Related Research already done

   While salary is simply one measure of my research, it is so because it is, literally, the “coin of the realm”. With this in mind (and if you are a regular reader of the blog you may recall this from just a week or so ago) I dipped into, collected and synthesized what the department of labor had to say about Illustrators and Graphic Designers.
   To have come across this nugget today seemed a treasure trove. For a decade now the American Institute of Graphic Arts (AIGA) has been doing the survey annually since 2000 on its own. In 2009 they aligned with Aquent. Aquent LLC is a global talent agency headquartered in Boston, Massachusetts. Since the alignment with Aquent the survey has changed, it should be noted; however, seemingly for the better. Somewhere across the last decade an association with Adobe Corporation was established. Though the latter seems a background association.
   Anyway, if you’re a professional in the field you likely want to be aware of the download-able pdf (now through http://www.issuu.com/).

   Maybe money is the easiest thing to measure? Is it the main thing we’re concerned with? Maybe I really will have to await the results of my own survey to flesh out all the other concerns. Money was not my priority; just one measure. However, the graphic shown is from this current edition and is perhaps the most abstract graph. It seeks to make visual the confidence levels from across this last decade, the twenty hundreds. As an Artie Shaw character from the Laugh In days used to say, peeking out from behind some shrubbery, “very interesting!”. (remember: click to enlarge).

2010 - http://www.aiga.org/content.cfm/salary-survey

now you see it…

   Once upon a time, in a land seemingly long, long ago, it was the dawn of the Obama Administration and, post the euphoric hangover (if you were so inclined) it was dawning on America that we were financially screwed. Indeed, the creative’s on Wall & Broad Streets had so eviscerated us that the whole world was or would soon also be ill.
   And a blogger in Burbank, an animator for more than two decades in the Accounting industry (of all things) cites the financial devastation through a post (Imagi - Let's be realistic. Wednesday, January 28, 2009 http://cganimation.blogspot.com/search/label/business) about the Hong Kong based animation company Imagi (of Teenage Mutant Ninja Turtles fame). It appears that the main project Imagi was working on and / or the company as a whole was about to sink.
   Well, the project that missed out on funding, and then bridge funding as well, turned out to be Astro Boy. Released October, 23 2009, with a sizable stable of name recognition voices and Academy Award nominations in storyboarding and writing, it nonetheless lost about $40. million.

   Why? It’s widely speculated that the marketing was virtually non-existent coupled with questionable quality of management. The company is morphing. If they ever animate again they’ll almost assuredly farm the work into mainland China, instead of paying the higher Hong Kong wage. Too many critical errors at too critical a time.

Sustainability, Jedlicka & one College of Art and Design’s Sustainable Design Program

   When I saw in the site search results at the Applied Arts web site the following: “... Speaking of students, if you desire a career in the ad business, ..... Some schools focus on the business side of advertising and some focus ...” I thought I’d be all up in dat. In reality, it’s still a useful article about green design; with a particular emphasis on the business interactivities and, seemingly, meant for packaging (and maybe even interior design).
   Ms. Jedlicka is faculty with Minneapolis College of Art and Design’s Sustainable Design Program; so, one may assume she knows of which she speaks. The most exciting thing for me in all this is yet another reach of business into the design schools in a healthy, functional way.
   VERY exciting. I can only hope (and I actually trust) this to be a movement that has legs; not a fad.

Sustainability in Action

Ten hot tips, and one really cool one

by Wendy Jedlicka

Jul 20, 2010

http://www.appliedartsmag.com/opinions.php

The Abstract and Introduction [v01]

The Abstract

   The problem is that professionals in the Applied Arts, Illustrators and Graphic Designers, most closely allied with the Marketing industry, may lack full training in marketing themselves.

   To prove or disprove such a supposition may employ a mixed methodology, though at this time, there is only a quantifiable survey within the design.

The Introduction

   The hypothesis is that to the degree to which Illustrators / Graphic designers have been (or may yet be) exposed to Business topics in their training has a direct corollary to the degree to which they are able to thrive in their chosen field.

   The purpose of pursuing such an inquiry is to determine the validity of the hypothesis; along with whatever associated implications may be gleaned. As of this writing, the guiding research questions appear across a survey.
   The survey will be limited only by unforeseen circumstance. Databases have already begun in preparation, as has networking with current practitioners of said arts. Research is also under way to determine which professional publications may carry the survey.
   The history for training, in these arts in particular, has often found the focus on the content of the particular expression; classically lacking in the context for how such training may be applied, post academic experience. However, also true is that in recent years this has begun to change. It is worthy of definitively proving through research if exposure to such business coursework is found to be truly useful, or not, for such practitioners.

