similar to trying to find a part-time job, or any job for that matter. Make your resume clearly demonstrate what you're made of. Read application details carefully and follow any steps they provide (they may ask for a tailored cover letters). Remember, you're in competition with other designers who want this internship. Treat the internship as if it's a job you're pursuing.

5. Interviews, thank you's and call-backs.

Now, this portion of the process may take awhile or be brief. Either way, stay professional throughout. Dress to impress for the interview and say your thank you's. When they call you back, that's when you can celebrate. Be optimistic, but don't get bummed out if you don't get the internship you wanted.

Checkpoint! Great, now you've got the internship!

You're showing up on time for work and working hard right? During the time of your internship, you have the opportunity to get to know the company and their side of the design industry and decide whether this is something you want to pursue outside of school.

Once you're convinced you want a job with the company (make sure to consider if it's a place you see yourself thriving in and blossoming in), see the following steps below.

6. Go above and beyond.

Don't just try to work hard and get the job done. Do more than that! It'll show your boss that you're ambitious and want to do more than just intern work. Seek out extra work and new projects. Show that you're willing to go beyond the internship job description.

7. Learn and add value.

Rather than just learning more about the company demonstrate your creativity and bring your ideas to your co-workers and boss. But don't be a pushy know-it-all. You still have a lot to learn. But by showing participation and thoughtfulness, you'll surely establish that you're a valuable team player who's interested in benefiting the company. Your boss (and coworkers) will appreciate your input.

8. Seek input and feedback from your co-workers.

This shows that you want to be the best you can and are taking full advantage of this learning experience. Keep track of what you do and personal (attainable) work goals. You want to keep improving what you do. Remember, your only training consists of what you learned in design school. This is your chance to learn the ins and outs of real world design. Take advantage of your "student status" and ask questions.

9. Don't be shy and just ask!

The company won't know you're interested in a permanent job unless you ask. Also keep your eyes peeled for areas in the design department that they might need help and propose a job that could meet their needs.

10. Get the job and celebrate.

I think this explains itself.

Now in some cases, especially depending on the size of the company, their budget and the economy, a full-time job may not be offered. If this is the case, inquire about possible contracted or freelance work. Always remember to keep connected with your boss and co-workers. You never know what opportunities they may know of down the road. If you did a great job as an intern, they may contact you!

Co-workers are also a great means of procuring and recommending work — freelance or otherwise. Keeping good ties with other designers in the business can be beneficial for both your career and your designs. Just remember, learning about design doesn't stop at the end of an internship. Becoming a designer is an ongoing process and a full-time commitment!

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Important Art Skills They Don't Teach in Design School

Elisha-Rio Apilado — Mon, 27 Dec 2010 10:12:00 -0800

Art schools teach you the fundamentals of art. Your curriculum probably covered art history, how it evolved from ancient times and how it has developed in recent years — the evolution of technology has guided art from canvas to computer screen. Art school also covered topics such as the elements of art (line, shape, color, etc.) and has given some training on basic art tools such as, brushes, pens, mouse, tablets, etc.

Design school makes you into a better artist and keeps you up to date with the trends as well as educates you on the basics. All that artwork you do throughout college is good practice — you draw, design, sharpen your designer's eye and hone your hand skills.

But what does art school NOT teach you?

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Design is an ongoing process.
You don't just attend design school and become a master for life. Art school is not the end of your design education. You must be proactive and keep learning. Just as you've witnessed in art history class, art continues to evolve as society and technology does. Staying up to date with the latest trends, software updates and industry news will allow you to stay in touch with design and also make you a better designer.
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Be ready to handle criticism from a client.
More than likely the clients you work for will not have any design experience whatsoever. All throughout design school, you have had critiques with your professors and peers who have the proper design skills and mindset to give constructive criticism. Clients on the other hand, will critique according to how they want their company/service/product to look. When you do come across the criticisms that lack design terms or justifications, stay calm and explain your design choices to your client. The more you can educate them about design, the better they will understand. Plus, hopefully, this will avoid arguments.

There is no syllabus in the real world.
Back in art school, you were given a syllabus outlining the expectations of the class and the dates of critiques including project deadlines. School deadlines are nowhere near real work deadlines. In the real world, your boss doesn't act as your professor nor is there a syllabus. They expect you to know what you're doing — that's why they hired you in the first place! You're expected to work hard, and produce work quickly, efficiently while also maintaining your eagle eye to perfect each production order. Design in the real world is fast-paced, there's no time to mess up and there's definitely no time to break, pin up your work and get a critique of its progress.

Be your own art director. Unless you work for a company that has a fully staffed creative department, at times you must become your own art director. Even if you have a boss serving as your director, you will still need to have the ability to critique your work and point out/fix the kinks. Having a class critique in school was a privilege to learn how others may view your work and keep you open minded. Take what you learned in the classroom and apply it to the real world.

Next: Clients Won't See You as an Artist →

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[widget:lead_gen] Clients won't see you as an artist.
Clients see you as somebody to help them sell their idea, service, product, etc. But this isn't an excuse to do a bad job. You'll just have to convince them with your stellar artistic touch. Show them visually how those color palettes will blend well together and the message they it'll surely send to the public. Make the production aesthetically pleasing. Just as I stated before: Educate your client about good design — but (of course) be kind, not rude or arrogant).

Make it a habit to back-up work regularly.
In design school, you may have had the misfortune of losing your work so you had to pull an all-nighter and redo it all before your class critique. I wish it were like this in the real design industry, but losing work will reflect poorly on you, your boss, to your client, and ultimately the company. Deadlines are usually the same day or the following day, so losing work is losing precious company time. Be organized and be prepared for any computer failures. You never know what can happen during a work day.

Learn marketing skills.
Marketing was probably not on your class list in design school, but there is a bit of marketing done in the business. For one, you are more than likely creating a visual for a client to sell something. So sharpen your verbal communication skills. Other than explaining why this color palette and typography is aesthetically pleasing to the eye, explain how it relates to that particular company. Learn the demographics of the target market and design for them. Learn about the placement of the visual (ex: Should an ad be outside on a busy street where potential customers will see it?). This is especially important if you're on your own as a freelancer. Learn how to market yourself to the public through your own brand and even your networking skills.

Network!
Attend design conferences, work events, or any event for that matter! Being sociable has its perks and can land you a job. Just don't try to oversell yourself and talk about your work all the time. But also, make sure you don't miss an opportunity if somebody needs your skills. Carry your business card just in case and, of course, get the other person's as well. Networking can not only help you find job opportunities, but can also keep you in the loop about the latest art trends.

Be on the budget.
Every company has their budget costs on productions, so even though your imagination may go wild with great ideas, be mindful of costs. Know what is realistic and even budget the time you are given to get a design job done. All these factors can affect the way you design — beneficial or not. Either way, the job must get done no matter what.

Most importantly, remember that being a good artist is not only about talent.
It takes a lot of hard work to get an art degree, but even harder to be a good career designer. Always read up on art happenings, work hard and experiment. Never settle in your creative field. Keep exercising your talent, keep it intact and you will go far. Art school is just the beginning.

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Transition from Student Designer to Career Designer

Paul Carew — Wed, 01 Dec 2010 13:14:00 -0800

Approach the On Ramp

Following are some things to consider before you put your hands on the wheel. During this step in the process, you’ll do some industry and market research to better inform your job search process.

1. Do your homework

Study the market you wish to live in. Determine whether you’d prefer to work for an agency or as part of an in-house group within a business. This thinking will help you to create a hit-list of companies you’ll contact.

2. Attend industry events and conferences

Meet industry folks and make important contacts. You will be able to learn about the industry and market through these events. Participate in local chapters of AIGA or the American Advertising Federation (or any other design groups in your market).

3. Find the right fit

Determine which organizations are a good fit for your creative talents, philosophy, or personality. This will ensure you know yourself and can narrow your search to a focused list of needs in your new careeer.

4. Treat your job search as a creative campaign

Consider the right approach for you. You may decide to invest your time on a promotional or direct mail piece. Or, you may choose to put your time into a website showcasing your work. Plan the steps that you will take to get to the interview stage, as the process doesn’t stop there.

