I just wanted to provide a list of what
you need to have at the end. All documents must be turned in/uploaded the day
of the final. No work will be presented at the review (If you need to drop off
production prototypes I can collect them in the office after the review).
When you upload your files please label
them with your name and project description.
For example: hash_artistinterview.doc. Do
not label it reflectionstatement.doc. or untitled.doc
Just as a
friendly reminder, participation is part of your grade!
You should all
have questions ready for visiting artists!
Please be ready
for Heidi.
Artist interview
You should
upload a powerpoint, transcript and reflection statement
Studio budget
You should
have a spreadsheet outlining your operating budget, tools, rent, etc. This
should include a short term and long term plans.
Defining your creative practice
You should
have a final draft of your statement.
Production model and projections
This should
include one completed model/prototype that includes packaging and an identity
system (logo/business card etc). It should also include a proposal/strategy.
This could be in the form of a spreadsheet similar to your studio budget OR a
word document with a table that calculated projections. This document should
evidence all necessary information to put a piece into production as outlined
on the blog (casting costs, packaging etc).
Professional packet
This document
should include, a short bio, one-page resume/CV, identity system and images of
your work. This document should be in one PDF document. Use this
opportunity to try on new formatting. All photography should be consistent
(same background etc). FONTSand SP AC IN G need to
be consistent
Evidence of application
You were asked
to apply to two professional opportunities. I need evidence of those
applications. This could be screen shots or copies of application
material. This can be uploaded into a sub-folder inside your google drive
folder.
Hello all. I was super slow hearing back from Boris. He had an emergency and had to cancel for this Tuesday. This throws our calendar out of whack but gives me the opportunity to arrange transportation. We will also have lunch (provided). We are still going to do our artist’s interview presentation on the same day as Boris’s studio tour (Nov 15th). The tour never takes more than an hour. We will make our way back to school and then meet back up at CIT to do the presentations. Your presentations should be 10-15 min in length and in a PowerPoint format. Please upload them to the google drive and I will download them onto my laptop. On November 8th, the day we were supposed to go visit Boris I would like to meet with you all one on one at your bench to have preliminary discussions on what you might do for your final production project. Please bring sketches/ideas. It is okay to have just loose ideas at this point. I would also like to discuss layouts/strategies for your professional packets, which you should all be thinking about. Just to review, we will be going to Boris’s on the 15th, hopefully by bus. We will return around 3:00 and at 4:00 we will all meet back at CIT to do artist presentations. On Nov 8th we will be meeting in Metcalf at your benches, charting the production project and talking about your professional packets. Nov 8th Bench visits for preliminary designs. Bio and CV drafts due. Production charting. Q and A prep for Boris.
Nov 15th Field trip to Boris’s at 1:30-3:00 Interview presentations due 4:00-6:00 Q and A prep for Bre Petis Running a business, partners, etc. Nov 22nd Thanksgiving break no class Nov 29th Skype lecture for Bre Petis List of requirements for final Short presentation on Professional work Brief lecture on my limited production work Dec 6th Final day wrap up. Visit from studio artist (Veleta Vanzca) Assignment # 5 due Assignment #4 due Dec14th Final Review
Find a place you trust, and then try trusting it for awhile.
RULE TWO:
General duties of a student - pull everything out of your teacher; pull everything out of your fellow students.
RULE THREE:
General duties of a teacher - pull everything out of your students.
RULE FOUR:
Consider everything an experiment.
RULE FIVE:
be self-disciplined - this means finding someone wise or smart and choosing to follow them. To be disciplined is to follow in a good way. To be self-disciplined is to follow in a better way.
RULE SIX:
Nothing is a mistake. There's no win and no fail, there's only make.
RULE SEVEN:
The only rule is work. If you work it will lead to something. It's the people who do all of the work all of the time who eventually catch on to things.
RULE EIGHT:
Don't try to create and analyze at the same time. They're different processes.
RULE NINE:
Be happy whenever you can manage it. Enjoy yourself. It's lighter than you think.
RULE TEN:
"We're breaking all the rules. Even our own rules. And how do we do that? By leaving plenty of room for X quantities." (John Cage)
HINTS:
Always be around. Come or go to everything. Always go to classes. Read anything you can get your hands on. Look at movies carefully, often. Save everything - it might come in handy later.
ASSIGNMENT #4
Professional packet, packaging and logo
For the purposes of self-promotion, you are to create a professional packet that will require you to create a series of documents that all professional artists always have available.
You will include:
a short biography
a 1-page resume
a curriculum vita
logo
Images of your work
All documents should be on letter head or somehow includes your logo/watermark.
Photographs should be shot well and edited into the document.
The entire document should be saved as a PDF.
CV versus Resume
Three major differences between CVs and resumes are the length, the purpose and the layout. A resume is a brief summary of your skills and experience over one or two pages, a CV is more detailed and can stretch well beyond two pages. The resume will be tailored to each position whereas the CV will stay put and any changes will be in the cover letter.
A CV has a clear chronological order listing the whole career of the individual whereas a resume’s information can be shuffled around to best suit the applicant. I would say the main difference between a resume and a CV is that a CV is intended to be a full record of your career history and a resume is a brief, targeted list of skills and achievements.
Let’s revise:
CV – long, covers your entire career, static Resume – short, no particular format rule, highly customizable
Bios/Biography
What should be in your bio?
History
Where were you born? where are you from? Is it relevant?
Education
Do you have a degree? Where is it from? When will you earn your degree?
Other relevant information
Awards? teaching? assistantships? notable events?
Exhibitions
Have you had any? Do not list them all? Which are the most important?
Sum it up
What do you do? Where are your interests? Could you borrow language from your statement?