Business of Illustration

   You might think I’m going out of my way to simply find material that supports my hypothesis, but that’s actually not true at all. I am looking for material that echoes my hypothesis, one way or the other, and yet these considerations keep showing up consistently.
   The Canadian Illustrator Leif Peng posted (http://todaysinspiration.blogspot.com/2006/01/business-of-illustration.html) a few years back that "The business of illustration is literally nonexistent today;” lamenting that there seems no clear path for the next generation.
   Of the five comments that followed the blog post none offered any definitive alternative. Of the four individuals I was able to track back to actual work, all four (as well as our blogger) are impressive illustrators in their own right.
   Paulussen of the Netherlands was conciliatory. Milot, a fellow Canadian, offered an equally stark perspective acknowledging technology: “..we've all seen the damage our industry has taken…”. Grills, yet another Canadian, states there is...: “no real guidance from anybody because I don't think anybody knows what to do”. However, Heigh, from Philadelphia, referred to “…being inventive and creating our own opportunities”. This last, while still not a clear path, is likely the best path. Moreover, it seems most consistent with the cutting edge business technologies that have been published over the last five years.
   For a treat, please explore the talent that contributed to this poignant conversation:

Leif Peng - http://www.leifpeng.com/

Wout Paulussen - http://home.planet.nl/~paulu057/

René Milot - http://www.morgangaynin.com/milot/

Michael Grills - http://www.michaelgrills.com/

Stephen Heigh - http://www.stephenheigh.com/

Art School Confidential

   From Daniel Clowes’ blog Artist of the angry, subversive masses (http://fuckyeahdanielclowes.tumblr.com/), his June 30, 2010 input (http://fuckyeahdanielclowes.tumblr.com/post/754590253/art-school-confidential) was the attached image. While I can’t use this as empirical research for dissertation, it’s interesting to note that my hypothesis is, indeed, part of our cultural conversation.

   Perhaps I should say now that I have or currently work for the International Academy of Design & Technology and the Art Institute (both at Tampa, FL). It is actually how impressed I was with these institutions that inspires this pursuit. When I was getting my undergrad degree in Illustration, UArts (Philadelphia, PA) was considered the best commercial art university worldwide. But in the 1970’s and ‘80’s our “gen ed’s” (general education classes) were not specifically designed to support our majors. Indeed, I do not recall a business-type class being offered at all. And we did not have a career placement department.
   Things may be changing. I guess I’ll find out how much; and, moreover, whether it makes a difference.

CreativePublic.com

   In related research I came across this web site today. Of itself it doesn’t make my case that more exposure to business coursework would be useful to the future success of Illustrators/Graphic Design majors. However, it is a veritable course in its own right; leading to the conjecture that there does remain such a need.
   As I’m looking to specialize in Marketing, I zeroed in on those articles in particular, and found no less than 40 well thought out articles covering virtually every nook and cranny of the topic area.

   The site is for Graphic and Web Designers; though much of the material is immediately or otherwise easily translated for other Applied Arts. It offers resources for creative professionals, forms, contracts, pricing ... for collective promotion, education (tutorials; video and otherwise), ethical business practice and more. While I found much of the site was free, there is a charge of $19.95 to join.

www.creativepublic.com/

HOW’s Design Salary Surveys

   I’d like to find, and may yet, the statistical behind the scenes raw numbers; but as it stands what gets published (near as I can tell) is an analytic narrative. The last time they published was ’08 (2008 Design Salary Report October 13, 2008 - by Bryn Mooth, http://www.howdesign.com/article/08SalaryReport/.) So, we’re just shy from the latest.
   The thing about these e-zines is it’s hard to keep up with what exists! Looks like I’ll be re-visiting HOW more often!
   Also, for all pertinent links: http://www.howdesign.com/googlesearch/?SearchString=Design+Salary+Survey

DOL stats - my second and third foundational sets

   I've been in pain all week, and just finished grading over a dozen business plans, so I'm not exactly effervecent right now. But do allow the stats to entertain.
   Per my previous threat: the Graphic Design set ... and for bonus, an overlapping set! (okay - I feel a nap coming on - - - SeeYa!). Remember: click to make larger.

of depth and ateliers

   There’s not enough dialog in our culture that punctuates this posture, and I adore it. In Malcolm Gladwell’s What the Dog Saw we find, as a consistent pattern, “the conversation underlying the conversation.” This perspective is senior to simply uncovering a back story. This hyper-conscious completeness is a reveal to an understanding that is uncommon and extraordinary.
   Gladwell pulls this off with a balance of sensitivity and passion while maintaining a strong impartial objectivity (no small feat of itself). It leaves the reader with a sense that the narrative quite likely couldn’t have been conveyed any better. Yet moreover, the power of this depth highlights life lessons of context, risk, focus and other disparate qualities across the contemporary universe. After digesting Gladwell’s Outliers, a “Louvre”, it was not a letdown to be secreted off to a series of “ateliers”.

DOL stats (my first stats)

   Okay, this is a bit holistic. Of itself it only speaks to its own, and there's not a ton that can be extrapolated (except the old saw about starving artists - it seems abundantly true, you're not gonna light the world on fire as an Illustrator). This information was culled from the US Department of Labor (http://www.dol.gov/) using the keyword "Illustrators".
   These stats specifically are for Fine Artists, Including Painters, Sculptors, and Illustrators; the only catagory for Illustrators. I'll seek to work up Graphic Designers seperately soon. 2010 won't be ready until at least November, and I could not locate prior to 2000.
(p.s.: click on the image to make it bigger)

Outliers

   I'm way late on today's post...I've been ill all day.
   But I did want to acknowledge M Gladwell's work, Outliers. One of the most powerful works I've read in years, I'd recommend it openly - everyone should read it. It's downright haunting! It tells secrets about our universe that are true in easily digested nuggets and otherwise left unknown!