5. Tailor your cover letter
Invest time in a cover letter for each position and organization you are interested in. Demonstrate your understanding of the company, their philosophy, type of work, and why you are a good fit. Write your cover letter to introduce yourself, not simply a recap of your resume.

Next: Get Up to Speed →

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Get Up to Speed

Time to gently place your foot on the gas pedal. You hopefully have lined up an interview or two in your search and connections you’ve made with people. Now it’s time to present yourself to potential employers.

1. Make a list of questions

Prepare for your interview by writing them down. It’s normal to get a little flustered or nervous. These questions will allow you to demonstrate that you are invested in the organization and are looking for a good fit for your career.

2. Know your interviewer

Review the biography, blog, Twitter feed, or personal website of the person that will interview you. This is your chance to make a personal connection that your competitors may not be able to.

3. Present your portfolio

Demonstrate that you are able to verbalize your creative ideas by talking intelligently about your work. If you push your portfolio across the table, it is likely that a busy Creative Director will quickly go through your book and your meeting may be cut short.

4. Consider your wardrobe

Don’t wear your “Sunday Best!” Do dress the way you plan to should you be hired. This is a great way to show your interviewer that you are professional and won’t leave them guessing about how you really carry yourself day-to-day.

5. Ask permission to follow up

Show you are a great addition to the organization. The goal of your interview is to make an impression. Make a plan for your next communication with the hiring manager before you leave. This is a great way to demonstrate your motivation and professionalism.

Next: Prepare to Merge →

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Prepare to Merge

Now that you are up to speed, it’s time to put on your blinker and get ready to change lanes. The time immediately after your interview is an opportunity that is often overlooked.

1. Follow up. Follow up. Follow up.

If you don’t follow up, you miss the chance to sell yourself. After the meeting, determine why the organization is a good fit based on what you learned during your interview. If you’ve asked good questions, you have what you need to make the most of a follow up.

2. Demonstrate why it’s the right job for you

Find overlap between you skill set, creative work, style, or personality that makes this the right job for you. Share this common ground in your communications with the hiring manager.

3. Differentiate with personality

Every communication is a chance to differentiate from the competition. By doing research or meeting people at events, you’ve created a reason to initiate a conversation, as you have something in common with them. This is a fine line, but a few subtle touches of personality can help to be more memorable.

4. Be honest

Know what you are good at and what you are not. Be very clear about what your skill set is. You’re not proficient in Adobe InDesign if you’ve completed one project in the application.

5. Provide reference letters

By providing a list of reference letters, you are saving the hiring manager a step and showing your interest in the job. Be sure the references speak to your character, quality or work, and positive traits as a creative.

Next: Accelerate to Cruising Speed →

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Accelerate to Cruising Speed

Now that you have safely merged, you still have some work to do in ensuring you are a part of the team you’ve joined.

1. Keep your eyes wide open

Now that you have joined a creative team, you have an opportunity to learn how the organization and industry works. Spend time with your peers, but also copywriters and account executives. Widen your view to the big picture, as it will help you become more valuable in your role.

2. Check your ego

We work for clients who represent a deep industry knowledge and first-hand experience of their customers. While they may not creative, they have an important point of view that is of huge value to the work being done. Combine your view with a creative vision and an open mind to be successful in your new job.

3. Ask questions

Be sure to ask lots of questions. Many organizations will assume you are up-to-speed on all aspects of design and production. Make sure you clearly explain your abilities and set expectations with your supervisor. Then, exceed them.

4. Learn to collaborate

Playing well with others is crucial to surviving in this competitive career. Working with other creative people is a skill that is important to develop quickly. Being able to share ideas will only make them stronger and more marketable to your clients.

5. Design is a lifestyle

Stay up-to-speed with design trends and culture. Continue to strengthen your creative passion beyond what you do during the workday. Stay fresh.

As Students, you have honed your creative craft and built a great foundation of skills and knowledge. Incorporate these steps into your job search process and you will have a smoother ride. Once you are on the freeway, you can choose your route to move through your career.

Featured Author: Paul Carew, Carew Co.

Designing for “print + web” comes naturally, as Paul has held positions in many segments of the creative industry. Before starting Carew Co., Paul was creative director at Oliver Russell, a brand marketing agency. Paul helped the agency enter the interactive scene in the late 90′s, when he discovered his infatuation with all things digital. During his decade-long tenure, Paul performed strategic planning, design, and oversaw interactive work as a part of cross-media campaigns.

Paul’s clients have included 1-800-COLLECT, A&W Root Beer, Albertsons, Charles Schwab, Idaho Shakespeare Festival, Cinder Wines, and J.R. Simplot Company.

Carew began his career in New York City, serving as art director for Messner Vetere Berger McNamee & Schmetterer. He is a graduate of Tyler School of Art and has received numerous awards for his designs, including recognition by Print Magazine. Paul is also the Founding President of AIGA Idaho.

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Art Students: Portfolio Show Dos & Don'ts

Elisha-Rio Apilado — Tue, 30 Nov 2010 10:21:00 -0800

The last semester of your senior year in design school is pretty tough.

It's even tougher when your years of class taking and projects have a chance to become a piece in your portfolio. Pieces that together, will hopefully allow you to standout from the competition and get your perfect graphic design job straight after graduation. [widget:lead_gen]

What's the name of this showdown? It's the Portfolio Show.

What is a portfolio show?

It's the ultimate critique, ever. It's the one where you stand up in front of everyone and get stared at — okay not just you, but at all the hard work you've done for the past four years. The spectators range from family members, to fellow colleagues, professors, and most importantly, employers. Your portfolio and all your artwork transforms into bait to attract all those recruiting for their company or maybe looking for a freelance designer.

Show them your goods, the best of your goods. Those excuses you used for a final presentation in class such as "My Epson ran out of Light Cyan last night and they were sold out everywhere!" won't work this time. So stock up on paper, on ink, and have your external hard drive at hand to back up your work constantly. The portfolio show has to be flawless and run smoothly. It's the window to career opportunities. How well you do at the show predicts how well you'll do (and handle stress) when you plunge into the dark waters of the real world graphic design industry.

The decisions you make in preparation and the execution of your portfolio show can affect your future career (or really, your goal to get a job right away). Now that doesn't mean if you decided to wait a bit before getting a job you don't have to follow these rules of what NOT do it. It's better to do it now than never right? Get it right the first time. You're going to be in a room full of your competition. Would you really want to be next to someone's booth who has an outstanding portfolio set up, bound books and package design objects, while your booth is just your business card, resume and an aluminum book laying flat on the table? No probably not, as this is not at all a proper professional presentation.

In order for this not to happen, I've outlined the four faux pas of a portfolio show:

Next: The Four Faux Pas of a Portfolio Show →

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The Four Faux Pas of a Portfolio Show

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1. Have no leave behind. I know, I know, you've spent all that time building this large sheeted portfolio for clients to flip through. The portfolio show should be a time where those employers stand at your booth and admire it. But guess what? The majority of the time, your show is at a time and on a day of the week where professionals are busy working at their OWN jobs. A couple may pop through the show, but won't stay long.

This isn't a speed dating session where you pair up and go through your portfolio for 20 minutes straight Your portfolio usually consists of 12-15 pieces. They don't have time to look through each and every one of them while you're talking for minutes explaining each piece's concept.

Good Idea: Make a mini portfolio! A handy (literally the size your hand) mini portfolio highlights the most interesting and unique pieces of your large portfolio. It's also a chance for you to show how you represent yourself in a mini book and in package design. How would you make a mini book? Maybe another spiral bound? A saddle stitch? Or maybe mini cards in a small box? It's all up to you, whatever you choose, make sure it represents you. These professionals are taking a little piece of you home (er, back to the work place).

2. Have an online portfolio ONLY. Have both. Please, make sure your portfolio is on both the web and in print. When you're at your portfolio show, again, professionals may not have time to view all your work. An online portfolio allows them to look at your website on their own time.

Good Idea: Make sure to have your website on your resume, stationary, business card, and every other piece of marketing material throughout your career. Another tip: Make sure your online portfolio doesn't take forever to download. You'd be at risk losing the interest of potential clients and employers.

