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DISCOVERING

CAREERS Art

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Titles in the Discovering Careers series Adventure Animals Art Computers Construction Environment Fashion Food Health Math Movies Nature Performing Arts Science Space Exploration Sports Transportation Writing

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DISCOVERING

CAREERS

Art

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Discovering Careers: Art Copyright © 2012 by Infobase Learning All rights reserved. No part of this book may be reproduced or utilized in any form or by any means, electronic or mechanical, including photocopying, recording, or by any information storage or retrieval systems, without permission in writing from the publisher. For information contact Ferguson’s An imprint of Infobase Learning 132 West 31st Street New York NY 10001 Library of Congress Cataloging-in-Publication Data Art. — 1st ed. p. cm. — (Discovering careers) Includes bibliographical references and index. ISBN-13: 978-0-8160-8055-7 (hardcover : alk. paper) ISBN-10: 0-8160-8055-0 (hardcover : alk. paper) ISBN: 978-1-4381-3907-4 (e-book) 1. Arts—Vocational guidance—Juvenile literature. I. Ferguson Publishing. NX163.A73 2011 700.23—dc23 2011020644 Ferguson’s books are available at special discounts when purchased in bulk quantities for businesses, associations, institutions, or sales promotions. Please call our Special Sales Department in New York at (212) 967-8800 or (800) 322-8755. You can fâ†œind Ferguson’s on the World Wide Web at http://www.infobaselearning.com Text design by Erik Lindstrom and Erika K. Arroyo Composition by Erik Lindstrom Cover printed by Bang Printing, Brainerd, Minn. Book printed and bound by Bang Printing, Brainerd, Minn. Date printed: October 2011 Printed in the United States of America 10 9 8 7 6 5 4 3 2 1 This book is printed on acid-free paper.

CONTENTS Introduction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1 Animators . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5 Art Dealers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .11 Art Directors and Production Designers . . . . . . . . . . . . . .16 Artists. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .22 Art Museum Directors and Curators . . . . . . . . . . . . . . . . . .28 Art Teachers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .33 Cartoonists and Illustrators . . . . . . . . . . . . . . . . . . . . . . . . . .38 Cinematographers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .44 Computer and Video Game Designers . . . . . . . . . . . . . . . .49 Conservators and Conservation Technicians . . . . . . . . .54 Creative Arts Therapists. . . . . . . . . . . . . . . . . . . . . . . . . . . . . .59 Fashion Designers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .63 Fashion Illustrators and Photographers . . . . . . . . . . . . . .69 Graphic Designers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .75 Interior Designers and Decorators . . . . . . . . . . . . . . . . . . .79 Makeup Artists . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .85 Multimedia Artists . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .90 Photographers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .94 Photo Stylists . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 100 Special and Visual Ef fects Technicians . . . . . . . . . . . . . 104 Glossary . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 109 Browse and Learn More . . . . . . . . . . . . . . . . . . . . . . . . . . . . 112 Index. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 119

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Introduction You may not have decided yet what you want to be in the future. And you don’t have to decide right away. You do know that right now you are interested in art. Do any of the statements below describe you? If so, you may want to begin thinking about what a career in art might mean for you. ___ My favorite class in school is art. ___ I enjoy painting and drawing. ___ I like to use my hands to make or build things. ___ I work hard to make my school reports attractive. ___ I make posters for my church or school. ___ I enjoy photography. ___ I often visit art museums and galleries. ___ I make my own jewelry. ___ I like making f ilms with my video camera. ___ I volunteer to arrange my class bulletin board. ___ I arrange the furniture and decorate my own room. ___ I spend a lot of time using art and illustration programs on my computer. ___ I enjoy drawing cartoons. ___ I like to look at art history books. ___ I am interested in colors, shapes, and textures. ___ I like to tell other people about art. Discovering Careers: Art is a book about careers in art, from animators and cartoonists, to fashion designers and makeup artists, to photographers and special ef fects technicians. Artists include those who work in two-dimensional art (such as painting and drawing) and three-dimensional (sculpture) art, 1