   When I reawake, later today, I hope to post something about labor statistics. So, this was probably the juicier post : )

sketch - survey version 01

in process - http://www.surveymonkey.com/s/JQH2XV7

   This survey takes an average of _______ minutes to accomplish. We truly appreciate your participation. This information is for research and will remain completely anonymous. It is comprised of nine questions.

My work in the applied arts is more:
• graphic than illustrative
• illustrative than graphic

My area of my expression is best typified as:
• Creative Director
• Art Director
• Illustrator / Graphic Designer (classic)
• A niche (CAD (Architectural, Engineering), Marine, Medical, Scientific, Children's Books, Catalog work, etc).
• Branding (packaging, logo work, etc.)
• In-house (an ad firm or art house)
• In-house (other than an art house or ad firm; i.e., a magazine, a corporation, etc.)
• Educator
• Art Therapist
• spectra comp color proofer
• sign maker
• other

I had training (please choose the one best answer – if “Formal” please note highest degree achieved in your applied art):
• Self taught
• Informal - an apprenticeship
• Informal - I come from a family of artists
• Informal - mentor / tutor
• Informal - coursework (exclusively by remote) by postal service, television or online
• Formal Academic – Certification
• Formal Academic – Associates
• Formal Academic – Bachelors
• Formal Academic - Masters
• Formal Academic - Doctorate

During this training I was also exposed to materials, literature, exercises, projects, etc. that grew my understanding of the larger business that I would be operating within. Within such a learning objective:
I learned from or was aided by (please choose all that apply):
actual business classes - less than three
actual business classes - more than three / less than seven
actual business classes - more than seven
actual business software - less than three
actual business software - more than three / less than seven
actual business software - more than seven
exposure to working studios, firms, agencies, etc. - less than three
exposure to working studios, firms, agencies, etc. - more than three / less than seven
exposure to working studios, firms, agencies, etc. - more than seven
professionals from the field as guest speakers - less than three
professionals from the field as guest speakers - more than three / less than seven
professionals from the field as guest speakers - more than seven
the school has a career placement department - this affiliation only aids me as I graduate
the school has a career placement department - this affiliation lasts my lifetime
I was exposed to “hard” professionalism skills - resume (or CV) writing, cover letter writing
I was exposed to “hard” professionalism skills - how to and/or the importance of network
I was exposed to “hard” professionalism skills - interviewing skills exterior (researching the specific entity, timing arrival, how to dress, what to bring, how to behave, etc.)
I was exposed to “hard” professionalism skills - interviewing skills interior (previous practice, creating one’s own questions, reviewing how to answer certain questions, what to be on the lookout for, etc.)
I was exposed to “hard” professionalism skills - how to create an e-folio
I was exposed to “soft” professionalism skills - taking an “organizations temperature”
I was exposed to “soft” professionalism skills - knowing when to engage various behaviors
I was exposed to “soft” professionalism skills - knowing who to say what to, to be heard
I was exposed to “soft” professionalism skills - gauging the degree to which, if any, one presents oneself as different
I was exposed to such practical knowledge as - being able to self identify and address one’s own issues
I was exposed to such practical knowledge as - being able to self assess one’s own progress

With regards to time (10,000 hours is approximately three hours a day, every day, for ten years)
I have, through training, on my own or otherwise, logged about - 1,000 – 4,000 hours of effort into perfecting my art
I have, through training, on my own or otherwise, logged about - 4,001 – 8,000 hours of effort into perfecting my art
I have, through training, on my own or otherwise, logged about - 8,001 – 10,000 hours of effort into perfecting my art
I have, through training, on my own or otherwise, logged about - more than 10,000 hours of effort perfecting my art
I have been working in my field - Under one year
I have been working in my field - One to five years
I have been working in my field - Five to ten years
I have been working in my field - More than ten years

My total employment experience spans - Under one year
My total employment experience spans - One to five years
My total employment experience spans - Five to ten years
My total employment experience spans - More than ten years

With regards earnings
I make - zero to 1/3 of my income through my chosen field
I make - 1/3 to 2/3 of my income through my chosen field
I make - 2/3 to all of my income through my chosen field
I make - Under 11,000 per year
I make - 11-45,000 per year
I make - 45-100,000 per year
I make - Over 100,000 per year
I am the breadwinner for a family numbering -
I am the breadwinner for a family numbering - 1 (just me)
I am the breadwinner for a family numbering - 2
I am the breadwinner for a family numbering - 3
I am the breadwinner for a family numbering - 4
I am the breadwinner for a family numbering - 5
I am the breadwinner for a family numbering - More than 5
I create this income - by myself
I create this income - with one other household member
I create this income - as part of more than two household members