[widget:inarticlebulleted_portfolio_build] 3. Only keep your projects in your portfolio. Come on, I'm sure you done a lot of design projects that had you making mock ups of package design or books or even magazine layouts. I know you've photographed them professionally to have in your large creative book, but don't keep it there only for recruiters to view! Graphic designers like to touch and feel (which is why most of them are still loyal to print design). As a matter of fact, humans are curious and like to touch and feel to understand things.

Good Idea: Have package design products? Display them (professionally) so that the viewer can have a 3D experience. Book layouts or magazine layouts? Lay them out as you would do on a coffee table at home! But please, PLEASE make sure these projects were done in great care and are presented flawlessly. Would you want a tear in your book to be exposed to the world on the most important day of your school/career life? I think not!

Keeping a sloppy booth. Presentation is important. Not only of the samples in your book, but for yourself and your booth. Before spectators even walk through the door, make sure you lay out your portfolio and actual samples for them to touch and look through. Have a stand for any books you've designed and bound and especially for your portfolio itself!

Good Idea: People know that your portfolio is a sacred piece of your art career, so they may be a little hesitant when passing through to go over and look at it. Make it more inviting, have it on a stand at an angle rather than laying flat, dead on the table. Prop up your portfolio! Have a little area where people can pick up mini portfolios, resumes, business cards (and hey, even candy!) Dress professionally, no jeans, no outrageous colors like hot pink tees. You're at the show to show your goods to professionals who could potentially be your boss or co-workers. Think of everyone as a recruiter, and stay professional in both your attire and mannerism.

Please remember that even though you have this portfolio show, it's NOT the end of your portfolio. It evolves over time, will encompasses many different graphic design trends and will also demonstrate how you grow as an artist after many jobs. Your portfolio is a long-term career investment — Treat it accordingly.

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The Details of an Online Education

Adam Starr | ArtBistro — Fri, 19 Nov 2010 09:21:00 -0800

Not since the revolutionary invention of Gutenberg’s printing press in the 15th century has a single technology so dramatically changed the future of education as the web. Just as movable type helped create a booming university culture in the late-middle ages, so too has the modern web created an educational paradigm shift. Not only has the web democratized education, it has fundamentally changed how and where we learn.

[widget:inarticlequiz_online_schools] Online learning is the natural evolution of this second great shift in educational technology. As modern Americans have grown networked and connected across various digital devices, so too has our busy society become accustomed to learning where and when we want. As a consequence, millions of people pursue higher education and earn college degrees every year without ever stepping foot on the grassy quad of a physical campus.

We used to have to leave home and go off to school to get a degree. No more. Nowadays, thanks to the preponderance of fully accredited online universities, we can get a quality education from anywhere. Now we have the opportunity to study what we want, when we want, and most importantly, where we want. That’s why institutions like the University of Phoenix are so transformational; we don’t actually have to move to Phoenix to get our degree.

Finding the Right School

Now that you’ve decided to pursue an online degree on your terms and your timeline, the next step is to decide on the school that best meets your career goals and interests. Fortunately for you, there are more online schools available today than ever before. Choosing the right school has never been easier. No matter your field of interest, from business, to culinary arts, photography to fashion, fire science to nursing, Education.org will point you in the right academic direction.

First, decide what you want to study, then explore schools offering the degree programs you find interesting, and finally, research the degree schedule and cost of your ideal school. While you are gathering information, make sure to read testimonials, talk to admissions officers, and ask your network of friends and family about their experience at the school of your choice. Since you can study at dozens of schools from the comfort of your own home, you have a huge variety of programs and degrees available to you.

What is Online Learning?

Online learning is a lot like traditional learning, only instead of commuting to the classroom, you’ll join class discussions and seminars electronically. While online, you will read class material, take and compile notes, and form study groups with your classmates to prepare for exams. Thanks to video and chat technology, you will enjoy face-to-face interactions, live forums, team projects, and homework assignments all delivered via your computer.

Next: Make Sure the School is Accredited >>

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Make Sure the School is Accredited

According to the U.S. Department of Education, the government does not accredit academic institutions itself; instead, the USDE recognizes select accrediting agencies as reliable educational arbiters. To find if your school is nationally recognized and accredited by one of these accrediting agencies, search through this list. It is extremely important to find a school that has been nationally accredited by a certified and government recognized accrediting agency.

Learn How to Spot Diploma Mills

What is a diploma mill? Put simply, a diploma mill is an unaccredited and unscrupulous business operation masquerading as a “college or university” which sells degrees to people that haven’t done the coursework to actually earn their degree. Buying a degree from a diploma mill is as expensive as it is worthless.

Save yourself time and money and invest in a nationally accredited online learning degree program. If you want to make sure that your prospective school is a legitimate and accredited learning institution, check it out on the Better Business Bureau before spending a dime.

How Much Does it Cost

As with anything, the cost of your online degree will depend on the particular program and online learning college you choose. At the University of Phoenix for example, credits cost around $550 dollars per credit, most courses are three credits at the cost of $1650 per class. To calculate the cost of your tuition, first factor in the total number of credits required for your degree, and then include any associated fees for electronic classroom materials.

How to Factor Online School into Your Life

While studying at home is indeed more convenient, it does present some unique time management challenges. It’s unlikely that you’ll find yourself watching television while your professor talks when you’re sitting in a crowded lecture hall. At home on the other hand, you’ll have plenty of ways to distract yourself with nobody but yourself to keep you on task. Like any degree, it’s important to set aside appropriate time for your studies in a quiet room or office that is free of distraction. Once you get used to the freedoms that online learning provides, you’ll enjoy the best of both worlds. Just think, you’ll never need to ask permission to go to the restroom again.

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Will I Use My Art Education in the Real World?

Elisha-Rio Apilado — Tue, 09 Nov 2010 14:18:00 -0800

Taking what we learned in class to the real world.

Oh I've been in your shoes. Getting class before you're late for the critique on those 20+ thumbnails you spent hours and hours doing the night before, er even morning of. Lugging around a stuffed binder of papers organized according to each deadline you've suffered through: highlighted internet research, thumbnails, rough sketches, finalized sketches, marker renderings. I've been there when the professor hands you a project sheet about something exciting and creative, yet, there lie those limitations; in bold Helvetica 15 point font, in case you missed it. I've had my head buried in textbooks studying anatomy. Not of the human body, but of each typeface — memorizing the different body parts.

"Sigh," is what you're thinking — "Yeah, I'm going through that right now." Why are we learning all of this? I mean, what's the purpose of exercises we find meaningless when we think about heading out into the real design world? Will our bosses really make us keep a binder full of sketches for every project that comes our way? Are we going to get a pop quiz on which era of graphic design history a design is influenced from? Come on, don't tell me I gotta recite all the different parts of a font?!

No, of course not. All those things you learned in design school, all those nit-picky things your professor nagged you about are all for just practice. All of them, I swear. It's practice until you perfect your design skills. It’s like becoming street smart, but just design smart. Ok, just see it this way, you're a newborn Bambi trying to learn how to walk on your new four legs, and the more your practice, the more you get better at walking all on your own. It's just like design school (just no animated deers involved). Your professors push these exercises on you not to frustrate you, but to have you perfect these small skills so that when you're faced with them in the real design world, all on your own, you won't have to go running back to your graphic design textbook or your sketchbook full of notes.[widget:3597]

Everything happens for a reason. It applies to graphic design. Everything you learned at design school, holds a reason. Other than learning to have a designer's eye, the smaller exercises count more than anything.

Today I found myself relying on what I learned in the past — that which I used to think was a waste of time. These exercises all help you to design efficiently, and quickly. In the design world, you've got to be quick on your toes. It's all about problem-solving, only in visual terms. Those tight deadlines aren't going to wait around for you to figure out how to make a design look asymmetrical or make a design influenced by the Art Nouveau era. Throughout school, your brain should have evolved into a file cabinet of fonts. It's categorized the sans-serifs and memorized which ones have a taller, more condensed look.