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Discovering Careers: Art

as well as architecture, f ilm, computer-generated art, computer and video games, animation, publishing, advertising, fashion, and photography. Some are f ine artists, who create works for personal expression and to communicate ideas. Their art is mostly for viewing, such as paintings and sculpture, although often their art is useful as well, such as ceramics. Other artists are commercial artists, who make art for advertising, publishing, public relations, and other business enterprises to attract attention, sell products and services, illustrate ideas, and record events. This book describes many possibilities for future careers in art. Read through it and see how the dif ferent careers are connected. For example, if you are interested in painting and drawing, you will want to read the chapters on Artists, Cartoonists and Illustrators, Creative Arts Therapists, and Fashion Illustrators. If you are interested in photography, you will want to read the chapters on Art Directors, Cinematographers, Fashion Photographers, Photo Stylists, Photographers, and Special and Visual Ef fects Technicians. If you are interested in repairing damaged artwork, you should read Conservators and Conservation Technicians. Go ahead and explore!

What Do Artists Do? The f irst section of each chapter begins with a heading such as “What Animators Do” or “What Graphic Designers Do.” This section tells what it’s like to work at this job. It also describes typical responsibilities and working conditions. Which artists work in studios? Which ones work at computers in of f ices? Which artists work on movie sets or at fashion shoots? This section answers these and other questions.

How Do I Become An Artist? The section called “Education and Training” tells you what schooling you need for employment in each job—a high school

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Introduction

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diploma, training at a junior college, a college degree, or more. It also talks about what high school and college courses you should take to prepare for the f ield.

How Much Do Artists Earn? The “Earnings” section gives the average salary f igures for the job described in the chapter. These f igures give you a general idea of how much money people with this job can make. Keep in mind that many people really earn more or less than the amounts given here because actual salaries depend on many dif ferent things, such as the size of the company, the location of the company, and the amount of education, training, and experience you have. Generally, but not always, larger companies located in major cities pay more than smaller ones in smaller cities and towns, and people with more education, training, and experience earn more. Also remember that these f igures are current or recent averages. They will probably be dif ferent by the time you are ready to enter the workforce.

What Will the Future Be Like for Artists? The “Outlook” section discusses the employment outlook for the career: whether the total number of people employed in this career will increase or decrease in the coming years and whether jobs in this f ield will be easy or hard to f ind. These predictions are based on economic conditions, the size and makeup of the population, foreign competition, and new technology. They come from the U.S. Department of Labor, professional associations, and other sources. Keep in mind that these predictions are general statements. No one knows for sure what the future will be like. Also remember that the employment outlook is a general statement about an industry and does not necessarily apply to everyone. A determined and talented person may be able to f ind a job in an

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industry or career with the worst outlook. And a person without ambition and the proper training will f ind it dif f icult to f ind a job in even a booming industry or career f ield.

Where Can I F ind More Information? Each chapter includes a sidebar called “For More Info.” It lists resources that you can contact to f ind out more about the f ield and careers in the f ield. You will f ind names, addresses, phone numbers, e-mail addresses, and Web sites of art-oriented associations and organizations.

Extras Every chapter has a few extras. There are photos that show art workers in action. There are sidebars and notes on ways to explore the f ield, fun facts, prof iles of people in the f ield, and lists of Web sites and books that might be helpful. At the end of the book you will f ind three additional sections: “Glossary,” “Browse and Learn More,” and “Index.” The Glossary gives brief def initions of words that relate to education, career training, or employment that you may be unfamiliar with. The Browse and Learn More section lists art-related books, periodicals, and Web sites to explore. The Index includes all the job titles mentioned in the book. It’s not too soon to think about your future. We hope you discover several possible career choices in the art f ield. Happy hunting!

