The Sketchbook Project: A Mobile Library Like No Other
Posted by Rebecca Blake on July 08, 2015
Well into its world tour, The Sketchbook Project takes the concept of a mobile library into territory dear to the hearts of artists, illustrators, diarists, and obsessive doodlers. Their Mobile Library is housed in a vehicle that strongly resembles a foodtruck, but contains a selection of books submitted by artists around the world. Visitors can thumb through a collection curated from the Project’s Brooklyn library of 34,000 sketchbooks, contributed from creators in over 135 countries. Currently, the Mobile Library is in the middle of its world tour, traveling the west coast before heading up to Canada.
The Sketchbook Project’s home base is the Brooklyn Art Library, located in Williamsburg, Brooklyn, NY. The Library is a simple storefront lined with shelves upon shelves of sketchbooks, barcoded and searchable by details such as location of origin, media, and topic. Locals can acquire library cards and check out two sketchbooks at a time, or read at the library’s long tables. In addition to the Mobile Truck and Brooklyn Art Library, the Project has a Digital Library, where web users can browse view over 17,000 online sketchbooks.
The Sketchbook Project was founded by new SCAD graduates Shane Zucker and Steven Peterman in Atlanta, GA in 2006, and moved to Brooklyn in 2009. It was conceived as a way of combining hand-made traditions with new Web-based technologies. Illustrators wanting to participate in the Project can apply to submit sketchbooks through March 31st, 2016. The Project also organizes periodic collaborative challenges, such as their current Print Exchange. Participants create and submit 11 5x7 prints on the theme, “Greetings From A Distant Land” and receive back 10 prints, swapped by Project staff from other submissions.
The Cost of Logo Design: Advice from a Graphic Designer
Posted by Rebecca Blake on June 17, 2015
Brooklyn-based graphic designer Roberto Blake has done us all a favor. In his video, “How Much Does a Logo Design Cost,” he educates non-designers on what to expect when soliciting a bid on a logo design. Business owners hoping to get a flat price quote will be disappointed; from the outset Blake makes it clear that the cost varies greatly depending on a number of factors: the kind of logo, complexity, color variations, alternate designs, etc. Instead, Blake prepares the non-designer to have a clear discussion with the logo designer, advising against engaging in bargaining for the lowest fee possible and encouraging the client to engage in a transparent discussion of budget and needs.
In outlining the design process, from research through execution of the design, through production of final press- and web-ready files, Blake makes clear the effort and time the logo designer expends. He also cautions the viewer that the copyrights to the logo do not transfer to the client until the rights have been negotiated and paid for. He concludes his video with a discussion of a flat-fee versus hourly rate fee basis, and payment schedules.
While Blake intended the video to be a teaching tool for clients, it’s also a wonderful resource for new designers inexperienced in negotiating with clients on logo design projects. Experienced designers will find the video helpful as well. It’s the perfect link to email anyone who asks, “Why do you charge so much for just a logo?”
Blake’s YouTube channel features a number of videos on design and photography best practices and techniques.
Guild Member Joseph Caserto Responds to Pratt Crowdsourcing Contest
Posted by Rebecca Blake on June 11, 2015
Proud Pratt Institute alum Joseph Caserto was shocked to learn that his alma mater issued a call for students to participate in a crowd-sourced mascot design contest. As a long-time Guild member and working professional, Caserto was well versed in the deleterious impact of crowdsourcing on the design and illustration professions. He reached out to Guild advocacy liaison, Lisa Shaftel, who provided him with sample letters protesting crowd sourcing. Caserto constructed his own response and sent it to Pratt with a firm but respectful letter expressing his disappointment with the institution:
“It is imperative for you to understand that by asking designers to work for free, you are exploiting them. This is at best a poor lesson for Pratt to be teaching students, and at worst contributing to a practice that is damagof
ing to the industry that these young professionals are entering, and in which they are expected to compete.”