Next: The Most Complained About of Small Exercises? →

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The most complained about of the small exercises? The dreaded Concept books. The ones on the syllabus that requires you, the designer, documenting every move you make during a quarter or semester long project. It's the one that has you scrambling to the office supply store for a 2" wide binder and a couple dividers.

The categories are: Research (highlighted), Design Brief, Thumbnails, Marker Renderings, Computer Generated Drafts, and finally the Final Draft. Going through this long creative process is required to make your understand the steps thoroughly. It helps you explore other ideas and options and understand your concept. You become one with the project. You live, breathe and eat it up so that when you get up to the front of the class to explain it and sell your idea, there's no hesitation or stuttering involved. You become confident with your concept.

Now, although a real job doesn't require you to purchase those materials, it's good to still go through that process, only a bit quicker. Deadlines are going to haunt you and you have to be on your toes. The Concept Book isn't going to be there in the office holding your hand and letting you go back and forth throughout your sketches. You've got to handle your creative process on your own at your own desk. And of course, becoming one with the project you're given at work will allow you to better design for your client. Researching their competitors and discovering the brand image that makes their company only allows you to get into the color palette, typography and aesthetic of the final design.

In design school, you must have studied the anatomy of type more than your actual body. We're kind of like med students, only our only healing power is to make visual elements feel complete. With the background of learning the history of graphic design and the styles from way back when, our brains have formed a small office full of typography. Working in the real world doesn't allow you to go through your Font Book and make multiple type specs sheets. You have to be familiar with many fonts, don't just stick with your comfort zone (mine was Century Gothic and Futura). You need to be able to attach an emotional feeling to each typeface you come across. Adjectives should be paired up with each typeface and memorized so that when you're about to design an ad for a hospital for ill children, you won't be choosing Curlz.[widget:design_degree]

Here's another tip for you: Learn your tools. Your weapons of action are usually InDesign, Illustrator, Photoshop, Bridge and Acrobat. Although learning the quick keys to each is necessary, learning how each design program can work with one another is vital knowledge. Believe me, it will save your life when you hop to work. It's saved my butt a million times. Most times you have to work with what you've got, so sometimes clients will give you a logo that's fuzzy or a file in PDF that needs to be resized. Annoying, yes I know, but it'll be a breeze to do when you've learned how to fix these problems easily with the tools of your choice. Illustrator and Adobe PDF files go swell together. Knowing your weapons can give you (Photoshop with pixels and Illustrator with vectors) oh so helpful. Your brain not only has a file cabinet full of fonts, it's got a bulletin board full of quick keys and shortcuts that you've got down.

In the real design world, time seems to be the ultimate limitation for our creative process, but with the way we were trained to think on our toes throughout design school, we are able to manage. So next time you're in class grunting about getting paper cuts from having to organize all the sheets for your Concept Book, just think of how much you're gaining to better prepare your mind for the real world.

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Is Film School Right for You?

Adam Starr | ArtBistro — Tue, 09 Nov 2010 11:51:00 -0800

Martin Scorsese, George Lucas, and Francis Ford Coppola all had something in common besides a gift for storytelling and a distinctive cinematic vision: they all attended film school. While aspiring filmmakers can learn a lot just by watching the films of these men, they can learn even more about the business and various elements they’ll need to be successful in film and television by getting a degree from an accredited film school. You can be the most creative person on the planet, but if you don’t know how to edit sound, work with a cinematographer, or frame a shot, you’ll never be a successful filmmaker.

Why It’s Important?

Before you can successfully tell compelling visual stories, you’ll need to understand the mechanics of motion pictures and gain the skills you’ll need to translate those ideas into fully formed features. Now that technology has democratized the world of digital film making and lowered the costs of movie making, it has become more important than ever to bring the production values and technical training that will make your work stand out from the DIY crowd.

What You’ll Learn?

Making movies is a lot more involved than simply sitting in a chair and yelling “action!” Top American film schools like Tribeca Flashpoint, Full Sail University, and the Art Institute offer a variety of specialty programs including a focus in animation, art direction, camera operation, cinematography, film and video editing, production, screenwriting, directing, set design, sound engineering, and special effects.

Once you start your formal film education you’ll be exposed to a variety of specialties and have a better understanding of where you’d like to focus your skills and energy as a professional in the entertainment industry. After you graduate, your job may involve producing, editing, or directing video, television, stage, and motion pictures for the entertainment, documentary, and information industries.

Is the Industry Growing?

Working as a professional director or producer is a highly competitive career in a creative field, but the pay is good and the exposure unmatched. As consumers become increasingly connected with content thanks to their smart phones, slate and notebook computers, the demand for fresh content has grown. In fact, this uptick in content connectivity means more jobs for people that create media; the demand for film jobs is expected to increase by 14% through 2018. As a salary benchmark, film producers and directors have an annual mean wage of $108,580. As you’d expect, the cities with the highest concentration of these occupations are on the East and West Coasts, in places like New York City, Los Angeles, San Francisco, and Santa Barbara.

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How Students Can Prepare for an Art Career

Carolyn Edlund | ArtsyShark — Mon, 20 Sep 2010 11:21:00 -0700

Interview with Chrissy Garrett of SCAD

Savannah College of Art & Design (SCAD) is a leading art school located in Savannah, Georgia with campuses in Atlanta, Hong Kong and southern France. With over 9,000 students enrolled, they offer majors in many fields of art and design along with innovative learning experiences. Chrissy Garrett is a Career Development Specialist there, whose background includes coaching women athletes in track and field. Chrissy agreed to speak to Artsy Shark about the opportunities at SCAD and how students in general can use their art education experiences to their best advantage.

ArtsyShark: Do SCAD students take business classes? Are they required?

Chrissy Garret: SCAD offers a minor program called Business Management and Entrepreneurship. It is not required and is open to all majors. The majority of students who select this major are highly interested in owning their own businesses or simply acquiring the basic business skills that will be beneficial in their chosen career in some capacity.

In addition, we will be hosting the SCAD Entrepreneurial Exchange Conference during February of this year. Some example sessions include “What is an Entrepreneur and How Can You Become One?”, “Legal Issues, Intellectual Property Rights in Art and Design”, and “Tap into Funds for Your Entrepreneurial Idea or Business”.[widget:3606]

AS: Tell us about student internships – how do you find them and in what area of study are most available? Are they paid or unpaid? How do you feel about unpaid internships?

CG: With a total of 46 majors at SCAD, we receive internship opportunities in a majority of those areas. Employers of all sizes from around the world offer internship opportunities to our students. For some majors, freelance opportunities are available more than internships. Although some internships are paid, we are seeing an increase in the number of “unpaid, academic credit only” internships. The majority of students here at SCAD seek internships regardless of whether they are paid or unpaid.

Knowing the value of professional development and “hands-on” or “on-the-job experience” can afford students, I highly recommend they participate in an internship whether it is paid or unpaid. Certainly, obtaining money and work experience are a great match (and every student intern’s dream), but I personally do not value one over the other. Experience sells; and whether a student was paid or not paid is irrelevant in most cases.

Next: How Students Can Launch Their Careers →

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AS: SCAD hosts all different kinds of events to help students launch careers. Can you describe them?
• Employer Information Sessions

• On-campus interviewing

• Off-campus employer visits (a variety of different majors visit studios, galleries, company headquarters both nationally and internationally)

• Job and Internship Fair

• Networking Receptions

• Panel Discussions

• Round Table Discussions (usually less formal)

• Seminars/Lectures/Workshops (campus wide or in class)

• Conferences (specialized events offered for some majors more often than others)

AS: In your opinion, what are the biggest mistakes students make in preparing for their art careers?

CG: Some of the biggest mistakes students make are:

• Waiting until the last minute or not preparing at all

• Not creating their marketing materials early and maintaining them

• Minimal to no networking

• Not taking full advantage of the resources and opportunities available throughout college both on and off campus

• Not staying current with their prospective industry

AS: Could you give a “Top Three” list of the most important things an art student should do to start their career successfully?

CG: Yes, my list follows.

1. Know Yourself. Complete a realistic self-assessment to identify your strengths, weaknesses, and everything in between in regards to technical skills, transferrable skills, and personal characteristics as well. Have your 30 second elevator pitch prepared!