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Animators

What Animators Do Animators design the cartoons you see on television, at the movies, and on the Internet. They also create the digital ef fects for many f ilms and commercials. Making a big animated f ilm requires a team of many creative people. Each animator on the team works on one small part of the f ilm. On a small production, animators may be involved in many dif ferent parts of the project’s development. An animated f ilm begins with a script. Screenwriters plan the story line, or plot, and write it with dialogue and narration. Designers read the script and decide how the f ilm should look. They then draw some of the characters and backgrounds. These designs are then passed on to a storyboard artist who illustrates the whole f ilm in a series of frames, similar to a very long comic strip. Based on this storyboard, an artist can then create a detailed layout. In the past, the most common form of animation was cell animation. It is still used today by some animators. Cell animators examine the script, the storyboard, and the layout, and begin to prepare the f inished artwork frame by frame, or cell by cell, on a combination of paper and transparent plastic sheets. Some animators create the “key” drawings—these are the drawings that capture the characters’ main expressions (smiling, frowning, etc.) and gestures (pointing, clapping, etc.) at important parts in the plot. Other animators create the “in-between” drawings—the drawings that f ill in the spaces between one key 5

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EXPLORING • Visit Cartoonster (http://www

.kidzdom.com/tutorials) to learn how to make your own animations. • View as many animated f ilms, television shows, and Internet shorts that you can to learn about dif ferent types of animation styles. • Practice sketching. Carry a sketchpad around in order to quickly capture images and gestures that seem interesting to you. • There are many computer animation software programs

available that teach basic principles and techniques. Use these to hone your skills. • Participate in school or community art clubs. Draw posters to publicize activities, such as sporting events, dances, and meetings. • Some video cameras have stopmotion buttons that allow you to take a series of still shots. You can use this feature to experiment with claymation and other stop-motion techniques. • Talk to an animator about his or her career.

drawing and the next. The cells are painted by hand or scanned into a computer. With computer programs, animators add color, special ef fects, and other details. In stop-motion animation, an object, such as a clay creature or doll, is photographed, moved slightly, and photographed again. The process is repeated hundreds of thousands of times. The most popular type of animation today is created by using a computer. In computer-generated animation (also known as digital animation), the animator creates all the images directly on the computer screen. Computer programs can create ef fects like shadows, reflections, distortions, and dissolves. Computers

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Animators

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An animator uses a software program to edit an animation sequence. (D. Blume, Syracuse Newspapers/The Image Works)

are used to color animation art, whereas formerly, every frame was painted by hand. Computers also help animators create special ef fects and even entire f ilms. One animation program, Macromedia’s Flash, has given rise to an entire Internet cartoon subculture.

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Major Animation Studios

Education and Training

Art and drawing classes will prepare you for a career in aniBlue Sky Studios mation. Photography classes can http://www.blueskystudios.com help you to develop visual composition skills. English compoDreamWorks Animation SKG sition and literature classes will http://www.dreamworksanimation. help you develop creative writcom ing skills. Computer classes are extremely important for learnIndustrial Light & Magic ing to use art-related software, http://www.ilm.com such as illustration, graphics, and animation programs. Rhythm & Hues Studios A college education isn’t http://www.rhythm.com required, but many animators have at least a bachelor’s degree Sony Pictures Imageworks in computer animation, digital http://www.sonypictures.com/ art, graphic design, or art. Addiimageworks tionally, aspiring animators should learn as many dif ferent software packages as possible, including Maya, PhotoShop, F inal Cut, Premiere, and After Ef fects.

Earnings Multimedia artists and animators who worked in the motion picture and video industry earned mean yearly salaries of $70,960 in 2009, according to the U.S. Department of Labor. Salaries ranged from less than $33,000 to more than $99,000.

