Illustrator and Member Cindy Salans Rosenheim Joins ADAA Judging Panel
Posted by Rebecca Blake on July 14, 2017
Guild member Cindy Salans Rosenheim was asked to join the judging panel for the prestigious Adobe Design Achievements Awards, the international student awards co-produced with ico-D. As an illustrator working primarily in watercolor and pen-and-ink, Rosenheim brings unique traditional skills to the panel of judges. Her work encompasses illustration for fashion and food, loose journalistic on-site sketches, more tightly-rendered editorial and children’s book illustration, and even hand lettering, maps, and calligraphy. Rosenheim joined Guild member Theresa Whitehill of Colored Horse Studios, who is participating on the panel for a second year. (We covered Theresa’s experience on the panel last month.)
A native of San Francisco, Rosenheim has spent most of her career working and raising a family in the Bay Area. She attended college at Tufts University, earning a BA in Art History and French. Upon graduation, she moved to the Midwest, spending two years as a staff artist with Hallmark Cards before moving to Chicago to work in a number of illustration studios. Her side client list reflects her breadth of experience, and includes companies (McKesson, Bain & Co. Inc;), major brands (Charles Schwab, American Girls Brands, Hasbro, Warner Brothers), periodicals (New York Times, Wall Street Journal, Harvard Magazine – Harvard University, Natural Health Magazine), and publishing houses (Random House, Macmillan Publishing, Ten Speed Press), among others. You can view her work on her website.
Below: Viana’s Italian garden. © Cindy Salans Rosenheim. Used with permission.
Metro-NY Artists: Pro-Bono Legal Assistance for Copyright Disputes
Posted by Advocacy Liaison on June 27, 2017
The Copyright Alliance has partnered with Cravath, Swain, and Moore LLP and Columbia Law School to provide pro-bono trial services for individuals and small businesses involved in copyright disputes in New York City. Through the initiative, Columbia Law School students working under the supervision of lawyers from the firm provide legal counsel and learn trial skills as related to copyright law.
Designers and illustrators operating in New York City with a copyright dispute are encouraged to apply for consideration in the program. Applicants will be considered based on criteria published on the Alliance’s website. If you’re interested in applying for the program, visit the website to download the forms. For more information, contact the Alliance”s Copyright Counsel, Terrica Carrington, at firstname.lastname@example.org. (Please note that applying for the program does not guarantee legal assistance.)
A Year with the ADAA, Part 1: Judging the Adobe Design Achievement Awards
Posted by Rebecca Blake on June 24, 2017
Over the past year, Guild member and designer Theresa Whitehill of Colored Horse Studio has had a unusual relationship with software giant Adobe: that of both judge and mentor in their 2016 student Adobe Design Achievement Awards. As judge, Whitehill had the opportunity to review work by design, illustration, and film production students from around the world, working last August in tandem with a team of peers.
Q: How did you decide to take on the judging gig?
I looked into the ADAA program, and was really flattered to be asked. The commitment didn’t seem to be too much— only one weekend. Also I’ve been immersed in Adobe products since Photoshop 2.5, but never had the opportunity to interact with the company on a personal level, so I was thrilled to do so and see Adobe campus.
But although the commitment is for one weekend at the Adobe campus, it’s a long schedule – 8:00 a.m. to 5:30 p.m. with a couple breaks, lunch, and dinner. It meant traveling for two hours from my rural studio and overnighting with family. So it wasn’t a light commitment; I had to really want to do it.
Q: What was it like arriving for the first day of judging?
I had to leave my studio in St. Helena at 4:30 a.m. to get to the Adobe campus on time, and was greeted with coffee and pastry in the kitchen. I was overawed to meet the other judges. These were people like art directors with major companies, video producers who worked with MTV in its inception, people who worked in conceptual development. But I realized coming from a book design and book arts background that I brought a unique perspective. Additionally everyone was really generous—that healthy ego you find with creative, talented people.
Once the judging got started, it was like jumping off a ski jump. But there was so much great discussion during the judging process... Anytime you’re put into an environment with like minded people, you get to bond and know each other’s mind.
Q: Was there good communication between the judges while reviewing the student work?
When you combine the breadth of experience of all the judges, the judging becomes very comprehensive. Judging makes you articulate things you may not have realized you know. But at the same time, having other judges with different experience helped me check my reactions. For example, sometimes I’d be blown away by a student’s work, and another judge would point out that it’s actually quite derivative.
Q: What was the judging process like?
On the first day, the 14 judges were split into groups to judge in our own areas of expertise. In my group, we evaluated submissions in photography, illustration, and graphic design (fine art and commercial) I initially picked my top three candidates for each area, and later in the day, met with the other judges in my group. At that point, we started comparing each others’ choices, and selecting the group’s top three choices.