2. Develop and maintain your marketing materials. These materials include but not limited to your resume, cover letter, portfolio (digital and hard copy), website (requested a lot more by employers), teasers, and business cards.

3. Obtain as much experience as possible. Experience can come from volunteering, interning, freelancing, and/or working part-time or full-time. Take advantage of academic projects as well.

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Jumpstart Your Career Right Out of Art School

Elisha-Rio Apilado — Tue, 31 Aug 2010 09:54:00 -0700

I wish they used Helvetica on my diploma — Friendly advice from a 3 month old graphic design graduate.

It's here. That time when all those long, late nights of staring at that brightly lit computer screen, changing the leading, making sure the text didn't bleed off the page, checking if the images were in CMYK, and most importantly, consistently saving my files onto my flash drive(s), hard drive, external drive, cd-roms, finally paid off. I've walked off the stage, waving at my parents in the cheering crowd, beaming with my diploma at hand. I finally graduated and now have a Bachelor of Fine Arts in Visual Communications. Sounds fancy right?

And then there comes the friendly letters in the mail from Sallie Mae, "Congrats on graduating! Now you have six months until you become our prisoner and must pay back your (shudder) loans. Have a nice day."

Fear not fellow students and recent grads like myself. You have six months until those loans need to be paid off. The “grace” period they call it — And this time should be spent gracefully and art-fully. Let me share some wisdom with you — as it is my halfway mark until I am bound to those loans — (shudder, again). You've got the degree in hand that will allow you to make money, no doubt, but you've got to remember your talents, your passion for the arts and most importantly, your ambition to become a sponge.

Yeah, I said a sponge.

After being a student for four long years in college, you get to take on the role of being a sponge. Soak up EVERYTHING and ANYTHING during these next six months, heck, for the rest of your life. The money part of post-graduation shouldn't scare you off or keep you from having even more goals after graduation. You may have to start off tiny in the career world, but if you've got the ambition, you can go anywhere. And I mean anywhere.

It's important to maintain your ability to think up of goals for yourself. Even though you may have achieved the biggest one of earning a fancy degree, that doesn't mean it should stop there. This is post-graduation! You've just been stuck in a classroom filled with other talented artists for the past 4 years. You’ve critiqued piece after piece. You've learned what you're good at, what you stink at, the Adobe software you're a pro at and the ones you just despise (Quark, I’m talking to you). Your fellow classmates and professors have helped you to that goal of graduating, so thank them for that. But now, you're on your own. You can now be the art director of your life. You get to analyze your weaknesses, your strengths, your likes and dislikes, and boil down to the top three design aspects you like. Go ahead; get a piece of paper and pen (or a sharpie marker, because we know how much we graphic designers love those).

So, did you write down your likes and dislikes down?

Next: How to impress future employers with your strengths →

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Your strengths and weaknesses? Now number them from most favorite to most hated. Those #1, 2, and 3 should stick in your head. What is the point of this little exercise Elisha? Well, you've just figured out who you are as an artist and what you have to offer to these future employers you're trying to impress. Doing this helps you to figure out what part of the graphic design industry you should gear your career.

For me, I love illustrating, making logos, and creating conceptual advertisements with the back scene of sketching a million thumbnails during the creative process. I despise anything 3D, so package design is out for me, but that doesn't mean I can't be open minded. I may have despised that package design class I took, but that is NOT the real world. The part of the industry I've decided to gear towards is the advertising world with a side of illustration. There's something about how an idea can start so little, and evolve into something so big. Something completely twisted and turned around from the original idea.

There are so many opportunities out there after graduation, you just have to look around and be patient. BE PATIENT. Engrave that into your brain. Yes, you're a great art-teest and there's nothing wrong with having pride in yourself, but don't expect a million design firms to come flying at you with a million job offers and begging you to work for them. It doesn't work that way. It never really has. You've got to chase after those dreams yourself.

So here's my advice to you about nabbing that dream creative job of yours. Start little. Yes, start little. I know usually people say 'Go big or go home,' but I see starting little and growing into something big is still equivalent to that saying.

You've already figured yourself out as a graphic designer and what you can give to employers, and maybe you've figured out what you can improve on and what you want to learn about more (I'd definitely like to give package design another chance) —Now's the time to do research.
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Research design firms, ad agencies, etc. revolving around the parts of graphic design you're truly interested. Really pay attention to their website (and web design). You can really understand what their style is. Look at their previous work and who is on their client list. Read the biographies of the big shots of the company. Take in as much information you can. Be a sponge. Google can be helpful too on stalking, er, researching this company to understand them more. See what their mission is and compare that with yours as an artist. Can you contribute anything to their company? Could you learn anything from them? Believe me, doing all this research will help you out in the long run. You have to become their new best friend and learn anything there is about them. This will help out in writing your cover letter and even in an interview opportunity. Employers will only be interested in you if you're GENUINELY interested in them.

Now other than trying to find that job, what do you do during the time you're being PATIENT and waiting for any callbacks? CHALLENGE YOURSELF. Do more for yourself as an artist. Keep growing. Get in touch with non-profit organizations that you care about and are familiar with and see if you can do any design work for them. Voluntarily. There's nothing wrong with volunteering your art skills. I mean, we artists are here to change the world right? Art CAN change the world and an outlook on life. I truly believe in that. With volunteer work, you get to experience working with a client, even if you're not being paid. You get to challenge yourself as an artist and see just how tough you are and just how good you are with deadlines. You also get to help out the community. Your artwork will also gain exposure and earn you some networking brownie points. If you do a good job, these people will refer you to others, I'm sure of it. It's all about networking. Networking is key. You just have to start doing the talking.

Other than doing work for others and trying to find a job that is to your liking, keep doing art just for yourself. I have to admit, the past three years while I was in school working on my degree, I didn’t have time to pick up a paint brush and sweep paint across that canvas board. So do yourself a favor, stay sane and do art for yourself. Even if you're a graphic designer, close the Macbook. Hide the mouse and drawing tablet. Pick up a pencil and just draw. Even look at other artists' works. It can be truly inspiring. Just remember, keep being a sponge.

Here are a couple websites I visit religiously to look at other designs/graphics/artwork. I even have a folder on my computer full of creatives. It can definitely keep your creative juices running. They may be random stuff posted, but bizarre randomness definitely sparks up the light bulb:

• http://imgfave.com

• http://ffffound.com

• http://szymon.tumblr.com

• http://indexed.blogspot.com

• http://www.cardboardlove.com

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Choosing an Art School? 5 Questions to Ask Before You Pick

Jeff Hindenach | ArtBistro — Wed, 28 Jul 2010 10:33:00 -0700

Looking for an art school that's a perfect fit for you? Narrowing down all the possibilities can be daunting. There are so many factors to consider, so many questions to be answered.

We’re here to help. We’ve consolidated all your questions into five key factors to consider when picking an art school. Follow these guidelines and you're sure to find the perfect fit.

Do They Specialize in My Program?

First and foremost, make sure the school specializes in your intended program. Many schools may offer the medium you want to study, but if they don’t specialize in it the classes might not be as detail-oriented as they could be at a school that focuses on your area of study.

Schools are often ranked differently, depending on who is ranking them and the criteria used. Look at as many different ranking lists as you can and try to average out the numbers. Research the professors’ credentials. Check for awards and accreditation in your field. Gather as much information on each school as possible, instead of going off a single ranking.

How Big Are the Classes?

Class size can be a big motivator in picking an art school. Some people thrive with more attention and guidance, so they need smaller class sizes. Others like to be left to grow on their own, so they will be just fine in an over-sized lecture hall.

After you’ve narrowed down your search to a few schools, take a trip to each and make sure that you sit in on a couple of classes to get a better idea of class size. It can also be a good indicator of how involved the professors are with their students and how in-depth the classes are.

Next: Who Will Be Teaching Me? >>

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Who Will Be Teaching Me?

A school can be world-renowned and still not be a good fit for you personally. Much of your success many come down to how you connect with your professors and what they offer as far as guidance and connections.

If you are more into the theory of art, choose a school whose faculty has a more cerebral approach to studies. If you want a more hands-on approach, find a faculty who have experience in the field and have had careers as successful artists in the real world. Your professors could be the key to your success, so make sure you are choosing them carefully.