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Animators

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Words to Learn animatic a kind of digital storyboard that allows animations to be viewed on a video monitor claymation one of the most common forms of stop-motion animation in which the objects being photographed are made of clay CGI acronym for “computergenerated imagery,” which refers to any artwork or animation created with computers computer animation the creation of moving images through the use of computers; also known as digital animation dialogue the conversations between characters in a movie, television show, or book; dialogue advances the plot or tells the audience important facts about each character’s personality, actions, or history

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layers used in complex animation to help manipulate objects; dif ferent objects can be assigned dif ferent layers and then moved independently modeling the process used to make animated objects from a real object; animators use models to help them envision the object and f igure out how to draw its movements on flat paper narration the voice-over in a f ilm or television show that f ills in the details of a story rendering making a character or an inanimate object seem lifelike; artists use color, shadow, texture, and light to render

fps frames per second; in general, the higher the number of frames, the better the animation will be

stop-motion animation animation produced by arranging actual objects, taking a picture of them, repositioning the objects with slight dif ferences, then taking another picture of them, and so on; the end result creates an illusion of motion when they are viewed in sequence

kinematics animating a model to move the way a human moves

storyboarding an outline of an animation in a series of drawings in multiple frames

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FOR MORE INFO The guild represents the interests of animation professionals in California. Visit its Web site for information on training, earnings, and the animation industry.

Animation Guild Local 839 1105 North Hollywood Way Burbank, CA 91505-2528 818-845-7500 http://animationguild.org For information about animated f ilms and digital ef fects, visit the AWN Web site, which includes feature articles, a list of schools, and a career section.

Animation World Network (AWN) 6525 Sunset Boulevard, Garden Suite 10 Hollywood, CA 90028-7212 323-606-4200 [email protected] http://www.awn.com

For membership information, contact

International Animated F ilm Society-ASIFA Hollywood 2114 West Burbank Boulevard Burbank, CA 91506-1232 818-842-8330 [email protected] http://www.asifa-hollywood.org For an art school directory and general information, contact

National Art Education Association 1806 Robert Fulton Drive Reston, VA 20191-4348 703-860-8000 [email protected] http://www.arteducators.org

Outlook Opportunities in this f ield are expected to be good during the next decade. Animated f ilms continue to make millions of dollars at the box of f ice. Cable television is also producing more and more successful animated series for both children and adults. Animation is also being made for use in cell phones, MP3 players, tablet computers, and other types of mobile technology. It is also being used in scientif ic research and other settings outside the entertainment industry.

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Art Dealers

What Art Dealers Do Art dealers buy, display, and sell works of art. This art may be anywhere from thousands of years old to brand new. They sell paintings, sculptures, photographs, and other types of artwork. Many art dealers are self-employed. They go into business after discovering an interest in collecting artwork themselves. A typical day for art dealers involves many dif ferent duties. They meet with visitors to the gallery who are interested in buying artwork. They also communicate with them via e-mail and the telephone. They make sure that orders have been packed and shipped out for delivery. They prepare advertising copy for publication. They take photographs of any works that have just arrived at the gallery in order to place them in print catalogs or online. They order frames for new works, and hire conservators to repair paintings or other art that has been damaged or is dirty. Art galleries often have Web sites that feature art that is for sale, prices, details about artists, and other information. Art dealers keep their gallery’s Web site current so that customers can easily use it. Art dealers also visit other art Web sites to view artwork that they may purchase for sale in their galleries. Art dealers spend a lot of time at their galleries. Most galleries are open at least f ive days a week and operate during regular business hours. Some galleries have extended shopping hours in the evening. Owners of galleries typically work longer

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hours based on the fact they have to do all the tasks that a normal business owner has to do (payroll, EXPLORING G budgeting for new acquisitions to • Learn more about the work of the gallery, collecting payments) in dealers and how art is bought addition to showing artwork. and sold by visiting http://www. At smaller galleries, the dealer artdealers.org/collectorsguide. may be the only worker. At larger html. galleries, the dealer may supervise • Visit galleries in your area. a small staf f that handles many • Read books and magazines support duties such as updating about art. the gallery’s Web site, responding • Talk with an art dealer about his to customer requests, and preparor her career. ing shipments. Art dealers also travel for their work. They take buying trips and shopping expeditions to restock their inventory. They attend auctions, visit other galleries, and meet with private collectors