MEGAN AUMAN
Megan Auman is a designer, metalsmith, educator, and
entrepreneur who has built a multi-faceted business around her passion for
great design and sustainable business. Her eponymous jewelry line is sold in
stores across the US and online. Her designs have been featured in Design
Sponge, Better Homes and Gardens, Cooking Light, and more. In 2009, Megan
founded Designing an MBA to help designers and makers develop their business
skills. Since then, she has created a number of successful e-courses, including
Marketing for Makers, Wholesale Academy, and Do/Teach. She is a frequent
speaker on pricing, wholesale, and business thinking for creatives.
SETH PAPAC
Seth Papac received his BFA in Jewelry/Metalsmithing (2004) from the University of Washington and his MFA in Jewelry/Metalsmithing (2009) from the Cranbrook Academy of Art. Seth’s work is exhibited and published in Europe as well as the United States. He is the recipient of a Louis Comfort Tiffany Foundation Grant, a Peter S. Reed Foundation NY, NY grant as well as the Tobey Devan Lewis Fellowship. His work is included in the permanent collections of the Museum of Fine Arts, Houston, TX, Cranbrook Art Museum, Bloomfield Hills, MI, Tacoma Art Museum, Tacoma, WA, Museum of Contemporary Craft, Portland, OR and the Rotasa Foundation, Mill Valley, CA. For the past few years he has been a Lecturer in the Jewelry and Metalwork Department at San Diego State University.
NOAM ELYSHIV
Born and raised in Israel, Noam Elyashiv received
her Bachelor of Fine Arts degree from Bezalel Academy of Art and Design in
Jerusalem and her Master of Fine Arts from the Rhode Island School of Design in
Providence, Rhode Island. Noam has received several awards for design
excellence including The America-Israel Cultural Foundation Award, the
Absolut Vodka Emerging Artist Award and a Fellowship in crafts from the Rhode
Island State Council for the Arts. Noam’s artwork derives from her interest
in correlations and interactions between line, plane and volume. She captures
the precision and linear quality of her drawings in metal. Since 1994 Noam has
been on the teaching faculty of the Jewelry + Metalsmithing program at Rhode
Island School of Design.
MYRA MIMLITSCH-GRAY
Myra Mimlitsch-Gray earned her Master of Fine Arts degree at Cranbrook Academy of Art in 1986, and her Bachelor of Fine Arts degree from Philadelphia College of Art in 1984. A Professor at the State University of New York at New Paltz, Mimlitsch-Gray received the Chancellor’s Award for Excellence in Teaching in 1998. She is the recipient of the 2016 American Craft Council Award and has been inducted into its College of Fellows. Other awards include Individual Artist Fellowships in Crafts/Sculpture from the New York Foundation for the Arts(2014, 1997, 2005); the United States Artists Glasgow Fellowship in Craft and Traditional Arts (2012), and Artist Fellowships from the Tiffany Foundation (1995), the National Endowment for the Arts (1994), and a grant from the Peter S. Reed Foundation (2016).
In 2014 the Metal Museum in Memphis Tennessee named Mimlitsch-Gray "Master Metalsmith" and presented her first museum retrospective, Staging Form. A solo show, In/Animate: Recent Work by Myra Mimlitsch-Gray is curated by Akiko Busch and on exhibit through December 2016 at the Samuel Dorsky Museum of Art at SUNY New Paltz. Her work has been featured at venues such as Sienna Patti Contemporary, Wexler Gallery, and the John Michael Kohler Arts Center, and is currently on view at the Museum of Arts and Design, the Museum of Fine Arts Boston, and the Yale University Art Gallery.
Mimlitsch-Gray's publications include: In/Animate: Recent Work by Myra Mimlitsch-Gray (SUNY Press, NY 2016); Staging Form (Metal Museum, 2014); Makers: A History of American Studio Craft (UNC Press, Chapel Hill, 2010); Craft in America- Celebrating Two Centuries of Artists and Objects (Random House, 2007); 100 Treasures (Cranbrook Art Museum, 2004); Skilled Work- American Craft in the Renwick Gallery(Smithsonian Institution Press, 1998); Women Designers, 1900-2000: Diversity and Difference (Yale University Press, 2000); and One of a Kind: American Art Jewelry Today (Abrams, 1995). A feature article, “Of Hammers, History and Household: The Metalwork of Myra Mimlitsch-Gray”, by David McFadden, was published in Metalsmith, Spring 2005.
Apple 5 or command 5 will allow you to make a guide from a vector shape.
Apple D or alt D will redo the last command
F will toggle through views
Apple Y or command Y will allow you to view in outline mode
Apple 7 or command 7 will create a clipping mask to mask images (be careful with the order)
Apple 2 or command 2 to lock selection
If you have full bleed images behind text, reduce the opacity
ASSIGNMENT #5
Production
model and projections
Create a production piece! Do a mock setup/proposal/ for putting a piece into
limited production.
Start from the beginning before you start thinking
about about to make.
Will you pay yourself an hourly wage?
What would be worth
putting into production?
What will it be
made of?
What is the best way to do a limited run?
How much would it cost to
make it?
Is there a better way to make it?
Where will you sell it?
How much
will it cost to sell it?
Will you have to package it? Gallery?
Etsy?
Handmade
market?
Try to think of everything. Create a spreadsheet to help calculate
costs.Present a “business proposal” for
your limited production object. Make a
model for a casting or a visual reference (could be a 3D print).
Include your identity system from
Assignment #4 (This project may turn into a departmental fund raiser
project.Think badge, button or coin!)
Gather pricing from local casting companies or utilize online outsourcing to
create a pricing structure. Time yourself actually designing/ printing/ molding/ casting/ finishing a piece.
This is a great exercise just in case you need to
support yourself with your work!