Where Is the School Located?

It may not seem like a big deal on the surface, but think of the underlying benefits of studying in a city that breeds creativity. Think of studying in a small town in Iowa, as opposed to a school in the heart of New York or San Francisco. Although the class sizes may be smaller, you may be sacrificing more when it comes to culture.

Think of the inherent benefits of studying in a larger city. Being close to a plethora of art galleries. Learning from professionals who are in the field. Getting inspiration from a myriad of places around the city. The pros may far outweigh the cons, such as expense and hassle.

How Good Are Their Facilities?

An artist is only as good as the tools they use, so make sure those tools are high enough caliber for your needs. Talk to current students and professors at the school and get their honest assessment of the facilities. When taking a campus tour, make sure you do a detailed inspection of studios and classrooms you’ll be spending the most time in.

If you are a graphic designer, make sure they have the most up-to-date versions of Photoshop, Illustrator, Flash, etc. If you are a fashion designer, make sure they have access to an expansive supply of fabric and state-of-the-art sewing equipment. If you are working with second-hand, run-down equipment, your art itself is going to look second-hand and run-down.

Above all, make sure you feel comfortable at the school you choose. Make sure you can easily interact with the professors and feel at home using the facilities. Art students especially need to feel at home in their surroundings to help the creative juices flow, so make sure the school is not just the right fit, but it is the right fit for you.

Related Reads:
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5 Ways to Screw Up Your Art School Application

Nealeigh Mitchell | Art Bistro — Tue, 29 Jun 2010 09:57:00 -0700

So you want to go to art school? Getting an art degree can successfully turn your passion for art into a career. Not only do you get a well-rounded education and an opportunity to hone your artistic abilities, but an art degree stands out on your resume and boosts your chances of getting hired.

So how do you get your foot in the door at a top art school? While most schools have specific criteria used to measure prospective students, there are few factors that are evaluated across the board. Here are five things that will certainly hurt your chances of admission.

Poor Grades and Test Scores — Although this is likely the least important factor when it comes to evaluating a student’s artistic future, weak academics in high school or undergrad may come back to bite you. Good grades and test scores are the foundation for the rest of your art school application. If you don’t feel your academics are up to snuff and could benefit from beefing up your portfolio, consider enrolling in summer art programs or participating in community classes. Admissions counselor will appreciate your level of enthusiasm and dedication.

Lack of Focus — While it’s not necessary to choose a specialization so early on in your career, you should have some idea of preferred medium you’d like to pursue. This should dictate the pieces you include in your portfolio. Targeted portfolios in specific genres show strong signs of interest and commitment to your chosen career. If you’re set on certain field, research art schools that specialize in that particular medium. That being said, admissions officers will likely choose a student who’s looking for a full art education over someone who has completely narrowed down their focus.

Next: Lackluster Letters of Recommendation →

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Lackluster Letters of Recommendation — An expert in your chosen field who can stand behind your work is imperative for a successful application. If the photographer you interned with can’t testify to your skills and abilities behind the camera, your interviewer will think twice about going out on a limb and accepting you. A positive letter will not only confirm your competence but will also build your credibility. Unfortunately, a negative one will do just the opposite. Make sure you choose a professor or past employer who is familiar with your work and can speak to your best qualities.

Weak Artist Statement — Most colleges require you to articulate why you want to become an artist and how your unique talent can impact your chosen field of study. It’s vital that you paint an individualized picture that sets your apart from the pack. Do you have a photographer who has inspired your work? An illustrator whose art has sparked your creativity? Write about how they’ve shaped your artistic vision and how you plan to build on that. A stellar essay can successfully convey your passion for the industry — on the other hand, a lack of commitment and enthusiasm about an art education can easily sink your chances.

Sloppy Portfolio — This is by far the most important component of your application. It can easily make or break your chances of getting into art school. Your creative book absolutely must show your best work. Each chosen piece should demonstrate your technical ability and creativity as well as your personality. Make sure you read each school’s application requirements thoroughly, as some have specific pieces you must include. If you feel you need help crafting your portfolio, consider enrolling in a Portfolio Development and Prep course offered by many local art colleges.

Remember, each school’s admission process is different and may weigh criterion differently. Research each school and really focus on what’s important to them.

If you take the time to prepare a killer application and avoid these mistakes, you’ll be accepted into art school in no time!

Related Reads:
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Get Your Art Degree While Working Full-Time

Steve Berman | ArtBistro — Wed, 19 May 2010 09:45:00 -0700

The alarm goes off at 5:30 am, and you could swear you went to sleep five minutes ago. First a quick shower, followed by the finishing touches on that homework assignment due tonight over coffee and breakfast — if there’s time.

Then it’s off to work, a solid eight-plus hours of time where you’re busy with reports, meetings and other assorted tasks. At the end of your workday, your coworkers are heading home to their families or to the local watering hole for a cold one. You, on the other hand, are heading to art class.

Going back to get your art degree can be one of the most challenging undertakings of your life. Continuing education is different than going to school back in your youth because now you have to fit art school around a full adult life with responsibilities like a mortgage, bills, and children. But it can be done.
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Follow this advice to reach your artistic educational goals while keeping some semblance of your sanity.

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Set Your Expectations:
You know going to art school at the same time you’re working 40 (or more) hours per week is going to be tough. Now it’s time to get real about how tough it’s going to be. If you expect to get eight hours of sleep and three leisurely meals a day, you’re going to be very disappointed. Don’t be surprised if you have to pull some late nights finishing projects and studying. You can’t skip out on your work responsibilities even if you’re completely drained when that alarm clock wakes you up out of a deep slumber.

The best solution is to create a written log of how you expect to spend your time before you begin schooling. Be honest! Listing all the responsibilities in your life that you can’t afford to neglect will alert you to how much spare time you really have. This will help you figure out if combining both art school and your nine-to-five can really be done. Good news is, a little planning will most likely help you to avoid every student’s worst enemy: procrastination.

Next: Know Your Goals →

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Know Your Goals:
Don’t go back to school because you’re bored or have unrealistic thoughts about being the next Picasso. If you don’t have a tangible reason to learn new skills or pursue a degree, you’ll be far less likely to succeed.

Remember, in terms of money and time, art school can be costly. Make sure it’s worth your while. Only learn new creative skills for your current job if it will make you a markedly better employee, and preferably, put you in line for a promotion or raise. If you are going for a degree or wish to make a career change, have a clear plan as to how that degree is going to help your career aspirations in the arts.
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Treat School Like It’s Your Job:
If the way you attend class is at home via your computer, treat it like any other kind of school. Give yourself a private area to work where loved ones or the TV can’t distract you. And if you’re attending classes after work in an actual studio or classroom, don’t be tempted to skip out because of an unforeseen distraction. It’s really true that a large part of success is showing up. Miss one Photoshop class and it’ll be easier to miss another. And another…

Don’t Go It Alone:
You can’t make your friends go to work for you, and you definitely shouldn’t copy anybody else’s homework. Still, it is almost impossible — and definitely foolhardy — to work a full-time job and go to art school at the same time without any help. Let people you trust know that you’re going to need some support.

Whether it’s a relative picking up your daughter from soccer practice or your spouse taking over dinner duties, it’s extremely important to accept help when offered, and to ask for it when needed. One person can only handle so much, and your true friends and loved ones should be happy to help as long as they aren’t being taken advantage of. Reward them with small tokens of appreciation and remember to thank them after you’ve completed your creative education and are on your way to making your passion your career.

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How to Get Into Art School

Christina Macres | ArtBistro — Mon, 17 May 2010 10:53:00 -0700

Getting an art degree will give the right skills and abilities to make a living out of what you love, as well as help you meet people and mentors who share your passion.

For students seeking a Bachelors or Master’s degree in Visual Arts, it’s more than just artistic talent that will get you accepted into your dream art school. Successful applicants must be motivated, must be willing to push the boundaries of their work, and must have an awe-inspiring portfolio.

