Dissertation Support Requested

BEGGING - I AM UNDER DEADLINE
(I know you know what that's like!)

IRB Protocol number 10303

Study: Business Coursework &/or other preparation for an Applied Arts career in Marketing

Hello!

        I am begging for a total of 40 minutes of your time! Openly asking if you or anyone you know would be willing to contact me to do

·         a survey (17 questions in 2 parts),

·         an interview (conversationally about 15 to 20 questions),

·         and to share some images (as you deem significant) …

… as part of my dissertation.

            Criteria is that they graduated from one of 42 AICAD accredited schools (http://www.aicad.org/) as an illustration major. There would be an informed consent form (all individual results are confidential) and your total commitment, all inclusive, is –planned for under 50 minutes. Respondents will receive aggregate level results (confidentiality assured).

            I am a doctoral candidate at Argosy University School of Business, with a BFA from UArts in Illustration, and as an educator of 30+ years, a university professor for much of that, I sense something of a potential  gap in curriculum.  The research seeks to confirm suspicions that may exist, further the conversation about what constitutes success, and otherwise shed light on the relationship between right and left brain paradigms, applied arts and business. This is intended as foundational research.

            Research is later intended as regards this consideration and other applied arts.  Further research may also venture what business can learn from the arts and vice versa.  What inherent default boundaries of thinking and behavior occur based on these right / left-brain considerations.  Cultures generally and specific to business, to the arts, and any role education plays in exacerbating such divisions, pro or con (and more).

   Thank you,

   Frank Davis

professorfrankdavis@gmail.com, 727 527 4623

*It does not matter what year you went or which AICAD school it was, which include:

Alberta College of Art and Design Art Academy of Cincinnati Art Center College of Design Art Institute of Boston at Lesley University California College of the Arts California Institute of the Arts Cleveland Institute of Art College for Creative Studies Columbus College of Art and Design Corcoran College of Art and Design Cornish College of the Arts Cranbrook Academy of Art Emily Carr University of Art and Design Kansas City Art Institute Laguna College of Art and Design Lyme Academy College of Fine Arts Maine College of Art Maryland Institute College of Art Massachusetts College of Art and Design Memphis College of Art Milwaukee Institute of Art and Design Minneapolis College of Art and Design

Montserrat College of Art Moore College of Art and Design New Hampshire Institute of Art NSCAD University (Nova Scotia College of Art and Design) OCAD University Oregon College of Art and Craft Otis College of Art and Design Pacific Northwest College of Art Parsons The New School for Design Pennsylvania Academy of the Fine Arts Pennsylvania College of Art and Design Pratt Institute Rhode Island School of Design Ringling College of Art and Design San Francisco Art Institute School of the Art Institute of Chicago School of the Museum of Fine Arts School of Visual Arts The Cooper Union The University of the Arts Watkins College of Art Design & Film

Background (for dissertation)

   The researcher has been an active commercial artist all his life, with a 1982 BFA in Illustration from the University of the Arts in Philadelphia.
   Perhaps it is best stated now that the author has or currently works for the International Academy of Design & Technology and the Art Institute (both at Tampa, FL). It is impressive how these institutions are in relationship to the subject matter that inspires this pursuit. Both institutions tie coursework outside the major to the major, as well as making available courses that contextualize the major in the business world as it is. Along with that curricula shift, each school supports an entire department devoted to researching and networking the immediate community to support career placement as a graduation transition occurs.
   In contrast, the 1982 undergrad degree at UArts was considered the best commercial art university experience worldwide at the time. But in the 1970’s and ‘80’s our “gen ed’s” (general education classes) were not specifically designed to support our majors. Indeed, there is no recollection of even one business-type class offered at all. Moreover, we did not have a career placement department.
   Things may be changing. The research seeks to find out how much; and whether it makes a difference.

skill versus talent (an aspect of preface)

art versus craft
   I have personally known any number of people that were magnificent talents but had no development to speak of in people skills, professional skills, political skill, etc. Those folks tend to fail. Talent alone is no guarantee. I have also known many people who have had the skills I just spoke of and little or no talent. Whether they succeed or not will often depend on the degree to which they can develop their craft; an aspect of talent, the technique or technology of talent. And let us not overlook the value of tenacity.
   With the advent of such muscular software there is little involved in the craft and mastery of the technique for more often than not it involves one’s own personal commitment to celebrating the software; spending face-time exploring it, devouring tutorials and so on.
   While there may be no pixie dust to afford someone a “good eye”, much like the inability to “buy class”, one can nonetheless pick up on the essential sensitivities along the way. And you are hereby heartily encouraged to do so. Is this the end of talent? I should certainly think not. If you believe yourself to have talent continue the commitment to its development, alongside all these other skills I spoke of, and you should rise above the rest. This, too, I’ve seen repeatedly. But the cautionary is that the field of effort is evening. We will all be students for the rest of our lives.

