Art Student's Handbook Part II:

Professional Preparations and Resources


Professional Organizations

The following national level organizations have been mentioned earlier. Most have regional chapters as well. Every professional organization has its publication. In them you will find current information important to your field. This alone is a major reason for joining. Here are some key organizations for students to consider joining. A more complete list is located in the Bibliography and Resources section. Most of these organizations have web sites filled with information about the profession as well as the organization.

American Institute of Graphic Artists (AIGA) www.aiga.com

For the graphic arts professional in design, illustration and photography. This is the oldest and most important organization in the field. The UWEC Art Department is closest to the Minnesota chapter. Students should join when they are undergraduates. This is a key organization for professional workshops, publications, and contacts/networking.

Society of Illustrators

For the illustration major. Undergraduate students should join for professional information and contacts.
American Society of Media Photographers (ASMP).
This a leading and highly active professional organization. Students need to join and go to meeting of the Minneapolis or other regional chapters at the time of graduations. This is a key organization for professional workshops, publications, and contacts.

Society of Photographic Educators (SPE)

As the name explains, the professional organization for photography teachers. Undergraduates should be aware of the group's activities and possibly participate in some of them. Art Education/Photography majors and graduate students in photography should join.

Wisconsin Art Education Association (WAEA)

The state professional art education association concerned with all dimensions of art education including advocacy in the arts. All Art Education majors need to join.

National Art Education Association (NAEA)

As the name explains, the professional association for art teachers. Membership in WAEA includes membership in NAEA.

College Art Association (CAA)

Designed primarily for working college art professionals. Graduate students in art should join. Undergraduate students should be aware of the organization and its activities.

Foundations in Art Theory and Education (FATE)

An organization of college level teachers dedicated to curriculum development. Associated with the CAA. Graduate students intending to teach should join.

The Professional Portfolio
A portfolio is the central representation of what you as a designer, illustrator or fine artist are capable of doing. It is your essential tool of communication with clients, prospective employers, galleries or graduate schools and needs to be in a finished state by the time you graduate. The following outline details portfolio needs and the similarities and differences for different types of artists.

What a Portfolio Is
· The portfolio contains only the best, professionally displayed examples of your work as an artist, assembled into a hand carried or mailable form.
· The case should be: high-quality, not too large, easy to carry, durable, able to protect work well from: travel, bumps and weather. It MUST be easy to open and operate.
· Inside, the case should be: simple, easy to see, easy to rearrange and durable.
Use high-quality pages and page protectors. Will you need to change work in the page protectors or can you laminate work? Acetate scratches, vinyl or mylar is more durable. Decide on ring binder (3 or more) or loose pages that fit into a tight case.
· Don't scrimp on the cost of the portfolio hardware! Buy the best materials that suit your purposes. In the long run, this will be a very small investment when compared to your career training and potential.
· The graphic design portfolio contains printed work.
· Illustrators will need printed and or original work and slide set(s).
· The media designer's portfolio will simply be some combination of video tape, CDROM or floppy discs. Find a professional case that carries these materials well. Many designers and illustrators will find themselves taking advantage of these types of presentation media as well. A color laptop computer makes an excellent display device. Be sure it has a CDROM and high graphics performance.
· A fine artist's portfolio will contain original work if two dimensional and not too large (prepared consistently). 35mm slides sets are a must for all types of work. 35mm slides, display transparencies or color prints will be needed for large or three dimensional work. 35mm slides should be in pages. You should bring a viewer or projector (in which case you would already have your slides in a tray as well as a slide page). Color prints or display transparencies are placed in vinyl or mylar pages and prepared consistently. Include significant articles or reviews, in protective pages, at the end of the portfolio.
· Take EVERY opportunity to examine the portfolios of working artists.

Content and Presentation of the Portfolio
· Show what you can do better than anyone else at your level. (Design, Illustration).
· Show your originality. Don't present yourself as being in the style of someone else (all areas!).
· Technical competency. Do not include work compromised in anyway for any reason!
· Be able to talk confidently about your work. Be ready to explain why you chose to do everything you did.
· Remember that this work is the past. You will be hired for the future (design, illustration). Be confident, professional, at ease. Sell what you can do.
· For the fine artist the portfolio will probably represent a recently completed body of work intended for exhibition. Be confident, organized, verbal, know your field-now and historically. Present yourself well (don't be phony).
· Make sure your presentation of the work isn't so interesting or "busy" that it preempts the work itself. The idea is to complement your work...show it off to its best advantage.

Tailoring the Portfolio & Market Positioning
· RESEARCH, RESEARCH, RESEARCH!
· Who are you best qualified to go to? What will these people need to see (don't bring a portfolio of bunnies to a place that does exploded views of engine parts).
· Check the client lists of agencies.
· Read a current issue of a publication account.
· Fine artists must know the galleries! Read Art Now Gallery Guide, Art Paper, local newspapers and gallery association brochures. Read art publications regularly. Visit the galleries, see who they represent, see what shows they have had and talk to other artists. Don't show up with art-brut sculpture at a printmaking gallery.
Find out about the method of portfolio review. Many galleries reserve a particular day and time for this; for example: the first Saturday of the month from 2 to 3 PM. Can you get a reference from someone you know who knows someone at the gallery?
Find out about all the types of gallery spaces available: public, private, commercial, cooperative. Don't underplay or overplay your hand.
View the video of the Barbara Fendrick Talk.
· The client or gallery directors don't owe you anything (except courtesy).
· The Address for the Art Now Gallery Guide is:
Art Now Inc.
97 Gray Rock Rd.
Box 5541
Clifton, NJ 08809
The International Edition ($35) has listings for all regions of the United States and all of the world. Regional guides are available for: East Coast, Southern, Midwestern, and West Coast.

Organization of Work
· Use the same size pages and same weight and color of background.
· Make the presentation clean and simple. Use a neutral background.
· Place your "best" work first and last.
· Group work according to subject and content.
· Place targeted work first, "famous" work second if present. For illustrators: fine arts work only with careful consideration and client research.
· Show a maximum of 10 to 15 pieces of work in design or illustration-only your best! If your best is only 2 or 3 pieces, that's it!
· Illustrators: focus on a style or media (if you're everywhere you're nowhere).
· Fine artists: the most recently completed body of work that shows a mature, conceptual investigation. The work must be: one media, one style; powerful, committed, personal, and conceptually consistent. The number of pieces included will, of course, vary, but the one slide page limit guide line (20 pieces) may be useful in many cases
· If a client or gallery director wants to see more or other work, you may have with you or near by additional examples. Do not, however, show second rate or filler work-ever! All work shown must be first quality.
· Edit your work ruthlessly.
· Graphic Designers: Research interviews to see what will be appropriate to put in the portfolio. Some prospective clients or employers will be impressed with the full strength of your background. For example, photography or illustration is usually a major addition to your potential value as an employee. Interviews for a specialized client may be best targeted to just the type of work the client needs.

Importance of Portfolio
· For designers and illustrators in an interview the portfolio counts about 40% the person about 60%. But, you must have a great portfolio no matter what.
· For the Fine Artist, if you haven't got a strong portfolio you haven't got it. If your portfolio is weak in any way so are your chances. Your opportunities to show or sell work will be based directly on the quality of your portfolio.
· Invest the money it takes to put together a professional portfolio. After several years and tens of thousands of dollars spent on school this will be a relatively minor expense.
· Do the portfolio while still in school. Save up, look for a grant, consider a loan.

Photographing Art Work

Reasons to Photograph Art Works
· For your portfolio · For Documentation
· To enter exhibitions · For slide banks
· Educational use · Slide presentations
· Entering graduate school · Publications
· Applying for grants

People Needing Photographs
· Fine artist · Art educator
· Prospective graduate student · Writer/reviewer
· Grant applicant or writer · Promotions/presentations
· Graphic designer · Illustrator
Keep in mind that you may change career and life objectives. Make documents and know how to document work. Will you be interested in exhibiting works as well as pursuing a career as a designer?

Reasons To Know How To Photograph Art Works
· To save money when still in school or just getting started as an artist.
· To get the work done in the way you need and to the quality you need.
· For the timely documentation of work (as you finish pieces or to document the process).
· To meet short deadlines.
· So you know what to look for when finding someone to do the work for you and so you know what to expect and require from such a professional service.

Should You Take Photographs Yourself?
· Do you have the experience to do the work to professional standards?
· Do you have the ability and patience to learn?
· Is this the best way to be spending your time
· Do you realistically have the money to hire a professional to do the work correctly?
· Is there a professional service available that will meet your standards?

Hiring Someone To Take Photographs For You
· To find someone, talk to other artists, check with university professionals, or consult listings of professional services (use the phone book with care, though).
· See examples of the photographer's work. OBTAIN A COST ESTIMATE.
· In Eau Claire possibilities for finding photographers include: photography students, Media Development Center, and area professionals.
· How much will you have to pay? As an example let us say you have 10 paintings, prints or pieces of ceramic work with no unusual lighting requirements and you need 5 slide copies of each work. Materials costs would be fixed at about $30. Taking the photographs would probably take at least 2 hours. Hourly rates would run about $10 for a skilled student. Media Development charges differently for smaller flat work up to 30" X 40": $2.50 for the first slide and $.75 for each copy at the time of the work. Larger flat work or 3-D work is $20 hour. A part time professional photographer in a smaller town might work for as little as $25 hour, but the going rate is $50 hour. In a larger city (like Minneapolis) the going rate is $100 hour. Difficult lighting work can more than double the time necessary to photograph work. Any additional types of work needed, such as black and white prints, would add to both time and materials costs.
· Professional services offered through most universities can be a real bargain but you will need to take your work to them. They will not come to your studio.
· Always be VERY CLEAR about explaining your needs in COMPLETE DETAIL to a hired photographer, including composition and background material. Be very critical in examining and accepting the results. HOWEVER, know what can and can not be expected in photography. A photograph will always increase the apparent contrast, and some colors may or may not be matchable.