So how do you go about getting into your top choice? We’ve complied the three most asked prospective art student questions. If you’ve ever wondered what the admissions staff is looking for in a prospective student, what you should include in your portfolio, or how to ace your interview, we’ve got the answers you need to get accepted into the school you want.

1. What key factors does the admissions staff consider while assessing prospective students?
Even though each art school has a different set of criteria by which they measure and evaluate prospective students, many of the key factors are similar. These include:

• Academics (educational achievement)

• Letters of Recommendation (ability to form professional relationships and a third-party character assessment)

• Admissions Essay and Interview (career and artistic goals)

• Portfolio (a measure of creative ability)

The take-away:

It’s necessary to find out the key traits and criteria important to the schools you’re applying. Find this out early in the admissions process and give yourself plenty of time to prepare. Convey the four P’s; passion, preparation, portfolio, and passion and you’ll make the admission staff’s selection process easy!
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2. What are the most important aspects of a potential student’s portfolio?
It’s not only important to have a great portfolio for your own records; it’s a requirement when applying to highly regarded art schools. Why? Your portfolio presents your potential as an artist, is a place to showcase your skill, and is a means of communicating original ideas. But students aren’t just measured by their demonstrated skills — the admissions staff wants you to be a well-rounded artist too. Here are a few examples of what your art school applicant portfolio should include:

Strong technical art skills. This means a thorough knowledge of the tools and materials used to create visual arts. An example of this would be a display of stippling, hatching, and cross-hatching for prospective illustrators and a solid demonstrated knowledge of Photoshop for graphic designers.

Creativity. Can you effectively convey your creative process? Do you think outside the box? Are you a well-rounded and thoughtful artist? Is your art inspiring, exciting… different? Ask these questions of yourself throughout your career as an artist and make sure you’re on the right track to maintaining your creative vision.

Drawing from direct observation. As an artist, it’s important to be observant of the world around you and to be able to capture it in your artwork. Drawing directly from observation shows that you’re perceptive and that you have the technical skill needed to succeed as an artist.

Examples of skills. This means showing your talent in more than just one artistic medium. Art schools look for well-rounded artists, students who are interested in learning many different skill sets and those who can work cross-functionally.

The take-away:

Again, it’s important to understand that each art school looks for different criteria in its prospective students’ portfolios. Be sure you’re aware of each school’s requirements before you apply.

3. What impresses the staff in an admissions interview?

If the art school you are applying to requires that you go through an interview, you must — above everything else — exude confidence and passion. The admissions staff is looking to confirm that you’re not only able to communicate your creative process, but that you are serious about your future artistic career. Think of your interview as a unique advantage and an opportunity to show and tell your prospective school (with confidence!) you’re the one they want.

Keep these conversation points in mind while preparing for and during your interview:

• Express your motivation and enthusiasm for your work, as well as your artistic education

• Show devotion to your art, artistic vision, and creative process

• Share your openness to new ideas and concepts, critiques, and analysis

• Discuss the importance of your artistic education

• Demonstrate that you are capable of clearly articulating your work

The take-away: Be honest. Communicate your skills. Express who you are as an artist. The more truthful you are in your interview about your aspirations as an artist and your education, the better the admissions staff will know if you’re a good fit for their school.

Most importantly, keep in mind that…
The best art schools are looking for the best students — meaning the students who are the best fit for them. A school can be a fantastic fit for one student and an awful fit for another. When applying to schools, make sure to do your research, give yourself plenty of time to prepare, visit the campus, talk with current students, and contact a few educators in your area of interest. Being a good match is important and these are the best ways to determine the personality of the school and the programs offered.

HISTORY Offers Opportunities for Teacher & Student Innovations—Register Now

Mon, 10 May 2010 15:48:00 -0700

HISTORY has developed an extensive education outreach program connected to America The Story of Us, including curriculum guides, contests, and a live webcast. We are pleased to be working with the President’s Committee for the Arts and the Humanities and the Institute of Museum and Library Services on library and student contests. A contest for teachers to submit innovative lesson plans is also underway! Enter now—deadlines are May 14 for teachers and May 28 for students

HISTORY is also pleased to present a free live webcast with the Smithsonian’s National Museum of American History on Thursday, May 6th at 12 noon ET. The webcast will feature artifacts from the Smithsonian’s collection with background context provided by one of the museum’s curators. A panel of historians will discuss the role of invention and innovation in American history, a central theme in the series, America The Story of Us. The panelists will also answer questions from students via email, video tape, and a live studio audience.

Register for this free webcast today! Send us your name, school name and address, your email address, and the name of your cable provider to america@aetn.com. After sending us your info to register all you need to do is log on to view the webcast via streaming video on May 6th at 12pm/11c, at http://www.history.com/classroom

Questions? Email us at america@aetn.com

America The Story of Us is an exciting 12 part series premiering on HISTORY Sundays 9/8c through Memorial Day. Each episode focuses on the ways everyday Americans harnessed technology to advance human progress, from the early colonies through the moon landing. This epic series is enhanced with computer generated imagery features commentary from historians and notable personalities. America The Story of Us will be excellent for professional development and is appropriate for 6th grade students and up.

America The Story of Us

Sundays at 9/8c

How Volunteering Can Boost Your Creative Career

Tai Goodwin | CAREEREALISM.com — Mon, 19 Apr 2010 10:17:00 -0700

Income…$0. Value…Priceless.

It’s always a good thing to give back. Whether it is doing hands on service with a group like Habitat for Humanity, or assisting in the back office of a local non-profit, there are benefits beyond money that come from volunteering. Apart from just the positive feeling of sowing good actions into a cause you believe in and the impact on the lives of the recipients, volunteering can also help your career. Here are six ways volunteering can help your creative career:

1. It can fuel your passion. If your current job is not your ideal work, volunteering at something you enjoy is an alternative source of the passion you can’t get from your job right now.

2. You can practice new skills. No opportunity in your current job to stretch or learn something new? Find a volunteer opportunity that allows you to explore new roles and skills you’d like to develop. You can add this experience to your resume.

3. Volunteer your way into a potential job. Maybe you don’t have the experience to earn the paid position yet. Signing on as a volunteer gives you a chance to learn the organization, build relationships there, and show you have what it takes to do job.

4. Volunteering is an opportunity to expand your network. Not only will you meet people who support the same cause, you will find people that have personal and professional connections that can help you – especially if you are looking for a job.

5. Exposure to new ways of doing things. Seeing how another organization runs things, and being exposed to different ways of managing, brainstorming, solving problems, can provide a fresh way to look at the challenges you face in your paid position.

6. You can use it as a team building experience. This one goes beyond just you. Do you lead or work with a team? Finding a group volunteering opportunity can be a low-cost way to do good and re-establish positive connections with your team.

Looking for volunteer opportunities? Here’s a few links to jump-start your search:

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Idealist.org
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1-800-Volunteer.org
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Network for Good
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Volunteer Match
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Volunteer.gov: Powered by Network for Good has additional volunteering info on main site
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Global Volunteer Network: Volunteer abroad
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BoardNet: Serve on a non-profit board

Tai Goodwin, “The Career Makeover Coach”, is a life and career coach who works with professionals who need a professional reinvention. She is the Career Coach Examiner for St. Paul, MN and host of Career Makeover Strategies on TalkShoe Radio. You can find more articles tips and resources on her blog: www.careermakeovercoach.com.

This article was originally posted on
CAREEREALISM.com

The Benefits of Teaching TeachDesign Early

Rob Stokes — Fri, 16 Apr 2010 12:05:00 -0700

A group of Austin designers is helping students at a local high school recreate their campus.

Designers, through training and experience, develop a different lens through which to see the world. They move through spaces, environments, and systems, making observations and developing insights about what works well and what doesn’t. They then use those observations and insights to create innovative solutions for everyday problems. If design is the crossroads of beauty and purpose, design thinking is the intersection of creative and analytical thinking.

But when do we learn how to think like a designer?

In today’s world of standardized tests and performance-based educational funding, students are not evaluated on the way they approach a problem, but whether or not they come up with the right answer.

What happens when there are many right answers, as is often the case with non-linear design solutions? When can we start teaching students how to creatively evaluate their ideas?