On the second day, we continued evaluating the submissions to select the winners and honorable mentions. We also had discretion to address submissions which didn’t seem to fit a particular category, and could make recommendations to Adobe to add categories of work. The award process is very much a living being; as technology and schools develop and abandon disciplines, the categories of work can change. The result is the ico-D and Adobe are learning as much from the judges as the judges are about the work. (Note: ico-D, the International Council of Design, co-produces the ADAA with Adobe.)
By Sunday afternoon, we had made our final choices, and the groups met to review the winners of each category. That meant groups which were still questioning a choice could ask the entire body of judges to weigh in on the selection. Ico-D was great to work with; they were present to ensure that the judging adhered to standards for best practices, followed guidelines, and was fair.
I said to another judge that sometimes I felt professional jealousy because the presentation quality was so high. I was also amazed at the extraordinary illustration talent—it felt like a privilege to view it.
Q: Were you impressed by the student work? What surprised you the most?
Overall the work was really impressive. Some projects were clearly underdeveloped but others were so professional. In fact, I said to another judge that sometimes I felt professional jealousy because the presentation quality was so high. I was also amazed at the extraordinary illustration talent—it felt like a privilege to view it.
I was struck by how about 85% of the projects seemed to assume a limitless budget for printing, etc. I ended up gravitating to the projects that assumed that a client (fictional or otherwise) might also have a budget, so that the project was developed with limits in mind.
Q: What do you think was the best takeaway for the student winners?
The students who put together almost seamless projects may not have the ability to show their work to someone who can help them. This awards process can give recognition to students who may not have the time, opportunity, connections, or resources to promote themselves. On top of that, there are the tangible benefits, such as the trip to the AdobeMax conference, or the mentoring opportunities.
Q: And what did you get out of the process?
Once the judging got started, it was like jumping off a ski jump. But there was so much great discussion during the judging process. Even judges who didn't talk much would speak up and pull us back to the core mission. Anytime you’re put into an environment with like minded people, you get to bond and know each other’s mind. I also learned a lot about myself. It gave me the opportunity to step outside of my environment and look back at my career. And I’m so grateful I got the opportunity to contribute.
Below: Teresa Whitehill in her studio.
photo © Adrienne Simpson. Used with permission.
Creating Unity Through Color Editing
Posted by Rebecca Blake on June 22, 2017
How often have you faced this challenge? You have a disparate selection of images—they may have very little in common in terms of subject matter, color palette, or composition—and it’s your task to create a cohesive and effective layout using all of the images. Proper color editing of webpage images is a step most web designers overlook. Yet ignoring this crucial step can result in a webpage which is unbalanced, misdirecting the viewer’s focus and resulting in an unpleasant (if not confusing) user experience.
In her blog post titled Color Editing for Web Page Design, Photoshop & Color Specialist Martha DiMeo walks through a case study of a website’s homepage to demonstrate how editing color can be the solution to create unity and visual flow. In a recent project, she needed to combine four disparate images on a webpage. The images had previously been color corrected to be used separately, in either print or email, but didn’t work cohesively when placed together.
DiMeo’s process to reconcile the images involved carefully evaluating the combined images, and adjusting each to create rhythm and harmony. The result is a harmonious image that allows the viewer to absorb the web page with ease. To read how DiMeo identified the problem areas and adjusted the color balance, read the full article.
This article originally appeared on CQ Blog, Martha DiMeo’s blog on her website ChromaQueen.com.
© Martha DiMeo. Paintings © Meldy Phaneuf. Color correction images © Martha DiMeo. Used with permission.
NEA Granted a Reprieve; Arts Advocates Gear Up for the Longer Fight
Posted by Rebecca Blake on May 12, 2017
Arts advocates were appalled when the budget proposed by the Trump transition team called for eliminating the National Endowment for the Arts, along with steep cuts to other cultural and social programs. On April 30th, Congressional leaders came to a bipartisan agreement to fund the government through September. The House Appropriations Committee FY 2017 Omnibus Summary lists a full $150 million each to the NEA and to the National Endowment for the Humanities, an increase of $2 million. In an email to the Los Angeles Times, an NEA spokesperson wrote that the funding increase matched a request made by the agency in February 2016.
While the news is a welcome reprieve, arts advocates are not breathing easy – the administration has proposed defunding the NEA entirely in 2018. Americans for the Arts has orchestrated a comprehensive campaign: they've been conducting an online petition through their Action Center, their Arts Mobilization Center publishes updates on federal funding for the arts, and they’ve conducted a print ad campaign, “The Arts Put America to Work,” which highlights the 4.8 million Americans employed in the arts.
That last statistic that is supported by data. In April, the NEA released the results of a study conducted with the Bureau of Economic Analysis. The study showed that total arts and cultural industries in the United States employ 4,802,813 individuals at a compensation of $355 billion. Of that amount, core arts and cultural industries (“originators of ideas and content associated with the creation of arts and culture”) employ 950,997, at a compensation of $68 billion. The study results are posted online with an interactive map which permits viewers to see the economic contribution of the arts state-by-state.
Below: Clicking onto each state on the interactive map on the NASAA website pulls up data for that state.Previous Page Next Page
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