I live in:
a US location other than the continental 48 states
California CA
the Northwest WA, OR
the Southwest NV, AZ, NM
the Mountain Midwest UT, ID, MT, WY, CO
the Plains ND, SD, NE, OK, MO, IA, MN
the Central North WI, MI, IL, IN, OH
the Central South AR, OK, TX, LA
the Central Southeast KY, TN, MS, AL
the Southeast WV, VA, NC, SC, GA, FL
the Mid Atlantic NY, PA, NJ, DE, MD, DC
New England VT, NH, ME, MA, RI, CT

regarding Marketing
• I consider myself part of the Marketing Industry
• I do not consider myself part of the Marketing Industry
• I feel my competence to market myself is (a five being best / one being not at all): ___

dissertation theory v03 and defining terms

   The degree to which Illustrators / Graphic designers include Business considerations in their training has a direct corollary to the degree to which they are able to thrive in their chosen field.

   I was looking to be less adversarial in the tone, as well as strike more balance and, if possible, be yet still more specific. This seems to accomplish that the best so far.
   So I'm (nearly) on to developing possible surveys when I notice I can no longer keep from paper what I have in my head. Googling was of modest help, I had to create the document. And so this is a first draft to define terms just on that which constitutes and Illustrator / Graphic designer.
   While comments are always encouraged, I tend to say as much when I'm running a highlighter over the notion. This is one of those times.

Positions held by Illustrators / Graphic Designers

   This meld of what is commonly referred to as two distinct professions is not without purpose; and one could justifiably include Cartooning here. While Illustrators may tend to be more directed in their expression in alignment with painting and drawing and Graphic Artists tend to focus more on the abstractions of the visual elements themselves (shape, shade, composition, color, etc.), for purposes of occupation they blur together. Since the 1980’s the inclusion of digital expressions is presumed.
   Sometimes these positions work with other applied artists (animators, video game designers, etc.); though sometimes they’re called upon to do these jobs as well.

category / occupations / brief description of the position

manual versions
spectra comp color proofer Someone who classically works in a “production house” mixing liquid color of various media to match exactly once silkscreened on a given surface (which also varies) once dried.
sign maker A wide variety of configurations, from being a solo paint on window glass artisan to working with a shop that has to address such issues as wind shear and other architectural considerations in a construction.
professional versions
Creative Director Classically a principal in an ad firm who has the responsibility to co-ordinate the right blend of art director and copy writer
Art Director It is not unusual for an art director to include him or herself within their own stable of talent. A “look” is developed. An Art Director is responsible for marrying the right artist with the copy person to address the clients need best.
Illustrator / Graphic Designer The classic position is a freelance position, where one takes in assignments and, through various stages (thumbnails, mock ups / sketches, etc.) develops toward a finished work.
CAD (Architectural, Engineering), Marine, Medical, Scientific, Children's Books, Catalog work Specific, niche versions of the straightforward Illustrator. These occupations were developed along a specific path for a variety of reasons; specificity of understanding (medical), the wealth of those looking to participate (children’s book), etc. Catalog work might involve drawing twenty different watches, for example.
Branding Centered around logo work, this expands to include the related ephemera: stationary, envelopes, letterhead, etc.
In-house (an ad firm or art house) Work varies depending on clients from televised commercial work to menu design (and subsequent interior design) … really, anything.
In-house (other than an art house or ad firm; i.e., a magazine, a corporation, etc.) Depending on the “house” (business) this could mean anything from working as an interior ad agency, to working with an ad firm, to simply developing internally. Its expressions are just as broad; e.g., internally may be restricted to internal design work of charts and graphs, memos, etc. However, this may be as far reaching as creating the skin look for a company motor pool, billboards, television video and so on.
Educator All manner of instruction; pre-K, K-12, secondary, et. al.
Art Therapist Married with the proper background in psychology; an aspect of psychology.
exceptions
Fashion Fashion Illustration is usually done by Fashion Designers (for which the design of the fashion is the primary expression)

1st lit map attempt

   Appears much is tracking properly; but I'll have to be vigilant about refining. Here's the 1st lit review map.

Purpose statement

   The purpose of the inquiry is to uncover the veracity of the theory; the irony that a key occupation in the marketing equation may, upon completion of formal academic study to some varying significant degree, leave individuals unprepared to market and thrive themselves.

   By analysis, the methodology of which may be mixed, an understanding seeks to develop and reveal what may or may not be lacking in this larger equation.

Student forever!