Tips for Success To be a successful art dealer, you should • enjoy searching for and buying

works of art • have patience to deal with artists and clients • be familiar with the Internet


• have strong business and sales

skills • be willing to continue to learn about art and changes in the industry • have strong communication skills • have a deep love of art

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Art Dealers

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Helping Hands: International Child Art Foundation Founded in 1997, the International Child Art Foundation (ICAF) is a nonprof it organization that seeks to encourage children to be creative and care about others by using a foundation of art mixed with science, sport, and technology. The organization’s hope is that by creating opportunities for art, they are in turn creating a more prosperous and peaceful world. The organization sponsors many activities throughout the world, including the Peace Through Art and the Healing Arts programs. It also publishes ChildArt, a quarterly magazine for eightto 12-year-olds. One of its more popular events is the World Children’s Festival, which is held annually in Washington, D.C. During this free, three-day event, children are able to express their creativity through dance, music, art, technology, and literacy workshops. There are keynote speeches from U.S. Senators and other government of f icials, foreign leaders, artists, and Olympians. However, the


children are the stars of the show and are in charge of staging and hosting the festival. Another event, the Arts Olympiad, is held every four years. The theme changes for every Olympiad. The event starts with structured lesson plans for children, of fered at no cost by the ICAF. Children can interpret their version of the theme using paint, digital art, or other mediums. There is a f inal art competition, with shows and celebrations at the local and national levels. This event is sponsored by the U.S. Olympic Federation. The ICAF also of fers many therapeutic programs to help children heal from the ef fects of natural disasters and terrorist attacks. In recent years, they have reached out to help children in Haiti, Chile, and New Orleans. Visit http://www.icaf.org for more information. Source: International Child Art Foundation

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FOR MORE INFO For industry information, antique show schedules, and appraisal information, contact

Antiques and Collectibles National Association PO Box 4389 Davidson, NC 28036-4389 800-287-7127 http://www.antiqueandcollectible.com For art resources and listings of galleries, contact

New York, NY 10016-6022 212-488-5550 http://www.artdealers.org Contact FADA for information on art galleries nationwide and special events.

F ine Art Dealers Association (FADA) PO Box D-1 Carmel, CA 93921-0729 http://www.fada.com

Art Dealers Association of America 205 Lexington Avenue, Suite #901

who are interested in selling art. They may travel to other cities in the United States or to foreign countries around the world.

Education and Training In high school, take art and history classes to familiarize yourself with dif ferent artistic styles and periods. English and speech classes will help you hone your communication skills. These are important because you will communicate with customers, artists, and other dealers every day. Taking a foreign language will also be useful. Operating your own small business will also require skills such as accounting, simple bookkeeping, and marketing, so business classes are recommended. While you do not need a college education to work as an art dealer, a degree in f ine arts, art history, or history is recommended. Another option is obtaining a degree in business or entrepreneurship.


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Earnings Art dealers have a wide range of earnings based on the size and location of their gallery, the type of art they sell, current trends and tastes of the public, and many other factors. Some art dealers may make less than $5,000 a year, while very successful dealers who sell very expensive art may earn more than $1 million a year. Some dealers work only part time or rent showcase space from established shops.

Outlook There will always be a need for educated art dealers to sell art to the public. Dealers with advanced education, experience, and knowledge of a particular art specialty (such as Pop Art or Impressionism) will have the best job prospects.