What Format Should Your Work Be Photographed In?
· 35mm color slides are needed by all fine artists, art educators or persons doing slide presentations.
· Color prints can be used for a portfolio book, for writers and for publication. Black and white prints may also be used for some of these purposes, but color is preferred and no more expensive. Color negatives can also be used to do black and white publication work from. Mat surface prints are preferred to glossy. Glossy surfaces are not needed for any technical reason and the prints are difficult to look at.
· Color negatives are the most flexible photographs. When made from the new low speed T-grain films (such as Kodacolor Royal) they can be used to make the highest quality color prints, black and white prints, color display transparencies and 35mm slides. Getting these things done will require a more complete understanding of the processes involved and more turn-around time for lab work.
· Lower cost prints from 35mm slides in color or black and white are generally inferior in quality and you should not count on them to cover professional needs. To equal color negative quality in printing the reversal processes are quite expensive, and, in practice, still may not come up to the best standards.
· For color publication, either color transparencies or color negatives may be used. Medium format film can be very important for best quality (higher cost but the industry standard). For black and white publications original photographs can be taken in black and white or as color negatives. 35mm format will work for many purposes but medium format is of a higher quality. Excellent black and white prints can be made from color negatives but these should have been done on a low speed T-Grain (Ektar) film and will need to be done by a good lab.
· Display transparencies for the fine artist's portfolio can be made from any format of film. This type of presentation can be particularly impressive. The new Kodak RA materials are a particularly good choice. They work from color negatives and are also a current best choice for printers to do color separation work from in publishing. These transparencies would come from a custom photography lab, but are easy to make (the same process as a color print but the film costs more). Display transparencies are also traditionally made in large format cameras on 4"X5" or 8"X10" color reversal film. These are very high quality but relatively expensive.
· Black and white prints are commonly made from black and white camera negatives. The quality of results done this way can not be exceeded. Black and white prints made from T-grain color negative films can nearly match this quality. Black and white prints made from color slides require an internegative and all but inevitably produce a significantly inferior black and white print.

The Process of Photographing Art Works
To confidently understand the photography process and do your own work, some combination of these things is necessary: watch the process being done, read Photographing Your Art Work, by Hart, have basic photography experience or take a photography course.
No Compromise In Quality Can Be Accepted In Photographs For professional purposes.
When watching and helping with the process: take notes, ask questions, request more detailed information if necessary, do drawings of the set ups and study how they work.
These basic set-ups cover most photography needs. Make notes from the demonstrations.
· Two dimensional work on the wall
· Two dimensional work on the floor
· Two Dimensional work on a copy stand
· Three dimensional work with a two or three diffused light set up
· Reflective three dimensional work in a tent

Particularly Important Lighting and setup Considerations:
· Know color balance. Make sure light source and film match!
· No glass.
· Glossy surfaces: emphasize them with direct light, de-emphasize with diffuse light.
· For most flat work use symmetrical even light. Asymmetrical light is used for special cases where work is very unevenly light and dark and or mat and glossy.
· Line art work on white paper requires an underexposure (for slides).
· Meter exposure correctly. Know how to use gray cards.
· Make sure 3-D work stands out from background. Use value contrast and cross lighting.
· For flat work get it squared up, fill the frame, and use neutral background.
· For 3-D work photograph from the best angles and do details if appropriate.
· Make slide copies in the camera if possible. These are always of higher quality than lab copies.



Equipment and film
· The UWEC Art Department has a camera, lens and tripod that can be checked out to senior BFA students. While checked out the student is fully responsible for the equipment should it become lost, damaged or stolen. The total replacement value is $350. This equipment serves as an excellent example of a very inexpensive but fully professional system for doing basic art photography work: a Pentax K-1000 camera body (built in meter), 28-70 close focusing zoom lens (Sigma or Tokina SZX brand), light weight video type tripod with inside leg braces and quick release camera shoe, holster style camera bag, cable release and spare battery.
· Get the right type of film: Ektachrome Tungsten either EPY, ISO 50 or EPT, ISO 160. The EPY is the best choice if you can use a slow speed film. It has the finest grain and best color saturation. If your lights are not so strong or you need great depth of field (3-D work) then EPT might be the better choice. The "P" in the middle of EPY and EPT means professional. This film may or may not be available in local stores in which case use ET the amateur market version of EPT. ET is a little less expensive but the color balance is not held to as close tolerances. Its ISO is 160. For outdoor work any lower speed -chrome film will be of good quality. Any of these films are recommended: Kodak Ektachrome Professional Reversal (EPR) ISO 60, EPX, Ektachrome Elite, Ektachrome Lumiere or Fuji Provia. Kodachrome is also an excellent film but higher contrast and more difficult to get processed.

Photographing Work Outdoors
· Work in studio if possible. Use outdoors only for large or installation 3-D pieces. Color, exposure, background and composition can be more effectively controlled in studio.
· Use daylight film when working outdoors with the sun as the light source.
· Check the quality of light: full sun = harsh shadows, shade or clouds = softer shadows. Overcast = bluish cast to color photographs, correctable in printing or by using a skylight filter when taking slides. Early or late in the day = dramatic lighting but also gives warmer (yellowish) cast to light, which may or may not be desirable. Middle of the day = flat neutral lighting.
· Consider backgrounds and use the least distracting angle. Put up a backdrop if possible. Use fill flash. Work at night with studio lights (tungsten film or 80A filter and daylight film) or electronic strobe lights (with daylight film).
· Depth of field can be used to isolate subjects, but be careful to get entire work in focus.
· Wide angle lenses can be used to photograph work in tight places or de-emphasize backgrounds, but be careful of the distortion given by this type of lens.
· Mild telephoto lenses may be used to reduce distortion and de-emphasize backgrounds through controlled depth of field, but be sure you have enough depth of field to keep entire work in focus.

Student Photographers
· Photography students can take photographs or do black and white or color printing. Students doing this work charge for their time and materials. As a guideline we suggest this be the same as the highest hourly wage paid to students for campus student jobs. Check to make sure the person can do your work the way you want. Communicate needs, expectations, experience, and cost clearly. Don't expect less because a person is "only a student."

Writing an Artist's Statement

Every artist or designer needs to be able to explain to others what their work concerns. To do this several things are needed. First is an awareness of art history, contemporary art and culture, and your individual position as an artist or designer within an art community. Second is significant experience in making art work, and thinking, talking, and writing about it. The third necessity is a basic ability to speak and write to or for others.
It is to your great advantage to start developing your discussion and writing abilities early in your art studies. Every student must be able to present meaningful thoughts in organized, grammatically correct statements. It is essential to be able to confidently use a word processing program.
Writing and speaking abilities will be used when you: apply for a job, interview for a job, prepare your resume and promotional materials, design with text and copy, approach galleries, exhibit work, teach, speak to community or civic groups, apply to graduate school, write news releases, write reviews or educational materials, and write or edit copy. Strength in this area will give an individual a major advantage over those who have not made these preparations.
An artist's statement is a practical focal point for your developing writing ability. This statement is something that undergraduate students should develop to a finished point by the time they graduate. Developing an artist's statement about your own work will make it is easier to do written or spoken presentations for other targeted needs.

What to include in an artist's statement:
The earlier section on Writing About Art covers the information to consider when forming the content of your statement. To reemphasize in similar terms:
· Explain your personal involvement in art.
· Talk about the development of your style in terms of materials, process and composition. How do these things help you reach the goals of your work?
· What have been your influences. What artists, styles, movements or history do you identify with.
· What are the goals of your work?
· What are your goals as an artist?
· What do you want to communicate to your community?
Practice writing. Write and rewrite. Have several other people read through your work who can give you skilled, honest criticism: patronizing comments are a disservice and not what you would expect from or give to a friend or colleague. Other people will always find things that you have missed. On questions of style and clarity, respond to the honest reactions of others. The purpose of this type of writing is clear explanation to others. Edit your writing for clarity.

In targeting your writing, here are some general guidelines for style and content:
· For graduate school applications be literate, philosophical, and personal. The application will be read by academic personnel looking for substantive content and flawless grammar and written style.
· For job applications be clear and to the point. Your writing will need to be easily understood by a wide, general audience. Be practical and to the point, not arty.
· In an artist's statement, a conversational style is very effective. This statement is part of your portfolio, and might be used on a gallery wall or sent to publications as a press release. Be substantive but remain understandable to a wide audience.
· For educational use, know what level and type of information is appropriate for your audience.
· Once again, it is essential to begin developing your writing as soon as possible so that you become self-aware of what is needed for your situation.

Preparing a Resume
A resume is a clear outline of your professional qualifications. All artists, designers, and craftspeople need to prepare one by the time they graduate. The resume needs to be a creative endeavor. Designers need to produce a resume that is, in itself, an illustration of the best design concepts and creative visual ideas. Artists and craftspeople may settle for a less involved presentation, but not a canned or "business" type design. Even these resumes need to be designed. Although oriented toward the graphic designer, these points should be kept in mind by everyone doing a resume:
· Beware of "packaged" resumes produced by resume services.
· The creative resume is built on individual differences rather than similarities.
· Employers are interested in your unique talents.
· Select a comfortable format that will effectively deliver your vital information.
· Keep the resume brief, clear, and error free. Use active and correct grammar.
· Have someone else, like an instructor, proof read the copy and comment on the clarity of the design.

Resume Contents

Personal Information
This includes your name, address, phone, and E-mail address, and needs to be in a most prominent location. Make sure that the phone and address(es) are where you can always be contacted on short notice. Some people have even obtained a cellular phone for some types of job objectives (such as camera assistant).

Employment Objective
For graphic designers, illustrators, and photographic illustrators. Use a short, to-the-point job objective. Also consider the following points:
· Target your employment as exactly as possible. By listing `Corporate Design Manager,' `Senior Package Designer,' or `Technical Illustrator,' for example, you gain priority consideration for matching job titles.
· When seeking your first career position, consider the job objective carefully. You might include it in the cover letter rather than on the resume. This will enable you to target specific, individual positions. Many people have resumes printed with different career objectives for the types of positions they expect to encounter.
· By mentioning a specific job objective on your resume you may be taking yourself out of the running for some positions with real potential.
· The job search process often uncovers positions very different from your original target.

Education/Training
List your most advanced degree first, the (month and) year it was granted, the school it is from, and its city and state. As you gain experience this point will more to a latter place in the resume. Include workshops and seminars.

Work Experience
List last and most significant jobs first and then others in descending order. Some early employment might not be included, or some times grouped. Be sure to emphasize any positions where you have been responsible for managing people or facilities. This will emphasize your people skills and dependability.

Internships
Include: where, who you worked with, simple description, and date.
Exhibitions and Awards
Include: the name of the exhibition, its date, its type (student, juried, invitational, local, regional, national, professional, particular media, one person, group), how much work and what type you had in the exhibit, and location (gallery, school, art center, city, state). NOTE: for the fine artist, exchange this point with Work Experience above.

Memberships
Include the name and the date you joined professional or other significant organizations.

References
Three is the usual number to include. Ask each person if it is OK that he or she be listed and if it is OK to list a phone number. Most references will be given over the phone.