   What a celebration life is when … and, it turns out, many folks tag the rest of that sentence in their own customized way; as well they ought. Having just finished Daniel Pink’s Drive and now more than halfway through Malcolm Gladwell’s Outliers (what kismet to devour these paired back to back!) I’m reviewing comprehensively what motivates and what best creates success. This finds me filling in the rest of that sentence with: it’s all you want to do is devour and extend whatever it is that excites you.
   Good thing, too; since the world (as Friedman states) is now flat. It’s no longer a paradigm for our country to be a choice between manufacturing and service … and all we have left is service. Our paradigm is now knowledge and service. Are we shy? Why does there seem so rarely conversation that we’re in a knowledge economy?
   Anyway, Pink’s dualism of algorithmic (left brain) and heuristic (right brain) captivated me; as did Gladwell’s 10K+ hours across 10+ years. But the dynamic that struck me most was each one had a trilogy. For Pink it was purpose, mastery and autonomy. For Gladwell it was effort/reward, complexity … and autonomy!
   I see Gladwell’s effort/reward trumped by Pink’s sense of purpose; both swimming, as it were, in similar water (but the former is from the industrial revolutions' languaging). Likewise with complexity and mastery. So with only somewhat differing language (they both use autonomy specifically) both construct what Gladwell refers to as “meaningfulness”.
   And what does that do? Opens up the timely opportunity in this newly knowledge based society to create whatever you wish with some real promise of being able to do well with it if one is willing to be that subjects' student hereafter. Happily, I can live with that (I began to years ago!).

dissertation theory

   Dear reader, please excuse my excessive tangent this week on this particular topic. I presume a resumption of the larger thread soon. If you enjoy this different flavor of the same topic matter, stay tuned … otherwise, you may want to peek back in a week. I have a thought tomorrow might find a little more of this.
   I do want to thank Elizabeth Whelan for her timely kindness.
   Here’s the latest incarnation; with theory, the beginnings of a problem statement, etc.

theory:
   The majority of training / schooling for commercial artists (Illustrators / Graphic Designers – those most closely aligned with the industry of marketing itself) leaves them feeling unprepared to create a living for themselves (market themselves) in their chosen field.
problem statement: – where was the breakdown?
- in the formal, academic training / preparation?
- with the individuals personal lack in skill set, passion, commitment?
- with the larger culture (if the secondary education is consistent in its lack of meaningful support, might one then not conjecture that the larger culture simply does not have the established conversation to acknowledge the importance of such)?
Be aware:
There may be a moving component of how education has shifted over the years:
• For profit vs. not for profit; and the “franchised school” phenomena
• The establishing of the online dynamic
variables (for metrics):
Connectivity to the Business paradigm
Timelines (a particular timelines)
Mastery [Gladwell/Outliers]
Professionalism

data collection: [headings] Variable / Consideration - - - How (to collect data) - - - Who (to collect data from)

---Connectivity to the Business paradigm: Differing learning institutions and their offerings (business / no business classes, exposure to working studios, firms, agencies, etc. Professionals from the field as guest speakers, whether or not the school has a career placement department, etc.)

Create a survey of these components and e-mail key individuals at all the secondary institutions of higher learning. There is a database of (all?) the art schools already developed that needs to be reviewed.
I may have to re-research for specific individuals to e-mail to directly.

Career services departments, department heads, deans.


(the following variables necessitate communicating directly with the Illustrators / Graphic Designers themselves) This may prove most difficult. Might I get co-operation from enough institutions? Can I network online somehow through social media? I would need a pool of respondents large and random enough to establish the work credibly. Once that pool is established the rest is a matter of one survey.


--- Connectivity to the Business paradigm: Differing learning institutions and their offerings (business / no business classes, exposure to working studios, firms, agencies, etc. Professionals from the field as guest speakers, whether or not the school has a career placement department, etc.) .

Repeat survey questions, now asking the artists, current or former students, the same questions asked of their institutions. Add a Likert scale as to how they found each of these as value.


the pool of Illustrators / Graphic Designers

--- Timelines – working within their chosen field one year later, five years later, ten years later, twenty years later.

Same survey: ask the timeliness question in detail; but map in key increments. 

the pool of Illustrators / Graphic Designers

--- Mastery [Gladwell/Outliers] – Has the student logged enough hours of practice executing (before and during) their scholastic experience to warrant/merit being integrated into a profession?
 
Same survey: ask the mastery question in detail (4K/8K/10K hours, and how many years practice); … map in key increments.


the pool of Illustrators / Graphic Designers

--- Professionalism – Before or during their scholastic experience have sufficient soft skills and Practical Knowledge been conveyed? (Taking an organizations temperature, so one knows who to say what to, when. Gauging the degree to which, if any, one presents oneself as different. Being able to self identify and address one’s own issues. Being able to self assess one’s own progress.).

Same survey. Add a Likert scale as to how they found each of these as value:
- ask the soft skills question by topic (Yes/No).
- ask the practical knowledge question by topic (Yes/No).
e.g.; In any manner do you feel your training / schooling prepared you for professional communication for your career. Yes / No …

the pool of Illustrators / Graphic Designers

potential Dissertation: The Marketing Plan of Illustrators and Graphic Designers

   I have drilled down my dissertation focus. I’ll spare you the process, and it might yet shift again. The overarching consideration is that it become more specific. I still have some tightening to go, but I think I’m headed in the right direction (so stay tuned). Meanwhile, close as I can, an article a day or there about seems malleable. So, for now, the dissertation is this blog posts’ title.
   In an initial foray to begin exposing myself to this specific material I happened upon an online article: Developing Your Marketing Focus, by Elizabeth R. Whelan.
   Right out of the gate she acknowledges trending all that produces income and distilling the numbers. She then affords some nice questions to reassess the various focuses of the business. After such a reassessment, if a re-vamp is in order, she then suggests including “your team”.