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Art Directors and Production Designers

What Art Directors and Production Designers Do Art directors are in charge of all images that appear in print and online publications such as newspapers, books, magazines, and advertisements. They are experts in arranging the text, pictures, and other visual elements, as well as using color, photography, and dif ferent kinds of lettering called typefaces. Sometimes they combine new and existing art to create the needed visual ef fect. At the beginning of a project, art directors sketch a design of what the page will look like. They block out areas for text, artwork, and other graphics. The art director then hires illustrators, photographers, or graphic designers to create the f inished art for the project. A production editor or graphic designer puts the f inished pieces together into a f inal form, usually using a computer layout program. The art director sees every part of the process and gives approval or orders changes. Once the art director is satisf ied with the f inal proof, the project is ready to be printed, turned into an electronic publication (such as an e-book), or posted online. Production designers oversee the overall look of the visual elements in f ilms, television broadcasts, and commercials. They approve the props, costumes, and locations. They are experts in f ilmmaking and video production techniques, design, computer graphics, and animation, depending on their specialty. Production designers also work on stage produc-

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tions. They manage the team of lighting, set, costume, makeup, and sound designers. In the f ilm EXPLORING and television industries, art • Develop your own artistic talent directors are the top assistants by reading books and practicing of production designers. They drawing skills or taking art and make sure that the production design classes. designer’s vision for the project • Visit art galleries and museums. is enacted. Production designers Notice color, composition, baland art directors for f ilm, televiance, mood, and other visual sion, and other broadcast media elements. have a variety of responsibilities. • Study paintings, as well as magaIf the f ilm or television is to be zines, motion pictures, videos, or shot on location (away from the commercials. f ilm or television studio), the • Work on the staf f of your school production designer works with newspaper, magazine, or yeara location scout to f ind a location book. that best f its the setting depicted • Talk to art directors and proin the script and works with the duction designers about their careers. budget of the project. Then they submit several rough drawings, called storyboards, which show step by step what the f ilmed piece will look like when it is f inished. The storyboards are drawn by hand or with the help of software drawing programs. During this time, they also work with the production manager and line producer to lock down a budget for the art department so that construction on the sets can begin. Once the budget is approved, the sets are built. During the various stages of production, the production designer manages the talents of many workers. These include art directors, set decorators and designers, model makers, location managers, propmasters, construction coordinators, and special


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The production designer (right) and art director of Shrek the Third arrange a model ship. (Jef f Chiu, AP Photo)


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ef fects people. They also work with writers, unit production managers, cinematographers, costume designers, and postproduction staf f, including editors.


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DID YOU KNOW? Where Art Directors and Production Designers Work • Advertising agencies • Computer game developers • F ilm and television production houses • F ilm and television studios • Marketing and public relations f irms • Multimedia developers • Publishing companies • Theater companies • Other organizations that produce or use visual elements

To prepare for a career as an art director or production designer, concentrate on art and computer classes, as well as math. Most art directors in the publishing industry have at least a bachelor’s degree, usually in graphic design or f ine art. A few go on to earn master’s degrees. Production designers and art directors in f ilm and broadcasting earn degrees in production design, f ilm, directing, animation, or cinematography. Art directors and production designers typically gain experience by working as graphic designers, production assistants, or illustrators.

Earnings The average salary for art directors in all industries was about $78,580 in 2009, according to the U.S. Department of Labor. Entry-level art directors earned less than $42,000 a year, while very experienced art directors earned more than $160,000 a year. The weekly base pay for a motion picture art director who is a member of the International Alliance of Theatrical Stage Employees is approximately $3,000.


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Award Winners Following are recent Oscar winners for art direction: 2010: Robert Stromberg, Alice in Wonderland 2009: Rick Carter and Robert Stromberg, Avatar 2008: Donald Graham Burt, The Curious Case of Benjamin Button 2007: Dante Ferretti, Sweeney Todd The Demon Barber of Fleet Street 2006: Eugenio Caballero, Pan’s Labyrinth 2005: John Myhre, Memoirs of a Geisha

2004: Dante Ferretti, The Aviator 2003: Grant Major, The Lord of the Rings: The Return of the King 2002: John Myhre, Chicago 2001: Catherine Martin, Moulin Rouge 2000: Tim Yip, Crouching Tiger, Hidden Dragon For more information on Academy Award-winning art directors, visit http://www.oscars.org/ awardsdatabase.