Resume Design

A maximum design effort separates the creative resume from "common fact sheets." Resume design is often overlooked or undervalued by otherwise well prepared job seekers. Treat the creative resume as a most important design task. Work at the top of your ability and push the leading edge of your creativity. Your creative resume should blend form and content in a unique manner. It should convey your design philosophy and career direction. Design for a specific target job.

Consider these points:
· Consider how your resume will be received, handled and stored by potential employers.
· A hand delivered resume needs quick positive response.
· If mailed and folded, consider how it will open or unfold in order to create interest.
· An employer will often scan your resume during an interview. Critical information must be easy to locate.
· Pay attention to mailing details. Address the envelope to a specific person in the firm. Include their job title. Type rather than hand letter the address.
· Design the resume to fit common storage systems, otherwise it may be excluded from the file. Virtually all resumes are designed to fit an 8 & 1/2" x 11" format. Avoid sizes and shapes that extend outside the edges of file folders.
· Establish information priorities. Explore different positions and layouts. The design should be readable and logical. Items should be picked up in a brief scan.
· Type size is important. Beware of selecting type which is too small. Most employers will find 8, 9, and 10 point body text comfortable to read. 12 point is too large for body text.
A strong concept is the foundation of your creative resume. Remember: the distance between the appropriate and the absurd is often quite short.




Resume Colors

· Select ink colors to stimulate but not offend potential employers.
· Ink colors like umber, sienna, olive, darker blues, ochre, burgundy, warm red, and both the warm and cool grays work well. These are, however, not the only possibilities. They do, at least, differ from the standard black, are readable when set in type, and suggest a serious document.
· Consider identity colors established by various corporations, institutions, or government agencies. Look at annual color trends for fine clothing or automobiles. Consider colors of packaging with special appeal.
· Specifically indicate to your printer what colors you would like using PMS-Pantone matching system.
· You may want to use special effects like die cuts or embossing after the work is printed.
· Papers should be considered in a similar manner as inks. Contrast is needed for readability. Stay clear of bright colors.
· Check out sample books of paper from printers with ink samples printed on them. if possible.
· Consider the weight of the paper. This may need to be discussed with the printer.

Cover Letter

If you mail a resume include a cover letter. This will personalize your message to an employer. Avoid Gentlemen, Sir, Madame, Manager, etc. that are used on form letters. It is essential that you address the letter to a person, otherwise it will dilute your resume's power. Each time you mail a resume, type a unique cover letter. Perfect grammar and spelling are expected. Each letter should be a laser original, not a photo copy. The letter should be short. Never exceed a single page. Three to four economical paragraphs are adequate.
Cover Letter Contents
· The opening paragraph is critical. Get the reader's attention with something interesting about the firm or themselves.
· Be timely. Show that you are informed about the company. Mention, for example, some recent work that caught your attention. Compliment a recent award. Make connections between a reference, the employer and you. Be sure to include the name, title, and organization of your reference. Mention why you are writing.
· Paragraph two might contain a "teaser' about your resume to stimulate the reader to go through everything thoroughly. Mention your college, degree, year, and focus, if you are a recent graduate. Touch on your significant experience.
· Paragraph three should create a special interest in you: connect your unique skills to the needs of the employer. Project yourself as very valuable and as an original.
· The last paragraph should "close the sale." Use it to suggest an interview and offer to present your portfolio. Be sure to mention that you will be calling to arrange a personal meeting in a few days.
· The best cover letters are short, but as carefully planned as your resume. Use terminology unique to the profession. Always ask for an interview or indicate that you will call to make an appointment

Starting a Career
An art career includes, but is far more than merely a job. A career is how you as an individual interact with the society of which you are a part. This translates into your profession, training, probably how you earn a living, and the mental/emotional identity you have with this life task. The final section of this handbook will focus on employment and related concerns. In doing so it will also extend your thinking in the other areas.
Remember the following as you pursue your studies and later go into your field. A successful person needs these qualities: positive people and communication skills (reading, writing, and speaking), personal organization (meeting deadlines and consistent performance), basic business skills or understanding, and basic competence in the chosen field. A person with these qualities should not have difficulty finding work in any field. Weakness in anyone of these areas will, however, compromise your chances or prevent you from finding work. Unusual creative ability can add a higher level of success to your career and open opportunities above and beyond those available to people who only have the first list of skills. However, high level creativity will always be rendered impotent by any shortcoming in the first list of skills.
The bibliography at the end of this book lists essential resources for all of the areas in this section.




Employment

People, businesses, or institutions will pay you for professional services if you can demonstrate your worth to them. Although this section focuses on methods of employment for applied artists, all students need to read this information as it can or will at some point apply to everyone.

Graphic Design

The Graphic Designer can consider two basic approaches to career employment: Setting up your own graphic design studio and going freelance, or working for an established studio as an employee. For most, it is likely (and wise) to work for one to five years for an established studio to learn the ropes and make professional contacts. Most people will continue to work in studios throughout their careers. People who freelance frequently find themselves turning their studios into small agencies before long. Freelancing takes special personal resources to be successful. It can, for some, be the most rewarding employment option.

Graphic Design Studios
Studios come in three sizes: small (up to about 6 employees) , medium (up to 20 or so employees), and large. Big cities will have studios of all sizes. It is easiest to find openings in the larger ones as, like all large companies, they have more turnover. In smaller cities and towns, you will find smaller studios, which may be more conservative in their practice and less flexible in hiring. Most new graduates will head for a larger metropolitan area, at least to begin with. It is not uncommon to find freelance and small studios moving to outlying areas of the country once they have established a professional reputation. Clients are usually "taken with them." This has become even more practical due to computer based graphic design.

In-house Design Departments
Most graphic design work is done in-house. Large companies usually have their own graphic design departments. These can be the same size as small to large size agencies. The employees have the same salaries, benefits, and employment stability as other company workers, which might be an advantage for the new graduate or person supporting a family.

Advertising Agencies
It is important to point out the difference between advertising and graphic design agencies. Advertising agencies do a high volume of work at low cost. Graphic art skills are used but the emphasis is on quick, low-cost work that generally does not involve the full concept and visual development of graphic design work. This type of agency can be an excellent opportunity for the recent graduate as a place to gain experience and learn efficient work habits.

Freelance
Study all of the materials and sources in this section. We refer you now to an excellent publication: Starting Your Small Graphic Design Studio, by Michael Fleishman. Consider this a textbook. Also, talk to as many people working in the field as possible, and learn from the personal stories of their experiences. You can make a go of it right out of school freelancing, but it takes gumption and a financial "start-up cushion." This cushion is needed to cover: equipment, studio space/rental, publicity, and slow business times.

Getting In
Reread the chapter on creative resumes and cover letters as an introduction to this section. If you don't use it don't expect it to work for you. Even the best creative resumes will be useless unless you apply good resume etiquette.

Resume Etiquette
· Your creative resume must help you get an interview or support you during an interview. Consider your creative resume as a means rather than an end. Focus your attention on arranging interviews, since this is where the job is won or lost.
· Schedule interviews either by letter or by telephone, or combine both techniques for maximum impact.
· Research your target organization. If it is steeped in tradition has national clients a formal atmosphere can be expected.
· Concentrate your efforts on a specific individual or organization. Avoid personnel departments if possible as they will tend to deflect your efforts.
· Consider the time of the year:
July-August: busy time of the year and vacation months.
June: greatest influx of recent graduates entering the job market.
Annual Report or tax season can be internally hectic with little time for interviews.
Christmas Holidays: an uncertain needs time.
Peak hiring times are: October-November, followed by first quarter of the year.
· Telephone is the most direct method of contact and can be used to warm things up before an interview. However, calls may not get through if they are screened. You might beat this by calling before 8 AM, during lunch, after 5 PM, or on Saturday morning. Decision makers often work through lunch, after hours, and on weekends. They are apt to answer their own phones during these times and you are less likely to interrupt important office business. Be positive, direct, short, and complimentary. Encourage setting up a specific interview time. Because the pace is slower at these times, with fewer phones ringing, etc., you will probably get more time.

Making an Impression
Once you have arranged an interview, the following outline of points can help you prepare.
· Research the company. Come in knowing as much as you can about their reputation and operation.
· Creative people can enjoy a more diverse dress style than some other professions. However, be sure to research the interview on this point. If everyone else wears suits, you can expect they will look for the same in prospective employees. Nowadays though, creative agencies tend away from formal dress. In any event it is usually better to overdress a bit than to be underdressed. A tip: drive by if you have not met people at the job site or seen the operation. See how people going in and out of the building dress and what the atmosphere is like.
· The portfolio has been discussed in an earlier section. Review this information. Remember to present a portfolio that you have complete confidence in. Never make (or need to make) apologies for your work or yourself!
· Be at the interview site a few minutes early. Have dependable transportation. Remember there is no excuse for being late, save accidents or natural disasters. Leave in plenty of time and know exactly where you are going. A trial run is a good idea in a new area.
· It is perfectly normal for everyone to be nervous going into an interview. Relax as much as possible and be yourself. Be positive and complimentary when it is genuine. The person counts 60% the portfolio 40%. The people conducting the interview will be looking for a confident, pleasant, professional that they have faith in and will enjoy working with.
· Be confident in yourself and your work, but never "brag" or overextend what you are able to do.

Illustration

Agency or business employment for illustration is less common than for graphic design. If you are looking for an agency position the approach is essentially the same as described above. Most illustrators will find themselves working as freelance artists, and as mentioned above, this requires strong personal resources.

Markets

Graphic Design Studios
All sizes of studios will have a steady need for illustration and photography. Larger studios may even have on-staff illustrators and will almost certainly have a photographer or photographers. Contact the Art Director (called the AD). Large studios will sometimes act as agents, charging 25% commission.

Advertising agencies
Contact the Art Director for freelance work or interview. Work could cover just about anything.

Consumer Magazines and Trade Magazines
These mostly employ freelance work, but sometimes have staff illustrators. Categories of magazines include: national consumer, regional and mass trade, and specific trade and limited audience. Trade magazines are not as good as national magazines except for airlines. For freelance work see the magazine art director.

Company Magazines
These are "in-house" publications. Some larger companies have on staff illustrators. Fortune 500 companies have an advertising manager rather than an art director.

Animation
This type of work is generally unionized. Studios are mostly West Coast and East Coast. Some larger companies hire staff illustrators. Pay runs in the $12 to $40 range (1995).

Newspapers
The fees are usually low, unless you snag a job for the New York Times (dream on, but it could happen). Most of this work is freelance.