   This is all valuable, academic information for an established firm or studio (yet nonetheless echoes what might be a model for the entrepreneurial practitioner). However, the calculation guides from the Missouri Business Development Program website for overhead, pricing and their percentages would prove valuable even for someone first starting out. The organic nature of re-assessment and trending is a useful admonition of effort to begin integrating. And the willingness to not be allergic to numbers is a welcome left brain activity, usually dropped out from right brain conversations.

   Apparently, Ms. Whelan is a sharp and altruistic sort. I thank her for insight. And if she reads this I want her to also know that I was moved to tears by her acumen; as an illustrator she’s a journeyman of the first caliber. I hope to scour her site further soon.

Elizabeth R. Whelan

http://www.elizabethwhelanillustrator.com/resources.htm

[the article] http://www.elizabethwhelanillustrator.com/resources/profit.html

studio@elizabethwhelanillustrator.com

508.693.6986

Martha's Vineyard, MA

How odd (and some great) stuff

   In an effort to consume something applied arts delicious I found the 2009/2010 American Web Design Awards, 2010 American Package Design Awards, 2009 American Graphic Design Awards and 2009 American In-house Design Awards(http://www.gdusa.com/winnersgallery2.php).
   Much of the featured work is, indeed, very good. But two things struck me as odd.
   The most important of the two, by far, is the site all this precious work is featured on – cluttered with competing advertizing. How ironic, right?
   I should end it there, but there was one other item. Among the 2009 APDA Award Winners (http://www.gdusa.com/contests/apda/08/winners/types/retail.php) there was a package design that is either really edgy of amazingly stupid (or maybe our culture is so over saturated it doesn’t matter and it just might be clever enough to get bought). Guess the flavor? wow.

potential Dissertation: An inquiry of the experience of Business for the Applied Arts

   It remains to be seen whether this dissertation topic will be accepted. I’m nearly at the halfway point of my coursework; so I wasn’t shocked to the core. Still, I was surprised yesterday when confronted with needing to gel what I was up to this week!

   This approximates a best effort to that end. I am adding something of two literature maps (note: no literature listed).

   FEEDBACK IS STRONGLY ENCOURAGED!!!

An inquiry of the experience of Business for the Applied Arts

• How the resulting experiences are, better or worse (compared to not paired).

• What resulting experiences are more or less efficient / effective?

   - How are the resulting experiences more or less efficient / effective?

• How do the two cultures function when paired (versus not paired); differently, better/worse?

• Are there any benefits or detractors to approaching business experiences from these vocations?

• Who manages and/or is responsible for results, does that shift?

   - Are there shifts elsewhere; time management, autonomy, etc.

            Naturally, defining terms becomes important. This necessarily includes listing all that constitutes the business experience as well as all that is considered an applied art (see illustrations).

            Clicking on the images opens them up for actual reading.

Flow

   Two note worthies:
   The work of Csikszentmihalyi (pronounced like: chick zen’t me hi) is being brought to my attention through the Daniel Pink work Drive. I imagine I’ll post again about Drive, as I’m halfway through; a book on motivation that I highly recommend already. The what’s up with Csikszentmihalyi is that he has sought all his life to find a functional essence as to a better way for things to be. Eventually he studied “flow”. I called it the zone, it is called many things. That space where an athlete, artisan, artist, etc. is lost within the work itself. Csikszentmihalyi actually deconstructs this.
   Jenova Chen wrote his MFA thesis on this by way of creating a video game (what he does). Quoting from Jenova’s website: “With Flow the psychologist Mihaly Csikszentmihalyi names the feeling of complete and energized focus in an activity, with a high level of enjoyment and fulfillment. As Csikszentmihalyi sees it, the components of a Flow producing activity are:

• We are up to the activity.

• We are able to concentrate on the activity.

• The activity has clear goals.

• The activity has direct feedback.

• We feel that we control the activity.

• Our worries and concerns disappear.

• Our subjective experience of time is altered.

Not all of these components need to be present together for Flow to be experienced.”

   The online version of his video game, Flow, was downloaded 30 million times, he then created “That Game Company” on the success of that and then Sony offered this “unknown” a three game deal!

http://www.jenovachen.com/

http://intihuatani.usc.edu/cloud/flowing/

Night; its Edges & Accessories (Twilight, New Moon, Eclipse and Breaking Dawn)

   This blog post is a riff off of a Forbes article, of all things, on the phenomena that is the Twilight series. To Forbes’ credit the article does not gush, but reports forthrightly about all the money this franchise is raking in.
   What is phenomenal to me is that (what I call) female porn (the entire genre “romance novel”) has ripened this kind of storyline dynamic to a fair-thee-well … and yet, all of a sudden this?