Design education typically begins at the college level, but if we wait until then to teach design thinking we are missing critical points in the growth of young minds, whose ability to think creatively is boundless. Teaching high school students to think like designers would help shape the way they look at the world around them and positively affect their future endeavors.

Inspired by these notions, a team of designers from the Austin studio of frog design got together and started an initiative called “TeachDesign.” The objective of this initiative is to expose high school students to design methodologies through immersive, real-world projects that have a lasting positive impact on the participating students, school, and community.

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The team reached out to several Austin area schools, and was greatly assisted by an Austin organization called the Digital Media Council. The DMC specifically helps to connect educators and community leaders within the creative technology and design industries of Central Texas. They shared that McCallum High School, a public high school in Austin, Texas, would soon break ground on a new theater for their fine arts department. McCallum engaged architecture firm SHW Group to design the new space. The theater project will provide the students a new place to rehearse and perform, affecting the layout, flow, and dynamics of the entire school grounds. TeachDesign partnered with SHW Group to help a group of volunteer students imagine the uses for this new public space and use design process to create ideas could that could foster communication, house creativity, leverage green elements, and make McCallum a more enjoyable place for students, faculty, and visitors. The students were introduced to design process and developed ideas to create a common space that was useful, interactive, and inspiring. After a semester of weekly after-school classes, these ideas and concepts are gaining traction and should be appearing on the McCallum campus before long.

What is most rewarding is progress the students made in their critical thinking and ability to solve real world design problems. The students have shared their enjoyment not only of the learning process, but the ability to express all of their ideas in an open forum. The TeachDesign team of frog designers and SHW Group architects collaborated with the students, helping them to refine their ideas and develop a point of view to present to their audience in a powerful and persuasive way.

This year will bring design refinement, a site plan, and the start of construction. The students will have the opportunity to more fully understand the challenges of materials, cost, and real world requirements involved in fulfilling their designs. Most importantly, it will bring more learning and collaboration. The senior students won’t be around at McCallum after the summer of 2010, but their designs—their impact and evidence of their time and creativity—will remain.

Rob Stokes is a Senior Interaction Designer in frog design’s Austin studio.

A note of thanks to everyone who helped write this post: Meriah Garrett, Christopher Robbins, Ashton Peters, and Patrick Marsh (all part of frog Austin's TeachDesign team).

Finding the Right Design Gig

Mike Lenhart / ArtBistro — Thu, 03 Dec 2009 15:18:00 -0800

Most of us, especially as freelance designers, come up with the challenge what types of gigs to go after. There are times when the jobs come rolling in and we don't really have time to differentiate between them. That can be a really good thing. But, there are also times when the jobs aren't rolling in so much and we have to decide what to do about it, and most importantly, what projects to go after. It can be a challenge, but there are many ways to go about it.
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The Small Stuff

Sometimes we can go after the smaller design jobs, such as business cards or letterheads. These types of gigs are usually available, but the clients need to know that you can do it. Many folks don't know that there is an art to designing the correct look-and-feel of a professional business card and usually they're pretty impressed when we do it. We've all seen really bad ones.

Depending on the complexity of the card or letterhead, a nominal fee can be charged. Just don't get involved in the printing, unless you want to add that cost to your fee. It's better to help the client find a good printer and shoot the files over to the chosen vendor.

There are some good online printers that do a really good job and don't charge as much as a professional printer. Business cards and letterheads are usually one-off jobs, but they can be very helpful for some extra cash in a hurry. You can meet potential clients for this gig at all those networking events you go to.

Show Me the Report

Many of us like to design larger documents, such as annual reports or event programs. They can be really fun, but are very important to do correctly and professionally. An annual report is a big deal to companies since the data inside shows how they did in the past year and want to appease the shareholders, if they have any. It's a hard business to get into, since it's hard to reach the companies at times and there are a lot of people out there clamoring to get the jobs. They pay pretty well, and if you do a good job, you'll get more out of it.

Event programs are a little less time-consuming and can yield a lot more to your creative nature. Non-profits and other institutions have annual events or fundraisers, for example, and you can get a fun job out of them. You can even get a good gig on some poster design for events. Just be careful, though. Try not to do it for free. You can find these gigs by looking through old annual reports you find or event programs you get. Just contact the company or organization and ask about it.

What About the Freebies?

OK, there are times when there will be a pro bono job thrown your way. A lot of non-profit organizations like this and you may find yourself in a position to accept it. Of course, there are also those times when your friend or family member would like something designed and, of course, they don't expect to pay for it. That's OK. Think about the portfolio and what a good job can add to it. Just be careful, though. You don't want to find yourself with the reputation of always doing something for free. It may be a good idea to limit your pro bono jobs to 1 or 2 per year.

Also, let the client know that this is being done for no fee and that you hope to get a paying gig from them sooner or later. It's good to ask and you deserve to ask. If not a freebie, sometimes you can do a job for a lower, or special, rate. That's fine, just keep track of what you do and always track your hours. It's good to know how long these discounted or free projects take.

Finding the right gig can take time and can be frustrating. Just dig and go for it. You may have to make some phone calls or ask other contacts you have for referrals, but make the time to do it. It's always good to practice up on all of your design skills in busy times or slow. If you have to bite the bullet and take a job that is not the best for you, just do it. Give it your best work and things will pay off in the future.

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Tips for Design Grads During Hard Times

Mike Lenhart — Thu, 19 Nov 2009 08:35:00 -0800

How Much Education?

You've graduated, been out of school for awhile, and have been working out in the world. Things seem to be going pretty well. Suddenly, some things have happened in the workplace, and the world, and you feel that something is missing. What is it? Do you feel that you still know all of the things you learned in school? Are there a few things you'd still like to know? Well, maybe it's time to think about getting some additional education.

What to Study?

Sometimes, there are new applications and tricks that are included in the software upgrades you get from programs such as Adobe Illustrator or InDesign. Do you know about these? Do you know how to use them to make your job a little easier? Well, maybe you can take a seminar or workshop at your local Adobe facility or through a professional organization such as the AIGA. Many of them are free. You can even take tutorials online through the companies' Web sites. It's a good idea and you may learn something about the programs you use everyday that you never even knew existed.

Do you want to learn how to design and produce Web sites or 3-dimensional animations? Many cities offer classes in these technologies at a local community college or through a technology school. Usually inexpensive, these classes are quick and easy and you can usually learn something in a short amount of time.

What about something completely different? Do you want to learn how to run a design business or how to get into the business side of design? The same options apply here. You can attend a local school, attend a workshop through a graphic design professional organization, or attend some business seminars through your local chamber of commerce. You don't always have to pay for these classes and sometimes they can be less expensive than through a large university.

When the Worst Happens

OK, you lost your job. You're among one of the many that have been laid-off in this current economy. Maybe your freelance business has faced a downturn and it doesn't look like it's going to rebound anytime soon. Maybe you're also kind of burned-out and this latest round of trouble hasn't helped your psyche. What about thinking about going back to school? Do you have an MFA yet? Have you thought about it? In this scenario, it may be a good time to do so.

Why not taking a look into the school you've already attended? Does the institution offer a Master's program? You know you can do it and have studied hard in the past. Why not think about it again? There are some things you need to know, however.

You're going to have to get a good portfolio together to send with your application. Most schools require 12-18 really good examples of what you've done and how it will apply for your graduate thesis. You're also going to have to get up to three letters of reference from past instructors or those you've worked for. Make sure you get references from folks that can give you a good, genuine, and positive recommendation. You're also going to have to have a current resume and a letter of purpose as to why you want to attend graduate school and what you want to do with your degree. Do you want to teach? Do you want to develop your graphic design skills into something that can benefit others? It's a good think to contemplate and it may even get you excited for this next step. Make sure you meet the application deadlines and get your required documents into the school on time - or early. Show your initiative. This next step could be a real boost.

If you already have an MFA you have a lot of options as well. Use your skills, knowledge, and degree to move forward. If you want to try something different, why not go for an MBA? There are a lot of business options out there and the design business could sure use some folks that know how to run, and keep, a design business going.

Education is always a good thing and a person can never get enough. Whether you take a class or two or go all-out for a new degree, you'll be in the driver's seat for more opportunities.