Book Publishers
Some times there are on staff employees as art editors. Book jackets are the best type of work pay wise. There can be contracts for this work but be extremely cautious about what you sign. Otherwise, pay in this market is unfairly low.

Textbooks
The pay here is low but it is a good place to make a start.

Recording Companies
This is a freelance market. The West Coast pays higher than the East Coast. You need a good name and track record for this one.

Greeting Cards, Calendars, Posters, Paper Novelties
Hallmark and American Greetings use staff artists. Smaller companies use freelance. You can ask for royalties or use a license contract (like in Peanuts cards). For posters and prints, the selling gallery gets 33 to 50 percent of the sales.

Technical Illustration
This work is mostly done by staff artists. Learn CAD (computer aided design) and illustration, also airbrush and mechanical drawing. Illustrations of this type are used for annual reports, special interest magazines, and industrial publications.

Medical Illustration
This is a highly specialized field. There are only five or six schools that teach it.

Fashion Illustration
For newspapers and magazines this is staff work. The market is in somewhat of a decline, except for photography. Associated product illustration includes cosmetics and beauty products. Look for work with: department stores, fashion advertising agencies, fashion magazines, and retail catalogs.

Television and Broadcasting
This work is mostly done by on-stall artists. It includes: illustration, cartooning, type design, animation, and photography.

Games and Toys
2-D illustration is used for game boards and covers. this can be freelance work with higher fees, perhaps royalties. On-staff artists do mechanical and production work. Sculptors are hired as illustrators for toys and 3-D games.

Model Making
This is an excellent field for 3-D artists to look into. There are some model making firms that hire staff, but all of these companies tend to be small operations. Often they expand or contract as jobs are found or completed. This can be excellent part time work for artists pursuing their studio work. It is also an excellent field to start up a business in if you have those often mentioned personal resources.

Museums
This work is mostly for on-staff artists. Museums include: science, natural history, cultural, historical, special interest, entertainment, children's, etc. Work could include: figures, mechanical models, painted dioramas, photography, illustrations, renderings, graphic design, display, etc.

Preparations
Read again the sections on: portfolios, resumes, cover letters, and getting in. The processes are essentially covered for illustration. Your success in this field is entirely dependent on your initiative. Don't wait for Godot. The world is not your mother.
· Remember that your portfolio needs to be focused on your strength. Have ten pieces of work to show. Also have a well produced print of a work to leave behind. For 3-D work, be sure to have truly fine photographs of your work if it is not portable (as it probably won't be). Consider having 4x5 or larger transparencies made for impact on clients or prospective employers.

Photography

The term photography can have a very wide meaning as it is simply a process for making images. As a process it can be used in the making of any type of art work for any type of purpose. In this section the term will be used to refer to the medium as used for illustration or as a component in graphic design. The preceding sections on Professional Preparations and Getting In for graphic design and illustration, essentially apply to the photographic illustrator and photographic designer as well. The following points, however, will explain special considerations and differences.

· The resume might initially be less "designy" but must always be visually professional. This needs to include: clean typesetting (laser or better), strong visual organization and page layout, and special paper selection. A photograph or photographs might be chosen for the resume, either hand printed and mounted on the resume, or of quality offset.

· The portfolio for many markets is called your "Book." this Book is small and portable. You take it to all professional activities. Other markets will respond to a larger zippered ring binder type portfolio. Check things out to see which type is appropriate where and when.

· The first type of employment a photography graduate seeks out is called camera assistant. This term is standard the world around. A camera assistant works under the direction of a photographer, or cameraman, or camera-person, or shooter: the person who takes the pictures. A camera assistant may be hired by an independent photographer or by a larger studio to assist any photographer on their staff. After working as a camera assistant for one to three years, a person will probably have enough experience to advance into a photographer's position or try freelance work. Another job title that people might find available is assistant studio manager or studio manager. This position usually implies some camera assistant or internship experience.

· Even before looking for work as a camera assistant, it is wise to seek out an internship. In an internship you might agree, after an interview, to work in a studio for an amount of time at a low wage or as a volunteer to demonstrate your worth, train in, or determine whether you are compatible for the position. These are very good opportunities, but usually require another job, often as a freelance camera assistant.

· The importance of networking can not be over emphasized in locating a position in this field! It is essential to join the active professional organizations in the field: ASMP and PPA! Go to their workshops while still a student.

· It is very unusual for a new graduate to start freelance photography work. This usually requires experience, a reputation, and contacts. Some people have made this jump, however, but it is usually based on a highly creative photographic illustration style and unusually savvy personal qualities.

· A person with a highly creative photographic illustration style would probably not want to follow the camera assistant route into a career field. Such a person would probably approach employment as an illustrator.

· The ability to work in digital photography is an essential new skill for people in the photography area. As an opportunity for employment, this is currently a most valuable skill.

· It is essential for the photographer to understand the basics of graphic design. In almost any situation, a photographer will find him or herself working with or for a designer.

· Review the list of fields for illustration. Most of these are the same as the fields for photography, as has been noted in some cases. These are markets that a photographer with some work experience might approach.

· Stock Photography. An additional market for photographs that is a current "hot" area is stock photography. Stock agencies buy photographs in large quantities and build immense files of images. Clients who need particular types of images review the stock companies holdings and purchase rights to what they want to use. A commission is paid to the photographer. It takes five to ten years to build a stock file that can provide a significant return, but this is a solid investment. Stock photography is very economical for design agencies, and the current market pressure has sent stock use soaring. Hence, this is an excellent place to gain shooting experience and build a resume. You will see many well established photographers "shooting stock" at every opportunity between other jobs.

Teaching Art

The Art Education student has been well prepared for a career in teaching. All students go through a practical series of courses that culminate in student teaching in an actual classroom. Available positions are all listed in the professional publications available in the Art Department, the Office of Academic, Personal, and Career Development, and the professional journals and publications of professional organizations such as WAEA.

Educational Requirements
To teach you must have a Bachelor's degree in art education and state teacher certification. In some locations, a fifth year of college is required or strongly recommended for initial certification. Most school systems prefer, and some require, that teachers take additional courses or earn a master's degree within a given period after being hired.

Personal Qualifications
An interest in students from kindergarten through 12th grade, and an ability to communicate with them is a fundamental requirement. You need to have personal artistic ability and a genuine interest in students' art. Qualities to posses include: stamina, self-confidence, self-motivation, creativity, energy, and enthusiasm. It is important to be able to empathize with how children learn to express themselves, and be able to motivate them to be creative and experimental. Tasks that you design must enable learners to succeed at all levels of sophistication. You will also need to be able to discipline students when necessary.
Required skills will include: instructing, advising, supervising, directing, assessing, evaluating, planning and decision making. You will be called upon to develop curriculum and be an advocate for your program.

Salary (1995-96)
Beginning salaries range from about $21,000 to $23,000 in public schools and usually less in private schools. The average public school salary is $36,000 and the top is $45,000. Private schools, again, are usually lower. The highest salaries are reached by having a master's degree. In public schools, earnings vary by education, experience, additional duties, geographic location and the funding base of the school system. Remember to consider benefits such as health insurance and retirement as part of your pay even though this does not show up in the salary figure.
Concerning advancement, most teachers remain at classroom level for their entire career, receiving increases in pay. One may advance to the head of the department. Becoming art supervisor, curriculum developer, or school administrator usually requires further educational credits and several years of successful classroom teaching. Some teachers go on to take positions in arts/community centers or take adjunct positions in colleges.

Current Teaching Environment
Classroom teaching today requires the art teacher to be a comprehensive generalist. You need to know as much as you can about all studio areas. New communication/art technologies are very important. Many art teachers become the leaders in their schools in these areas of technological education. Students are particularly interested in these areas as well, and because art classes at the high school level are elective, it is important to offer a broad base of communication/art technology opportunities to keep students in your program. In high school, it is important to work with teachers in the technical education program when ever you can.
Other work activities will include:
· Interacting with faculty, parents, and local artists.
· Attending and participating in faculty meetings.
· Serving on school and perhaps district committees.
· Coordinating teaching and other special activities with other faculty and perhaps with local artists, art associations or museum curators.
· Conferring with other faculty members about students' progress and problems.
· Working with special education departments to develop art programs for students with special needs.
· Meeting with parents of individual students.
· Attending parents nights, PTA meetings, and open houses.

Administrative and Other Duties
· Ordering and maintaining art supplies, and managing within a budget.
· Maintaining the studio teaching facility: clean-up, organization, repair, planning for new needs and facilities, justifying and advocating facility needs.
· Maintaining careful records of grades and attendance.
· Filling report forms and records, writing reports for school administrators.
· Writing letters of recommendation for students for college, art school, employment, and scholarships.
· Responsibility for school bulletin boards and display areas.
· Planning for and supervising students on art field trips.
· Supervising art exhibits and student organizations in art, photography, or other pursuits.
· Acting as artistic advisor to school magazines or yearbook.
· Involvement in design or painting for school dramatic productions.
· Supervision of non-art extracurricular activities such as sports, or cheerleading.
· Other school duties may include: monitoring hallways, lunchrooms, recess areas, the auditorium, library, or bus loading area.


Student Advising
An essential duty for all teachers is the direct advising of students on a full range of topics, both educational and personal. These duties include:
· Advice on classes to take.
· Awareness of educational and career opportunities
· Encouraging esthetic and creative appreciation in students.
· Developing confidence and commitment in students to their art and studies.
· Helping students in selecting art work for portfolios when applying to art schools. Helping them find where to apply, depending on their interests and talents.
· Listening to students who want to talk about personal problems. Knowing when to suggest talking to a school counselor or psychologist.

Promoting Your Art Program
It is important to reach beyond school duties to make people in the surrounding community aware of the importance and achievements of your school arts program.
· Exhibit your students' art works in schools, community and public buildings, art centers, etc.
· Publicize exhibitions through news releases to newspapers, radio and TV stations.
· Design posters and arrange for their display in prominent locations.
· Circulate flyers to parents, families, and community organizations about exhibits or activities.
· Display student art work in prominent school locations during parents nights, open houses, concerts and plays.

Keeping Current
It is essential to keep up with developments in the art and art education field.
· Know about and work with the latest techniques and materials for making and teaching art.
· Maintain membership in professional associations.
· Attend conferences, art exhibitions, and lectures.
· Read the art and educational literature in the field. Seek out articles in the news media on the arts in sources like Newsweek, the New York Times, and the local newspaper.
· Attend workshops and courses.
· Pursue your own art work and submit works for exhibition.
· Join and participate in local and regional art associations and programs.