   Let’s review: A never before published author, Stephenie Meyer, produces yet another narrative; aligned as hundreds of thousands have gone before (remind: the romance novel). Yet somehow the magic prosperity fairy bestows opportunity where it never had, for decades, before. Three unknown actors star. The films are all low budget.
   If one of my digital film students asked me what happened, candidly, I’d be at a loss for words. The business model is to take any of those disposable storylines, any wannabe actors and that anyone with a fledgling budget and some essential grounding in film could repeat? This is not to minimize any real writing, acting or cinematography skill on the part of the principals. I am simply questioning the larger picture: how did what happen all of a sudden become palatable and does that mean we can now create an assembly line for the backlog of written material and become mega-wealthy?
   I am happy at the halfway point the first two films alone produced $1.1 billion at the box office based on next to nothing. Happy prosperity to those who lucked out; being associated with all this. My point, beside questioning writing, acting and filming choices, is where is the investigative reporting on how this happened? Is this a trend or an aberration? And if it is a trend, what are the long term consequences for culture?
   If this is just teen/tween pabulum I confess my friends and I had Rocky Horror 35 years ago. But at least that was honest – even then everyone knew it wasn’t art; it was fun, disposable crap. If that’s all this is, I wonder if people know it.

Inside The 'Twilight' Empire

Dorothy Pomerantz, 06.28.10, 06:00 PM EDT

http://www.forbes.com/2010/06/22/twilight-kristen-stewart-robert-pattinson-business-entertainment-celeb-100-10-twilight.html?boxes=Homepagetopspecialreports

2010 Forbes.com LLC™ All Rights Reserved

Retrieved Friday, July 09, 2010

New Rupee Currency Symbol (still with baited breath)

   Ta da! (No? Not yet?)
   The rupee, India’s currency, has always been designated like all other currencies (with a couple letters, Rs in their case); while a few countries have made exceptional graphics: American Dollar ($), the Euro (€), British Pound (£) , Japanese Yen (¥), etc.
   A year ago the government offered up a contest, the final result was supposed to be today (from an original flood of 25,000 entries) … but, apparently, is not yet.
   Naturally, from a global business as well as a graphic design perspective this is historic. Think of all the keypads and keyboards that will be affected!
   I’ll share what I can, because given my luck, I’ll get busy and miss it (so be on the lookout, should be any day now!).
   The original shortlist had 45 (shown), the final five are also below.

   The five shortlisted entries are are from the following:

Correa-Mehtorta -Harvard University-trained architect
Hitesh Padamshali - JWT Advertising Agency
Shahrukh J Irani - Publicis Ambience Advertising Agency
D. Udaya Kumar - PhD scholar, IIT Mumbai
Shibin KK - Teacher, Government Higher Secondary School at Kerala

   The creator of the winning design will get a prize equivilant to 5,314.87.- US Dollars in, of course, rupees.

The final 5 rupee signs are as follows:

http://www.newsnium.com/2010/06/indian-rupees-symbol-competition.html

http://timesofindia.indiatimes.com/

http://www.hindustantimes.com/Rupee-to-get-a-new-symbol/Article1-562458.aspx
http://www.financialexpress.com/
http://economictimes.indiatimes.com/

http://www.fastcompany.com/1665880/india-currency-rupee-symbol-fonts-signs

Multicultural Marketing Mishaps

   Last Saturday I mentioned (in A random thought about Global Marketing & the Applied Arts) that “when I consider (Global Marketing & the Applied Arts) combined I tend to think of some of the magnificence brought to my attention over the years by Clio award winners and international commercial faux pas’”. And that “I’ll assuredly pick up on the latter in some other post”.
   Well, here it is. Now with two links to such collections I’m waiting for other cultures to get skewered besides the Asians. Also, I’d love to see the reverse of this; collections where English was mishandled (Engrish has an “Engrish from Other Countries” section, but its just a section).

   Having taught this material specifically (the larger topic, not just the funny stuff) I’m well aware of, and have collected quite a few examples of the alternatives I’ve mentioned. Still, it would be great to see more sites spring up to archive them as well.

   Naturally, the lesson is obvious: do your homework. If it’s not your native tongue a machine translation might float you with a pen pal, but if you’re spending real money marketing ask a native speaker.

   Meanwhile, enjoy a productive waste of time here:

http://engrish.com/

http://engrishfunny.com/

Nestlé is among vendors what WalMart is to supply chain

   It doesn’t miss a niche. There was a decade or so, recently passed, when global was becoming inextricable. Nestlé’s self styled “glocal” approach seems birthed of hard work to right that course early on, allowing localization development to be the face and expression of what remains one enormous company.
   With hundreds of factories, and the catering focus to culture established, it continues the innovation strategy of extending possibilities within its existing line.
   I would love to know that its sensitivity to going green echoes its sensitivity to its consumers. While that escapes the article, it is nonetheless no wonder Fortune's number one globally most admired company eleven of the last twelve years has been Nestlé.
   Notice how minimized a selling effort becomes when it’s “already sold” (when it is what folks want)? It pays huge to pay attention to what your customer wants.