ethereal versus business
   Another matter becomes applying artistic sensibilities to hard business; yet another skill set. Were I to have to bet on the longevity of the savvy entrepreneur who knows nothing about baking and the baker whose love of the art exceed all other experiences opening up a boulangerie my money is on the businessman/woman. For all the altruistic within us, business is about driving income; at least as a survival basis for the business itself, which can then be something beyond that (expressive, philanthropic, quality service, etc.). But much as a painter frames the painting, most often the frame is not his own; so too the desire to pursue one’s own expression must live within the context of how our world current works.
   So, we now add to the skill sets ideas like, well, business savvy. This is often a function of familiarity to mastery over such areas as all that money entails (accounting, economics and finance; and their sub-considerations), all that marketing involves (e-commerce, advertizing, etc.), the legal and ethical considerations, and all that management entails (knowledge, operations/organization, process, product, project and supply chain). Along the way some overlapping skills also become evident. The need to be familiar with other software (most notably the document, spreadsheet, database, presentation and notebook software represented by those components of the Microsoft Office Suite) and skills (such as statistics).
   One can argue which of these come before actualization, in what order and measure, and I imagine you already know there is no hard answer. Here is an area where being right-brained, seeing the forest for the trees, can find an objective individual with an advantage. If you’re honest with yourself you may know more organically, more fluidly what parts to develop in what order and how far before reaching each new plateau.

film: Intro to Hypothesis

   Please know of a grave disappointment on my part. Whatever uploads here will be inferior to the DVD I was able to burn ... something about these other file formats (mov, mpg, wmv & avi) found loss in visual translation.
   Otherwise, my disappointment is in my own novice -ness (unread-able credits, audio volume fluctuation). Indeed, what would have been a strength (the overall design) also seemed to suffer somewhat from what has become a month-long self-study. Beware, the graphics "blink" in this non-DVD version.

   And yet, it is done! So, for better and worse, here is my video clip version of my presentation.

mini (movie) me

   Today’s post is back to the dissertation. My Professor (a brilliant young man with just the right amount of pepper) wants us to NOT offer up a PowerPoint for our final presentation; but a video clip! That all sounds nice, of course, until one realizes that he’s not speaking of just letting your camcorder run … he wants text, transitions, and multiple inputs and more.
   Hey, we’re not cinematographers! Too bad! And as annoying as this may be, he’s right – shame on the educational system for not supporting this movement, this trend toward greater technologic expression. But we nonetheless need to cough up the goods. Moreover, we’re doctorate students (we should be able to figure this stuff out).
   I’ll post what I come up with as soon as it’s done, but that’s my post today … because that’s what I’ll be working on.

College degrees that don't pay

By Blake Ellis, staff reporter

http://money.cnn.com/galleries/2010/pf/1008/gallery.low_paying_college_degrees/index.html

Last updated August 06 2010: 3:41 PM ET; retrieved Saturday, August 07, 2010

   First the condensed version: Education, Social Work, Religious Studies, Athletic Training, Recreation and Leisure, Horticulture, Art, Interior Design & Culinary Arts. I’ve re-ordered them … do you see a pattern?
   Education, Social Work, Religious Studies = some of the greatest good a society can ensure itself … but we don’t need to reward such? Oh, it’ll be fulfilling enough.
   Athletic Training, Recreation and Leisure, Horticulture = playing outside. Honestly, I don’t see it as equal priority, either (except from an exterior design perspective).
   Then the applied arts: Art, Interior Design & Culinary Arts. The “art” used in Art was photography, so in actuality these are all applied arts. I guess we are supposed to pay our bills with self-actualization.
   So, in conclusion, another reason why our culture is wack. One third of the least of jobs are positions where we illuminate our culture through artistic expression, another third is where we hold up our fellow man directly. Yeah, let’s keep payin’ the mutual fund manager – he shuffles other people’s money (redistributing wealth / legalized gambling) producing nothing!

Accreditations

   Most anyone with an interest in academia has, at least, a passing familiarity with “the 8 ivy’s”. That degree of distinction may or may not need any other equal, that’s someone else’s argument. But distinctions matter, and that the distinction for the general public stops there has outgrown its service.
   Here on the west coast of Florida there are three primary distinctions/accreditations for schools: COE, ASICS & SACS (in ascending order; SACS being the highest)* accredited schools. However, among institutions of higher learning for the arts there are two additional accreditations.
   The National Association of Schools of Art and Design is 66 years old. It has added 29 schools in the last four years, for a total of 297; and is located in Reston, VA. It essentially sets standards.
   However, there is also the distinction of being an AICAD school. The Association of Independent Colleges of Art and Design is an affiliation of 40 schools. “Founded in 1991 by a group of 25 presidents … so as to mutually develop their schools and programs”, it brings together schools that are [1] already regionally accredited (SACS for FL) and NASAD certified, and [2] co-ordinates (as mentioned); specifically among the private, nonprofit, free-standing (that is, not a department of a larger college or university) schools.
   In yesterday’s post I was somewhat lamenting the lack of further distinction. Here we find one such distinction, but I wonder if there is anything statistically demonstrable that would make the distinction noteworthy; some track record of performance after graduation (that might lead to higher pay, greater respect and the like). I’ll be interested in finding out, if I can.

*
AICAD
the Association of Independent Colleges of Art and Design
http://www.aicad.org/
http://www.aicad.org/about.htm
NASAD
the National Association of Schools of Art and Design
http://nasad.arts-accredit.org/
http://en.wikipedia.org/wiki/National_Association_of_Schools_of_Art_and_Design
http://nasad.arts-accredit.org/index.jsp?page=Staff Directory

SACS
the Southern Association of Colleges and Schools - the regional accrediting agency (all six are: New England, Middle States, North Central, Northwest, Southern, and Western).
http://www.sacs.org/
ASICS
the Accrediting Council for Independent Colleges and Schools
http://www.acics.org/
COE
the Council for Opportunity in Education
http://www.coenet.us//ecm/AM/Template.cfm?Section=Home

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

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.

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 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)

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.

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