There are special problems AND satisfactions in teaching art. You may have to teach many large classes and have little time for preparation. Students may need to be disciplined-some think art classes are irrelevant or an easy grade. There will be demands from parents, students, administrators (perhaps different ones from several schools). You may need to defend art programs in times of tight budgets.
Satisfaction is gained from watching students develop their understanding of art and its many unique forms of expression. Most activities are easily understood and enjoyed by students of differing ethnic and linguistic backgrounds. Many art teachers find the process of assisting students strengthens their own artistic development.
Surveys show that the public considers teaching to have one of the highest prestige levels among occupations. Art teachers who mount successful exhibitions of students' and their own work may achieve more visibility and acclaim in the community than most regular classroom teachers.

Fine Art

Creating a Studio

Since the studio needs of artists and designers vary so greatly, this chapter will discuss general concerns that apply to all studios and specific concerns for each type of area. The designer working in an agency studio will have less need for this section but may find that many of these considerations will apply if asked to help design or revise studio space. It may also be helpful when comparing potential work places. Often a designer or illustrator may maintain a "home" studio or decide to try freelancing. Many artists working for agencies will also want to have a studio where they pursue a fine art avocation.
The studio for the individual or freelance artist needs to be a place conducive to art making: a place tailored to individual needs, that fosters creativity and experimentation. It is also a place reserved only for art making. Materials and work in progress can be left out. As a place, a studio supports efficient use of work time.

Studio Location
· Working in your residence. A completely separate space from the living area will be needed. This might be a room, basement, loft or converted garage. Residential location might be best for convenience and almost certainly for cost. But, problems can arise from domestic distractions, or, on the other hand, by convenience leading to the potential for overworking.
· Major reasons to look for a studio separate from your residence include: needing larger space, the type of work you do needs special facilities, or you wish to separate work from domestic life. A separate studio will almost certainly cost more and require commuting time.
· Consider sharing space with another artist or artists. You might find a cooperative artist's space.
· You may find a good studio space in with other types of offices or businesses.
· Consider zoning requirements. Don't settle into a space only to discover that the city won't let you work.
· Consider neighbors. Will you make too much noise for them? Will they make too much noise for you? Do you need to keep odd hours? Do you need to do unsightly processes or store materials outside?
· Be ready to re-evaluate your work needs as time goes by. Judge when a studio move would be best for your developing needs.

Studio Planning
· Be sure to draw up plans for space needs: square footage, room size(s) and proportions, ceiling height, door sizes, windows and locations, and general work flow. Again, do drawings and walk through full size simulations of the spaces. Working in school studios should give you a very good idea of what is needed. In addition, go to the library to research needs and plans. These are found in basic books in most studio areas.
· Will you need an area where you can step back and look at work and to photograph work?
· What type, quantity and quality of light do you need: natural, tungsten, fluorescent.
· What are your power needs? 110? 220? Is it available in the right place or will you need to rewire?
· What about heat and air-conditioning? Consider the space in all seasons, including access.
· Will you need water? Hot and cold water? What type of drainage will you need? Do some of your processes need specialized sewage connections: ceramics, photography, sculpture, printmaking, etc.?
· Do you need office space? Display or conference space?
· Storage space for materials and finished work is often overlooked.
· Plan carefully. Overlooked aspects can lead to ineffective or inefficient work time.
· What are your furniture and equipment needs? Don't cheap out. Buy or build for long term quality and most efficient operation. Make sure that you have the most comfortable and healthy work place. You will be spending great amounts of time year after year doing the same manual tasks. Plan for your long term well being.
· Health and safety is an essential issue and must be fully planned for in all types of studios. As a topic it is covered in the next section in this book. Review these needs carefully during studio planning, particularly the ventilation requirements.

Renting Space
· Finding a rental space can be a more difficult task than imagined. Check ads where artists hang out. Call friends, contact artist organizations and network. Contact local rental agencies and Realtors. Some may be very sympathetic to your needs and understand what you are looking for. Advise them candidly of your financial abilities, though, so you don't waste time looking at "Hollywood" spaces.
· Find out about zoning ordinances before renting or buying! Don't expect to set up a sculpture studio in a residential district.
· A cooperative studio space may be the most practical solution. This is a way to have access to space and equipment that would otherwise be too expensive. Be sure to check out the other people involved so that you don't end up with ruined equipment or repair bills or get left holding the bag for rent or utilities etc. Cooperatives often are run on the basis of monthly fees or start-up costs.
· Workshops and studios often rent time on equipment too expensive for individuals to afford.
· When renting a space look carefully at the lease to see what your responsibilities and the landlord's responsibilities are. How long will you be able to stay in the space? Will rents rise as the area becomes gentrified? How much will you need to invest in the space to make it workable? How much of this investment in money and effort would be left behind if you had to move?

Buying Space
· To consider buying, plan to be in the space for several years. Look carefully at the financial and business aspects. If you do not have this background, run your plans past a friend who does and can give sober, objective advice.
· Owning a space can be advantageous for stability, security and control over making any needed building modifications. Payments, upkeep, changing needs and having to relocate can be down sides.
· Fine artists will find themselves, for the most part, looking for inexpensive solutions: low value urban spaces or rural locations. Check with city housing agencies, public auctions, and arts organizations and networks. The freelance designer or illustrator needs to match studio choices to proven money making abilities: studio decisions are part of the overall business plan. Know how to do this planing or follow the directions of your business agent.

Exhibiting Work

For the fine artist, the primary purpose of showing work is for personal reward. However, there are also concrete professional reasons for actively seeking out exhibitions. These include:
· An exhibition record is the central professional qualification for your resume.
· Exhibiting work builds a sense of self confidence and professional worth.
· Exhibitions are a primary way to share ideas with other artists. They are also the primary way for your work to be seen by a wide audience.
· The possibility of receiving awards.
· To be included in catalogs and other publicity.
· To increase the possibility of having work purchased.
· Future contacts with galleries or museums.
· The possibility of the exhibition traveling to several locations.

Types of Exhibitions:
Three general qualities define the nature and importance of art exhibitions: (1) The area or location the show covers (2) The type of sponsoring institution (3) The method of selection and type of show.

Area or Location
This is usually defined in terms of Local, Regional, or National/International, with the last type of exhibition the most professionally significant. Serious artists building a resume should put their main efforts into getting into shows at this level. Strong regional shows can also be important, particularly if they are located in a well recognized art area like Minneapolis, New York, or Chicago.

Sponsoring Institution
A gallery is a single exhibition space that will usually have only one show at a time. Private galleries, though, usually have a display area for artists they represent. A museum is composed of several galleries, many of which are dedicated to permanent, historical collections. Often they will also sponsor changing exhibits of contemporary work, particularly if they are contemporary museums like the Walker Art Center in Minneapolis.
A private gallery is a business that sells art. They must sell work to stay in existence and will always make exhibition decisions based on the bottom line. Public or non-profit galleries look for work that represents high quality, and, frequently, cutting edge ideas. Funding comes from outside sources and they do not need to make money. Their primarily interested is in promoting art as part of the vital fabric of society.
Co-op galleries are formed by groups of artists to exhibit and promote their work. This is an excellent place for new graduates to find exhibition space. You might find an existing co-op or go together with others to start one. The space you use could be a vacant store or building. Often you can find building spaces that may have been vacant for some time, and on a temporary basis, rent the space for low cost. Sometimes cleaning and painting can be applied towards rent. Have openings and invite the press.

Types of Shows
Shows can range from large group exhibitions to one person shows. For the recent graduate, apply to group exhibitions, as your chances of being accepted are much greater. Significant one person exhibitions are only given to artists with something of a track record. Shows are planned and selected in several different ways:
Juried exhibitions. One or more prominent artists, curators, or art critics select a limited amount of work from the larger number of pieces submitted. Entries are sent in response to advertisements in prominent art publications. These types of shows are an excellent place to start building an exhibition record. They are almost always large group exhibitions with only one or two works accepted from an individual artist. Remember, though, they are competitive and you may be able to paper a room with non-acceptance slips and still not get into one. A typical national show might have 500 or more entries. The final show might only include 20 to 40 artists. This is par-for-the-course, and determined young artists must stick with it (or get more involved in an artist's co-op).
Invitational Exhibitions. A gallery decides to invite an individual or group of artists for an exhibition. A group show will usually have a general theme and or medium that guides the choice of artists. The person (or persons) making the choices is called the curator (or curators). This may be the gallery director or directors, or persons selected by them, such as a prominent art critic or artist. The invitations are based on the knowledge of the curator: artists whose work he or she has seen or a review of work through slides in response to a call for slides notice published in professional art periodicals.

Getting Started
To build an exhibition record you must rely entirely on your own initiative. While in school get involved in as many student art shows as possible. This is an unrivaled opportunity to gain the knowledge and skills involved in the preparation and installation of art works in galleries. All BFA majors are required to professionally exhibit work at UWEC in the Senior Show. Many other student arranged shows take place so that everyone can get involved, particularly through Art Student Association. The Annual Juried Student Show gives everyone an opportunity to "get their feet wet" by applying to a professionally juried group show.
When out of school, finding sources for exhibiting work can be divided into two methods: looking through professional publications for competitive and invitational show submission announcements, and "making the rounds" with your professional portfolio to galleries and art centers.

Published Announcements
Look through every issue of these arts publications:
· Art Paper. In the Minneapolis area this is a very complete listing of local, regional, and national exhibitions.
· New Art Examiner. From Chicago, this magazine has an excellent listing of important show opportunities.
· American Artist. A very wide listing of shows. However, if you are new to this process, have someone with experience sort through these announcements to "find the wheat in the chaff."
· Chicago Artists' News. Published monthly by the Chicago Artists' Coalition, 5 West Grand, Chicago, IL 60610 (312) 670-2060.
· Go to the nearest large university or art school and look on the bulletin boards for show prospectus. Copy down the address and send for your own, or photocopy and return. It is bad manners to take announcements from a board.
· Also contact local art centers or organizations, talk to your peers and (former) teachers.
When you send for a prospectus, mail along an SASE (self addressed stamped envelope) with return postage. Otherwise you usually won't get anything back. Send for information in plenty of time. Study the prospectus for the following information:
· Calendar for entry deadline, shipping, return of work, etc.
· Entry fees. These usually run $10 and up and are non-refundable.
· Insurance and liability statement.
· Method of presentation/preparation: matted, framed, Plexiglas, etc.
· Size and media limitations.
· Shipping procedure
· Method of jurying. This is usually by slides. Make sure they are of uncompromised professional quality and labeled exactly as required.
· Juror or jurors and their background.
· How the work is to be returned.
· How the show will be publicized and what are the rights of publication.
· Be sure to include an SASE large enough, and with enough postage, to return all of the materials you send in. Otherwise you will not get anything back.