Nestlé: Tailoring products to local niches

By Beth Kowitt, July 2, 2010: 10:18 AM ET –http://money.cnn.com/2010/07/02/news/companies/nestle_refreshes_brand.fortune/index.htm.

© 2010 Cable News Network

Milton Glaser; American Illustrator

   Okay, sometimes synergy takes over. The Art Institute is on spring break as I write this. I was in last Thursday hoping to reset a password when I was delighted by a few notable visuals. One, our lobby area looks like it grew up; it looks gorgeously graphic and consistent with how it should have looked all along. I won’t go further. I also noted that the next show in our gallery will be on Milton Glaser. After a fantastically muscular show on animation I saw this was not a fluke, but a trend of things to come. I stopped by Bridgette Finn’s desk (President Habblitz was busy) to convey my gratitude. Our new president is making a difference!

   But back to Milt Glaser ... I remember clearly how his name would be bandied about when I was in undergrad school. He was in the pantheon even then (in the ‘70/80s). Glaser was teaching at the School of Visual Arts and at Cooper Union in NY; I was at UArts in Philly.

   My all time favorite piece by Glaser is the Dylan poster (seen here). So it was notable to me when last year President Barack Obama awarded Glaser the National Medal of Arts (along with Bob Dylan!).

   Milt’s in his early eighties, so I wasn’t surprised he wasn’t making an appearance (at the AI gallery opening); but he’s tech savvy enough to have web clips online and it seems he might do a webcast. I wish I’d had the chance to pick his brain in person.

   The June 2010 Print cover features a work of his, with an interesting article (by Caitlin Dover - http://www.printmag.com/Article/Milton-Glaser-talks-about-his-role-models); his five influences. Upon review these seem more psychic moorings, to me, than overt influences. Read the article as well as this, Google about, and delight in the contrast of the two. Here’s my take on the five:

• Herbert Bayer was much aligned with the influences of world war graphics and surrealism.

• George Salter was clearly of the era (of the world wars) with a consistency most of somber mood.

• Lester Beall echoes post modern graphics in a fun way.

• Paul Rand is the quintessential logo guy who’s work otherwise is too basic not to be graphic and straightforward.

• Joseph Baum was a longtime client, a restaurateur and interior designer of renown, influencing fast food (Zum Zum’s) to finest dining (Manhattan’s Four Seasons). His work sometimes leaned toward the Zen, but usually had a simple, spare sixties flavor.
   Milt's own influence is undeniable (on mine, and a few generations either side of mine). His entry was in a different time, and he was smart enough to maintain his curiosity as well as surround himself with (or contexualize himself within) our cultures influences across more than a half century of twists and turns. Typified by good editting, the one word I'd use for Milt's work is honest.

http://miltonglaser.com/

http://en.wikipedia.org/wiki/Milton_Glaser

Happy 234! [some follow through]

   It’s only been a couple weeks, but I guess from time to time some follow through is in order. Seems a quarter of the posts have had further development, so some quick comments on these posts:
• the hope for the Kyrgyzstani roller coaster - Global, Business
• Defining Terms - Applied Arts, Business, Marketing
• Eighty Year Old Fonts - Entrepreneurship, graphic design (applied arts)
• the BCRS - Web Design, Marketing & Business - e-commerce, Marketing, web design (applied arts) and its related post the BCRS presentation is complete (ahhhh) - e-commerce, Gulf Beaches, Marketing, web design (applied arts)
   Yesterday Roza Otunbayeva was inaugurated as president of Kyrgyzstan, becoming the first female head of state in central Asia. I have since heard from a friend within Russia on this. Honoring our own long held détente he resisted taking position, and I was warmed that he, too, was hoping for the best for the people of the region. No surprise, and always a nice confirmation. Still, I imagine there is more to come.
   I trumped my own definition for Applied Arts the other day, acknowledging that culinary indeed qualifies (nonetheless, it is unique among the rest). It should perhaps be noted that I’m fully aware that there are derivatives I had not outright mentioned. An example of this is Architecture. I do mention CAD artists, yet chose Interior Designers as the example. I also want to note that I ignored the written arts wholesale. The range of expression covers everything (from poetry to ad copy to a myriad of aspects beyond screenplays for cinema and broadcast). So, while specifics of research will focus on the applied visual arts, I herewith acknowledge large exceptions for which abstractions may be translate-able but likely will not be addressed directly. By the way, I consider fireworks a craft.
   The Font post is, so far, the only one that has garnered a comment. So far the only way I’ve found to show the comments doesn’t make sense; it’s away from the original and visually distracting. There are a few mechanics I’ll pursue here; this foremost. Thank you, Matthew, for the contribution!
   The BCRS had garnered, inspired by our good work, tens of thousands in grant money while we worked on the project. That was critical to spare it from expiring this September. I’ve since learned that the site is now in line (again, in no small measure because of our effort) for a grant exceeding one million. I know my teammates all received “A’s” for the class; I received a metric of 500 of 500. Perfection rarely happens, so I’m sharing it.
   That catches me up for now – may your fireworks be lit by someone else, and be inspiring!