Rather than resorting to crowdsourcing, Caserto recommended that Pratt solicit work via a program similar to Design Corps, a project led by the late Charles Goslin when Caserto studied at Pratt. Through Design Corps, select students are invited to work on a client project under the mentorship of a professor, in exchange for course credit and an agreed-upon stipend. Caserto shared his concerns in an article on his blog, “Pratt Sets a Terrible Example by Crowdwourcing a Logo.”
Helen Matusow-Ayres, Pratt’s Vice President for Student Affairs, responded to Caserto with a polite explanation that the mascot design is part of a larger identity project being handled by a professional design firm headed by a Pratt alumnus. She explained that crowdsourcing the project was an attempt to “engage the Pratt community.” While Caserto appreciated the courtesy of the response, he didn’t buy their justification: “…the Institute is sending a powerful, dangerous message to students that it is an acceptable business practice, and to professionals that our alma mater condones one of the biggest challenges to our livelihoods.”
Photo by Glenn Glasser.
Canada 150 Logo Revealed to Subdued Response from Graphic Designers
Posted by Rebecca Blake on May 01, 2015
After a controversial logo contest bitterly criticized by national design organizations, the Canadian government revealed its chosen 150 anniversary logo. The logo, a maple leaf created from a mosaic of multi-colored diamonds, is the creation of University of Waterloo design student Ariana Cuvin. According to the Department of Canadian Heritage website, Cuvin designed the logo to represent Canada’s 13 provinces, with colors and placement chosen to reflect the country’s history and diversity. The logo is reminiscent of the hugely popular centennial logo, created by designer Stuart Ash.
Response to the logo design has been muted; the Ottawa Citizen reported that most designers declined to critique the logo. There is a general consensus that the logo is an improvement over the original proposed designs, an assemblage of tired, overused imagery created in 2013 by Canada Heritage in-house designers and tested in focus groups for the astronomical fee of $40,000 CN. That earlier attempt drew the criticism of the Association of Registered Graphic Designers (RGD), who drafted a letter to complain that “Design is a process involving research, creativity, strategy and client participation. Without going through this process… any designs that are developed will fall short of what is possible.”
Unfortunately Canada Heritage’s response to the proposed designs was the announcement of the logo design contest, targeted to Canadian design students. As we reported in January, Canadian design organizations were outraged, and launched a “My Time Has Value” campaign to point out the hypocrisy of asking for spec work from students. While the campaign did not persuade Canada Heritage from continuing with the logo contest, the small selection of logo submissions – only 300 total – indicates that the protest resonated with students.
Cuvin herself has little to say about the controversy, other than she knew what she was agreeing to, and didn’t feel exploited. However, remarks she made to the Toronto Star — “It does kind of suck for a professional, this big project being given to a student… There’s a client, they chose what they liked, and it happened to be my design.” — indicate that she may not fully comprehend the concerns voiced by protestors. The design organizations are using the outcome as an opportunity to educate. Both RGD and the Graphic Designers of Canada have issued an open letters inviting designers to writer their local representatives about the value of design.
Keep Your Art Director Happy: 10 Mistakes Illustrators Make
Posted by Rebecca Blake on March 24, 2015
Art director Giuseppe Castellano has compiled a list of 10 common mistakes illustrators make in delivering their artwork. The advice covers basic errors in file delivery that are guaranteed to sour a working relationship. Much of the advice covers basics, such as file type, color space, specs, and cropping. However, Castellano also provides insight into what makes art directors sing when he asks illustrators to push beyond the obvious in selecting their color palette, and in considering composition and point of view.
His strongest advice is to avoid springing nasty surprises on the client – by producing something unexpected, being late, or being unprofessional. He reminds that art directors have a hierarchy to answer to, and often have the training and experience to work with illustrators who are struggling with an assignment. Castellano encourages illustrators to keep their art directors abreast of any difficulties they’re having with meeting the terms of an assignment: “As long as you stay communicative, you and your client can work through any issue together.”Previous Page Next Page
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