Sending Work
Remember that only a small number of people applying to an exhibition actually get in. It will take persistence to start an exhibition record, and an amount of money. Keep these things in mind if you are chosen for a competitive or invitational show:
· The work usually needs to be shipped, unless coincidence has favored a nearby show and you can drive the work. Most significant shows will be national, and your work might need to travel some distance.
· Have your work professionally packed. Look at what others have done, and in the beginning, get help and advice on this. Ensure that shipping containers are sturdy and shock resistant, not too heavy, and securely closed-but easy and simple to open and securely re-close.
· Insure the work in transit. The gallery will not cover this or shipping expenses. Check size and weight limitations for different methods. Be sure not to exceed them.
· Keep full records of all your exhibition activity: A file of future and past show possibilities (to reapply again next year if you did not get in), a file of shows entered and what was sent with entry, exhibitions you are currently in and what was sent, when, how, cost, show dates, expected return, and gallery contact phone number (if work is delayed in return).
· Have a professional resume and artist's statement fully prepared to go with the work.

Showing a Portfolio
After you have begun to build an exhibition record through the above process, or by coop or invitational shows, you may begin to approach galleries to show a portfolio for consideration of inclusion in a group show, or representation by the gallery. It is essential to know the etiquette involved in this process. Study the notes in this book, look at the two (or more) video tape interviews with gallery directors in our files, and go to all artist talks, take notes, and ask questions. Keep these things in mind:
· You need a fully professionally prepared presentation of your work. For some this will mean actual 2-D work. For others, professionally prepared photographs (review earlier chapter).
· Research the area you are going to. Find the listing of all area galleries through The Art Now Gallery Guide and determine which might be appropriate for your work.

The Address for the Art Now Gallery Guide is:

Art Now Inc.
97 Gray Rock Rd.
Box 5541
Clifton, NJ 08809

The International Edition ($35) has listings for all regions of the United States and all of the world. Regional guides are available for: East Coast, Southern, Midwestern, and West Coast.

· Don't just show up, portfolio in hand. Find out, through phone inquiry, if and how the gallery reviews portfolios. Often this will be something like one Saturday morning each month. The person doing the initial review may be an assistant to the director. They may only glance at your slides and indicate no further interest. This is not rude, and never take it personally. Countless numbers of aspiring artists contact them and their time is extremely limited. They should be courteous, though (but don't always expect it). Some may refer you to other galleries that might be interested in your work.
· Sometimes an interview time will be arranged. This is more typical if you have been recommended or if your work is known within the gallery circle.
· Often a gallery will only review slides mailed in. Follow the requested procedures, remembering that most galleries can look at thousands of artist's work and select few if any of them for exhibition or representation. Sending slides is a better idea than taking them around to galleries, particularly in a large city.
· If you do talk to a director and there is some interest, have photographic examples of your work to leave behind. Never leave original work. Responsible galleries will not ask you to do this. Arrange another time to return if another director or owner needs to see actual work.
· Remember, galleries do not owe you anything, except courtesy. In talking with a director or owner, be pleasant and relaxed. Although as an artist you may be less traditional in your attire, be sure to present yourself as organized and professional. One gallery director advised, "Don't ask for a show, but rather, just ask for feedback-talk about the work." Gallery directors are usually impressed by a knowledgeable mind behind impressive work (current art scene-art history, etc.).
· Another approach that some have taken is the shotgun approach. About 500 color post cards are sent out in a packet with a short resume and artist's statement. You might get 1 to 2 % response of further interest.
· Gallery shows are planned one to two years in advance. Decisions are made on your current body of work.

When Are You "Ready?"
History has shown that it takes five to ten years of dedicated work to mature as an artist. Your work should naturally have evolved into bodies of conceptually consistent work. If you are doing some of this and some of that, you are still operating at the level of a freshman or sophomore art student. Spend regular time at galleries and art centers. Plan trips to major art areas like New York and Chicago. Balance this awareness with your own individual being as a unique artist and individual.




Pricing Fine Art Work

Student Work
While you are a student the following information will help you set values on your creative work.
· Student work does not have commercial or established value, and reflects work produced during a developmental stage.
· On the other hand, a value or price needs to reflect the materials and effort that went into making the work, along with the costs of framing and presentation.
· If you have sold work at an established price, then you might use this as a guide. Often the type of work can vary the relationship of student to professional art. Advanced functional work such as ceramics may be valued similarly to production pottery work.
· Consider when showing a work if you really want it available for sale. Is it more important to you than the money it will bring? Is thinking about your work in a monetary way cause problems with your creative thinking? Do you want to sell work that may, in retrospect, seem marketed before its time?
· If a work is in an exhibition an insurance value equal to its sale value must be established. The work can still be listed as "not for sale," or N.F.S.


A guide to student art work prices (1995):

Framed prints and drawings $50 - $200
Photographs $50 - $200
Paintings $75 - $300
Sculpture $75 - $300
Ceramics, functional $5 - $50
Fibers $50 - $300
Metals/Jewelry $25 - $300


Gallery Artist's Work:
To fully start to understand the prices of fine art works in galleries you must do some research by going to different types of galleries and seeing listed prices. The values will differ fantastically, depending on location, reputation of the gallery and reputation of the artist.
· After graduating from school and beginning a career as a fine artist, the price you receive for your work needs initially to at least double.
· If you have work in a sales gallery, remember that the gallery will receive 50% to 60% of the sale price as its commission. This is not unreasonable-it is typical. Galleries operate on a very slim margin and even 50% or more commission has not been enough for many to survive on. If you have work in a gallery take the commission into account in your prices.
· In a smaller urban area, prices for art works will typically remain in the two times student price range. However, in a larger urban area with active galleries, the lowest priced prints and drawings will typically be $1,000 plus and paintings $3,500 plus. Every gallery has a range established for the work it shows and new artists will have their work priced accordingly. In a large urban gallery under-pricing work is a bad, usually fatal, business practice. Works in the $1,000 to $20,000 range are the active sales generators in larger metropolitan areas.
· To bring work up to the price levels in the above point is not something many are able to do. It takes particular skill and perseverance, and a long road of exhibition recognition. As this handbook has discussed, the fine arts are often an avocation supported by other means. For most, the sale of art work is not a make or break activity.
· The sale of work in galleries is not the only place for art work purchase. Many works are purchased through art buyers and for institutions. The price you receive for these works will depend on your established sales record or an amount set for a project or installation. These sales will not have a commission unless the contact is through a buyer or gallery. The buyer will not take as high a commission as a gallery.
· Don't forget to have your slides on file with available arts board slide banks.

Surviving As An Artist
If you chose to make a career of fine art, you will need exceptional determination to keep yourself going. Following are some tips from those who have tried or are trying to survive as fine artists.
· Make all preparations you can while still in school. Don't wait until near or after graduation.
· Move to a large art oriented city or area. Small towns will not have an art community that will sustain an artist.
· Be very frugal in your life style: food, housing, transportation, tastes, entertainment, etc.
· Set a highly disciplined work schedule. No one will keep you on task except yourself.
· Find an adequate part time job to pay expenses. Be sure it leaves you with enough mental and physical energy to effectively do your art.
· Re-examine what might be adolescent beliefs such as, "I'm a night person'" or, "I have to cut loose on weekends." Early mornings or weekends might be times you can most effectively schedule studio work. Do leave uncompromised "time off," though, when you don't do anything serious except stay sane.
· Make regular (weekly or monthly) trips to galleries, museums, or art centers. Go to all openings that you can. Attend all types of arts events: music, dance, theater, etc. Read the major and local arts publications every month.
· You might find a job that involves you with the local art community, such as a gallery assistant. This can involve you directly in area arts activities.
· One of the most common arts-related employment opportunities is in arts administration. Review the heading under career opportunities and the resources section of this handbook.
· Go together with a group of artists to start a coop gallery, on a temporary or long term basis.
· An important contact to make is with corporate art curators/buyers and private art curating/buying agents (that are contracted by corporations to buy art for them). Send them a slide portfolio for review.
· Be sure that a portfolio of your work is on file with your state and regional arts boards slide banks.
· Network with your peers.
· Establish a practical plan for your finances. Art income is almost always very erratic. Be sure to even expenses out to get through the lean times.
· Review the earlier chapters on Creating Your Own Studio.
· Research all art grants and artist in residence opportunities as introduced in the next topic.........

Grants in the Arts
Selling art work to support your art career is, at best, a tentative plan. Most working artists seek out and get private support. There are many opportunities to apply for grants and artist in residence programs. Every state has an arts board as does the federal government. Since there are excellent publications in this field, and because the information changes yearly, this book will refer you to sources for detailed research. If you are intending to be a practicing fine artist, you must do this.

Art Centers
The concept of art center can take many forms. Informally, it can refer to any place with enough art activity to develop a "critical art mass" so that artists gather to discuss ideas and show work. Most medium to larger cities have such a community. School art programs by definition are art communities in themselves. It is fair to mention that these school communities can tend to be insular to local town art communities and the general public. Although much of this insulation is not unexpected, due to the advanced nature of college study, this is not a necessary situation. Many opportunities exist for more inclusive relationships. Remember that after graduation it will be necessary to find one's way in art communities outside the university or college.
As a student in a school within a city or as a recent graduate that moves to a new city, it can be very important to locate the informal and formal art communities. The two usually share the same base and contact with the one will lead to the other. Usually, if there is a college or university in a city there will be a developed or developable connection between the local art community and the school art program.
Exhibition openings, workshops, speakers and organized art events are usually where contacts between artists are made. In larger cities add to this cafes or social establishments where artists hang out.
In Wisconsin there are a number of formal regional art centers. While the most activity in the arts is centered in the Madison and Milwaukee areas, developing regional centers are found in all areas of the state. In Eau Claire there is the Eau Claire Regional Arts Center (ECRAC) located in the renovated State Theater building. In the Art Center is located a professionally run gallery with a diverse schedule of about ten yearly shows. Art Student Association elects representatives to the committee arranging the exhibition schedule. Across the street from the Art Center is the L. E. Phillips Public Library, also with gallery exhibition space and a regular yearly series of exhibitions.
As a student there are numerous opportunities to get involved in local and regional art activities. These beginning involvements and contacts can lead directly into a career or provide professional experience invaluable to your career qualifications.
While in school seek out opportunities for internships, assistantships or part time work in art centers and organizations. Look for such possibilities in large urban art centers such as New York or even internationally, that would allow a semester or year of work for credit. Do research through your department and its faculty, the Center For Academic, Personal and Career Development, the library, and by personal contacts.

Teaching as Community Service
At some level, everyone that goes into the world and works as an artist also becomes a teacher. As a classroom teacher the connection is obvious. But the graphic designer and gallery artist are also in the profession of communication and education.
Even people that may not have considered teaching will find themselves needing to do just that. This includes designers explaining ideas to clients and planning how their work will information the intended viewers. The fine artist seeks to be an essential part of society by serving as a cultural barometer and communicating his or her perceptions.
On a more direct level, many designers, illustrators and fine artists will find themselves called upon or volunteering to teach through community art programs. This type of work can be a vital and rewarding way to support an active arts community. For many professional designers it can be a way to be involved in a fine art activity that has been an important part of life. Talking to community groups and demonstrating what you do as an artist or designer is another type of educational activity that everyone should seek out.
Although more than half a million people make a living in applied art fields, it is no secret that very few people make a career of being a fine artist. Most realistically, being a fine artist is a social activity rather than a money making career.
As a working artist or designer try to become involved in the art community in any way you can
· Take or make opportunities to speak or present your work to community groups and schools.
· Teach community courses in fields that you know.
·Become active in local art associations and regional art centers.

Bibliography & Resources


Textbooks and General Information

Drawing and two-dimensional art
The Artist's Handbook, Ray Smith, 1993
Basic Principles of Design, 4 Volumes, Maier, 1977
The Complete Printmaker, Ross, 1991
Design Basics, 3rd ed., Lauer, 1990
Drawing on the Right Side of the Brain, 2nd ed., Edwards, 1989
Drawing: Space, Form, Expression, 2nd ed., Enstice & Peters, 1994
Drawing With an Open Mind, Jacobs, 1986
Graphic Design Principles, 2nd ed., Arnston, 1993
Graphic Design School, Swann, 1991
A Guide to Drawing, 5th ed., Mendelowitz & Wakeman, 1993
The Natural Way to Draw, Nicolaides, 1990
Photographing Your Art Works, Hart, 1985

Three-dimensional art
Ceramics, 5th ed., Nelson, 1984
Principles of Three Dimensional Design, Wong, 1977
Sculpture: a Basic Handbook for Students, 3rd ed., Coleman, 1990
Sculpture: Tools, Materials and Techniques, 2nd ed., Verhelst 1988
Shaping Space, 2nd ed., Zelanski & Fisher, 1995
Understanding Three Dimensions, Block and Liesure
Textile Art, Thomas, Michel and Pommier, 1985

Art health and safety concerns
Artist's Complete Health and Safety Guide, 2nd ed., Rossol, 1994.
Health Hazards Manual For Artists, 2nd ed., McCann, 1994.
Making Art Safely, Spandorfer, 1993

General research titles for journals, writing, and class presentations.
American Folk Art of the Twentieth Century, Johnson, 1983
Art Context and Criticism, Kissick, 1993.
Art Forms, 5th ed., Preble and Preble, 1994
Art in Our Times: a Pictorial History 1890-1980, Selz, 1981
* The Art Index, Standard reference for art periodicals
Art of the American Indian Frontier, Penny, 1992
Art of the Electronic Age, Frank Popper, 1993
Art of the Western World, Wood, 1989
Art Through the Ages, 9th ed., Gardner 1990
The Artist, Feldman, 1982
Artist: A Social History, 2nd ed., Feldman, 1995
Calliope's Sisters, Anderson, 1990
Craft Today Poetry of the Physical, American Craft Museum, 1986
Creativity and Mental Growth, 8th ed., Viktor Lowenfeld, 1987
Design in Context, Sparke, 1987
Drawing on the Right Side of the Brain, 2nd ed., Edwards, 1989.
The Eloquent Object, Marcia and Tom Manhart, 1987
Graphic Design in America, Walker Art Center, 1989
Graphic Style, Heller & Chwast, 1988
History of Art, 4th ed., Janson & Anthony, 1990
A History of Graphic Design, 2nd ed., Meggs, 1992
The History of Modern Art, 2nd ed., Arnason, 1986
The Humanistic Tradition, Fiero, 1992
Innovators of American Illustration, Heller, 1986
The Medium is the Massage, Marshall McLuhan, 1967
North American Indian Art, Furst & Furst, 1990
The Power of Myth, Campbell, 1988
Pride of Place, Stern, 1986
The Shock of the New, 2nd ed., Hughes, 1991
A Short Guide to Writing About Art, 4th ed., Sylvan Barnet, 1993
A Short History of the Movies, Mast, 1988
The Sponsored Life: Ads, TV, and American Culture, Leslie Savan, 1994
The Story of Art, 15th ed., Gombrich, 1989
Varieties of Visual Experience, 4th ed., Feldman, 1992
Women, Art, and Power and Other Essays, Linda Nochlin, 1988
Women Artists: an Illustrated History, Heller, 1987
Women in Design, McQuiston, 1988
The World Atlas of Architecture, edited by Beazley, 1984
Writing About Art, Henry M. Sayre, 1989
Writing the Natural Way, Gabriele Lusser Rico, 1983

Video tape and computer resources on art. (available at the IMC and or the Art Department)
Art Gallery, Microsoft CD-ROM, 1993 .
Art of the Western World, Wood-PBS, 1989
The Power of Myth, Campbell-Moyers-PBS, 1988
The Shock of the New, Hughes-PBS, 1980
Still Killing Us Softly, Kilbourne, 1988

Art Periodicals in the UWEC McIntyre Library

American Artist
American Craft
American Indian Art
Aperture
Art Education
Art Education News
Art in America
Art International
Art Journal
Art Forum
Art News
Art Paper
Arts Magazine
Ceramics Monthly
Communication Arts
Design
Design World
Fiber Arts
Flash Art
Graphis
How: Ideas and Techniques in Graphic Design
ID International Design
Ideas for Elementary Classroom Teaching
Metalsmith
Middle School Art Ideas
New Art Examiner
Photographer's Forum
Print
Scholastic Art (in the IMC)
Sculpture
Studies in Art Education
Studio Potter
World Architecture

Professional Resource Books and Publications

Applied and Fine Arts
199_ Artist's and Graphic Designer's Market, Writer's Digest Books (annual updates)
199_ Photographer's Market, Writer's Digest Books (annual updates)
1993 Humor and Cartoon Market, Bob Staake, 1993
The Art Business Encyclopedia , DuBoff, 1994
Artist's Complete Health and Safety Guide, Rossol, 1994
The Artist's Resource Handbook, Danial Grant, 1994
The Artist's Tax and Financial Planner, Carla Messman, 1992
The Business of Art, Lee Caplin, 1983
The Business of Being an Artist, Danial Grant, 1991
The Business of Graphic Design, Ed Gold, 1985
The Business of Illustration, Steven Heller & Teresa Fernandes, 1995
Career Choices for Students of Art, Career Associates, 1990
The Crafts Business Encyclopedia, Michael Scott, 1993
The Designer's Common Sense Business Book, Barbara Ganim, 1995
The Graphic Artist's Guide to Marketing and Self Promotion, Sally Prince Davis, 1991
Graphic Artist's Guild Handbook: Pricing and Ethical Guidelines, 8th ed., Graphic Artist's Guild, 1994
Graphic Design: A Career Guide and Education Directory, AIGA, Edited by Poggenpohl, 1993
Graphic Design Career Guide, James Craig, 1983
Health Hazards Manual For Artists, 2nd ed., Michael McCann, 1994
How to Draw and Sell Comic Strips, Alan McKenzie, 1987
Photography for the Art Market, Marx, 1988
Running a One-Person Business, 2nd ed., Claude Whitmyer and Sally Rasberry, 1994
Sell and Re-sell your Photos, 3rd ed., Rohn Engh, 1991
The (City's Name) Sourcebook 199_, Black Book Marketing, yearly editions for every major US city
Starting Your Small Graphic Design Studio, Michael Fleishman, 1993
The Ultimate Portfolio, Martha Metzdorf, 1991
The Visual Artist's Business and Legal Guide, Victoroff, 1995

Resumes
How to Write Better Resumes, Adele Lewis & Gary Grappo, 1993
Marketing Yourself, The Catalyst Staff, 1983
Resumes Don't Get the Jobs, Bob Weinstein, 1993
Designing Creative Resumes, Gregg Berryman,
Note: also, look at titles under Fine Art, following.

Fine Art
All-In-One Directory, Gebbie Press (annual updates)
Art in America Guide to Museums, Galleries, and Art Schools (annual updates)
Art in Transit Handbook, National Gallery of Art, 1991
Art Marketing Sourcebook for the Fine Artist, Franklin and Smith, 1992
Art Now Gallery Guide: International Edition, Art Now, (There are also regional editions, published monthly). Note: this is an essential tool for all fine artists.
Artist's Complete Health and Safety Guide, Rossol, 1994.
The Artist's Survival Manual, Klayman, 1987
College Art Association Guide to MA and Doctoral Programs in Art History
College Art Association Guide to MFA Programs in Studio Art
The Fine Artist's Guide to Showing and Selling Your Work, Sally Prince Davis, 1989
The Foundation Directory, The Foundation Center (annual updates)
Getting Funded: A complete Guide to Proposal Writing, 3rd ed., Mary Stewart Hall, 1988
Grant Guides. Editions cover: Arts, Culture and the Humanities, and Film, Media & Communications. The Foundations Center (annual updates)
Grants and Aid to Individuals in the Arts, Nancy A. Fandel, most recent edition
How to Survive and Prosper as an Artist, Caroll Michels, 1988
National Guide to Funding in Arts and Culture, 3rd ed., The Foundations Center, 1994
Running a One-Person Business, 2nd ed., Claude Whitmyer and Sally Rasberry, 1994
Soft Packing: Methods and Methodologies for the Transport of Art and Artifacts, Brent Powell, 1993
Study Abroad, Perterson's Publications, most recent edition
The Visual Artist's Business and Legal Guide, Gregory T. Victoroff, Esq., 1995
The Ultimate College Survival Guide, Janet Farrar Worthington, 1995
Way to Go: Crating Art Work for Travel, Stephen A. Horne, 1985
Note: Also look at books under Applied Art, preceding.

Law, Ethics, and Copyright
Art Law in a Nutshell, Lenord DuBoff, 1993
The Artist's Friendly Legal Guide, Conner, 1991
Business and Legal Forms for Fine Artist, Tad Crawford, 1990
Business and Legal Forms for Graphic Designers, Tad Crawford and Eva Doman Bruck, 1990
Graphic Artist's Guild Handbook: Pricing and Ethical Guidlines, 8th ed., Graphic Artist's Guild, 1994
Legal Guide for the Visual Artist, Tad Crawford, 1990
Licensing Art and Design, Caryn R. Leland, 1990
Make it Legal, Lee Wilson, 1990
The Visual Artist's Business and Legal Guide, Gregory T. Victoroff, Esq., 1995
Note: also look at titles under Fine Art and Applied Art, preceding.

Professional Commercial Art Directories

The organizations and addresses that follow can all be found at www.wwar.com. Since this book was written in 1994 the web has taken over as the source for information on art. Web sources are much more complete and informative than this book could hope to be.

Adweek Portfolios
49 E. 21st Street New York, NY 10010 (212) 995-7268 (Full color spread: $4,000)

American Illustration Showcase
724 Fifth Ave.New York, NY 10019 (212) 245-0981 (Full color spread: $3,700, Corporate Showcase: $2,500)

American Photography Showcase
724 Fifth Ave.New York, NY 10019 (212) 245-0981

The Creative Black Book
115 Fifth Ave.New York, NY 10003 (212) 254-1330 (Full color spread: $6,270, Creative Illustration Book: $2,400)

Graphic Artists Guild's Directory of Illustration Serbin Communications
511 Olive St.Santa Barbara, CA 93101 (Full color spread: $1,895 to $2,375)

RSVP: The Directory of Creative Talent
P. O. Box 314 Brooklyn, NY 1120 (718) 857-9267 (Full color spread: $1,550)

The (City's Name) Sourcebook 199x
Black Book Marketing, yearly editions for these cities: Chicago, New York, Dallas, Los Angeles, Minneapolis, and San Francisco.
BBMG Headquarters 866 Third Ave.,.New York, NY 10022 (212) 702-4808

The Chicago Sourcebook Alexander Communications, Inc.
212 W. Superior St. Suite 203 Chicago, IL 60610 (312) 944-5115

The Workbook
940 N. Highland Ave.Los Angeles, CA 90038 (213) 856-0008 (Full color spread: $3,500 to $3,800)

Midwestern Arts Boards

Wisconsin Arts Board
131 W. Wilson, #301, Madison, WI 53702 (608) 266-0190

Illinois Arts Council
State of Illinois Center, 100 W. Randolph St. #10-500, Chicago, IL 60601 (312) 917-6750

Indiana Arts Commission
402 W. Washington St. #072, Indianapolis, IN 46204 (317) 232-1268

Iowa Arts Council
Capital Complex, Des Moines, IA 50319 (515) 281-4451

Michigan Council For The Arts
1200 Sixth Avenue, Detroit, MI 48226 (313) 871-0559

Minnesota State Arts Board
432 Summit Avenue, St. Paul, MN 55102 (612) 297-2603

North Dakota Council on the Arts
Black Building, #606, Fargo, ND 58102 (701) 239-7150

Ohio Arts Council
727 E. Main St., Columbus, OH 43205 (614) 224-2606

South Dakota Arts Council
108 W. 11th St., Souix Falls, SD 57102 (609) 339-6646



National Arts Support

Foundation Center
79 Fifth Avenue, New York, NY 10003 (212) 620-4230

Visual Arts Program National Endowment for the Arts
1100 Pennsylvania Avenue NW, Washington, DC 20506 (202) 682-5448

Arts Organizations
" * " Indicates a regional (Minneapolis-St.Paul or Wisconsin) organization or organization with an important, active regional chapter

American Council for the Arts
1 East 53rd St., 7th Floor, New York, NY 10022 (212) 223-2728

American Craft Council
72 Spring Street, New York, NY 10012 (212) 274-0630

American Institute of Graphic Arts (AIGA) *
164 Fifth Ave., New York, NY 10010 (212) 807-1990

American Society of Media Photographers (ASMP) *
14 Washington Road, Suite 502, Princeton Junction, NJ 08550 (609) 799-8300 Minneapolis: (612) 939-7613, Chicago: (708) 218-5191

Arts, Crafts, and Theater Safety
181 Thompson St., #23, New York, NY 10012 (212) 777-0062

The Comic Book Professionals Association, Noel Wolfman, Executive Director
P. O. Box 570850, Tarzana, CA 91357


Center for Safety in the Arts
5 Beekman St., Suite 820, New York, NY 10023 (212) 787-6557

College Art Association
275 Seventh Ave., 5th Floor, New York, NY 10001 (212) 691-1051

Foundations in Art Theory and Education
Contacted Through the College Art Association

Graphic Artists Guild
11 West 20th St., 8th Floor, New York, NY 10011 (212) 463-7730

International Sculpture Center
1050 17th St. NW, Suite 250, Washington, DC 20036 (202) 785-1144

Metropolitan Regional Arts Council (MRAC) * send for Inside Story newsletter. 2423 University Ave. West, Suite 114, Saint Paul, MN 55114 (612) 645-0402

Midwest Media Artists Access Center (MMAAC, formerly Film in the Cities) *
2388 University Ave., Saint Paul, MN 55114 (612) 644-1912

Minnesota Council of Nonprofits
2700 University West, #250, Saint Paul, MN 55114 (612) 642-1904

Motion Picture Screen Cartoonists Union Steve Hulett, Business Representative
Local 839 IATSE , 4729 Lankershim Boulevard, North Hollywood, CA 91602 (818) 766-7151

National Art Education Association
1916 Association Drive, Reston, VA 22091

National Artists Equity Association
1325 G St. NW, Washington, DC 20006 (202) 628-9633


National Association of Schools of Art and Design
11250 Roger Bacon Drive, Suite 21, Reston, VA 22090 (703) 437-0700

Patent and Trademark Office US Department of Commerce
Washington, DC 20131 (703) 308-4357

Resources and Counciling for the Arts (RCA)*
75 West Fifth Street, #429 , Saint Paul, MN 55102 (612) 292-3218

Society of Illustrators
128 East 63rd St. , New York, NY 10021 (212) 838-2560

United States Copyright Office, Library of Congress
Washington, DC 20559 (212) 707-3000

Wisconsin Alliance for Arts Education *
P.O. Box 2215, Madison, WI 53701

Wisconsin Art Education Association *
5010 Gilkeson Rd., Waunaukee, WI 53597

Art Equipment and Supplies

Eau Claire
As in most small towns, you will not find a large selection of art supplies or many discount prices in Eau Claire.
UWEC University Bookstore, Davies Center The most complete and convenient source of materials. Art faculty send lists of needed supplies to the Book Store each semester. Prices are usually the best in Eau Claire, some things have small discounts.
Art Shop and Gallery, 410 Water Street. Full price materials, good selection.
Swartz Office Systems, 2151 Highland Mall. Limited selection of materials, ask for student discount.

Minneapolis
Any store in this area should be giving a healthy discount on materials as this is a very competitive region. The selections are excellent and they all will ship for low cost.

Art Materials Inc., 3018 Lyndale Ave. South (612) 827-2531

Artist's Supply Warehouse, 718 Washington Ave. North (612) 333-3330

Campus Frame Art & Supply, 315 14th Ave. S. E. (612) 331-5760

Dick Blick Art Materials, 2501 26th Ave. South (612) 721-6421 The major national chain with good discounts, outstanding selection, and a comprehensive catalog.

Minneapolis College of Art and Design Book Store

National Camera Exchange, 9300 Olson Highway, Golden Valley (612) 546-6831

Northwest Graphic Supply Co., 4200 East Lake Street (612) 729-7361

Pad-N-Palette, 1425 Washington Ave. South (612) 338-6822

West Photo, 21 University Ave. N. E. (612) 379-2321

Wet Paint, 1684 Grand Ave., St. Paul (612) 699-9779
Also: Check the Minneapolis-St. Paul phone book for more stores.



Catalogs

American Frame Corporation
1340 Tomahawk Drive, Arrowhead Park, Maumee, Ohio 43537 1-800-537-0944
A best for price and service among the many discount framing supply companies.

Dick Blick Art Materials
PO Box 1267, Galesburg, IL 61402 1-800-477-0048
A very comprehensive supplier with the most extensive catalog and good discounts. Great for art education materials.

Pearl Paint Co. Inc. (the world's largest art supplier)
308 Canal Street, New York, NY 10013 1-800-451-73275
Catalog: $1. A must stop for all studio artists when in New York. Great prices and selection.

Utrecht (main office)
33 Thirty-fifth Street, Brooklyn, New York 11232 1-800-223-9132
Copies of the catalog can be found sitting around studios and offices in most art departments.
Additional stores in: New York City, Philadelphia, Washington DC., Berkeley, California, Chicago, Detroit, Boston. Great prices and selection.




Computer and Photography Sources
All computer and photography hardware, software, and supplies are discounted at least one third. Look for prices at this level when you comparison shop. You will not find them in smaller towns unless it is a special sale or through a discount warehouse or buyers club.
For information on Mac computer systems only, check Macworld, Macuser or other dedicated publications.
To find computer street prices (discount) and up-to-date technical information and reviews, its hard to beat the Computer Shopper. Although it mostly covers PC clones, the Shopper has some low dealer prices on Mac CPU's, monitors, and all other associated devices (scanners, memory, etc.).
Additional good magazines for current reviews of hardware and software are: PC Magazine, Publish, NewMedia, and Digital Video.
Also check educational discount plans from universities for all hardware platforms as well as software. These may not be as low as "street prices", however. The University bookstore sells software at educational discounts and can order many more titles than are stocked on the shelves.

The following companies supply a wide variety of software at great educational discounts. Send for their catalogs. Orders must be accompanied by a photocopy of a current student or university ID:

Journey Educational Marketing, Inc.
4314 Sunbelt Drive, Dallas, Texas 75248-1835 1-800-874-9001

The Software Source Co., Inc.
2517 Hwy. 35, Building. N, Suite 201, Manasquan, New Jersey 08736 1-800-289-3275

For photographic materials and equipment pick up a copy of Shutter Bug. Almost all of the best stores and street (discount) prices are listed along with current technical information. Available in the magazine section in many book stores and news stands. (A recommendation with apologies to feminists. Some of the articles and ads can make you cry and or laugh).
B&H Photo and Adorama are good to check for current "street" prices. Woodmere Camera has a solid reputation in used equipment.

Also see the Computers for Artists guide at this curricular site.