Outlook Opportunities for well-qualif ied art directors in the publishing and advertising industries should continue to be good. Competition for jobs will be strong, though, and it takes many years assisting in design and layout before you can become a director. Employment for production designers and art directors in the motion picture and television industries is expected to be only fair. Many people want to enter these industries, and only the most-talented and hard-working people will be able to land jobs.


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FOR MORE INFO For industry information, contact

American Advertising Federation 1101 Vermont Avenue, NW, Suite 500 Washington, DC 20005-3521 800-999-2231 http://www.aaf.org For industry information, contact

Art Directors Club 106 West 29th Street New York, NY 10001-5301 212-643-1440 [email protected] http://www.adcglobal.org For information about art directors who are employed in the moving picture industry, contact


Art Directors Guild & Scenic, Title, and Graphic Artists 11969 Ventura Boulevard, 2nd Floor Studio City, CA 91604-2630 818-762-9995 http://www.adg.org This union represents production designers, art directors, and other f ilm industry professionals working in f ilm, television, industrial shows, theatre, opera, ballet, commercials, and exhibitions. Visit its Web site for more information.

United Scenic Artists Local 829 29 West 38th Street, 15th Floor New York, NY 10018-5504 212-581-0300 http://www.usa829.org

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Artists

What Artists Do EXPLORING G • Read books about art. • There are many Web sites available

•

•

•

• •

that can teach you about different types of art and other topics. See the Browse and Learn More section at the end of this book for suggestions. Use library resources to learn about the history of art, artistic techniques, and methods. Develop your artistic skills by painting, sketching, sculpting, or taking pictures, for example, on a regular basis. Take as many art classes as possible. Most elementary, middle, and high schools offer classes in art. Many arts associations and community centers also offer beginning classes in various types of art for the general public. Visit museums and galleries often to view the work of artists. Talk to an artist about his or her work.

The visual arts are roughly divided into three categories: commercial art, f ine art, and craft. Commercial art is art used by advertising, publishing, public relations, and other businesses to attract attention, sell products and services, illustrate ideas, send messages, and record events. Commercial artists include illustrators, graphic designers, art directors, and photographers. Most commercial art combines pictures with text. Artists use a variety of media to create two-dimensional works that can be easily reproduced. Computers are an important tool commercial artists use to design pages, choose type, scan photos and artwork, create illustrations, and edit photos. F ine art is art created more for personal expression than f inancial gain. Usually the art comes from the artist’s own ideas rather than 22


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Artists

23

An artist works in his studio. (Michael Sofronski, The Image Works)

from an employer’s or client’s needs. Painters use oil, acrylic, or watercolor paints on various surfaces, such as paper, canvas, wood, or plaster. Sculptors use materials, such as clay, metal, wood, stone, papier mâché, and plastic to build, carve, sandblast, cast, or mold three-dimensional forms. Calligraphers use ink, pencil, paper, books, wood, even gold and silver. Printmakers make prints from carved blocks, etched plates, and silk screens. Ceramic artists use clay and glazes to create sculpture,


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Prof ile: Pablo Picasso (1881–1973) Picasso was a Spanish-born painter and sculptor. He was one of the artists who originated the style known as Cubism. (Visit http://www.arthistory archive.com/arthistory/cubism to learn more about Cubism.) His abstract paintings made him one of the most controversial and influential artists of the 20th century.

Picasso was born Pablo Ruiz Blasco. He studied with his father, an art teacher, and in Barcelona and Madrid. Around 1900, he began to sign his works with his mother’s surname, Picasso. During his long career, he painted and sculpted in many styles. Later in his life, he also became interested in ceramics and made hundreds of pieces of pottery.

functional pottery, beads, tiles, or architectural decorations. Multimedia artists create art for commercial and f ine art purposes by combining traditional artistic skills with new technologies such as computers, scanners, and digital cameras. Art photographers use photography as a means for artistic expression. Other f ine artists use airbrush, pastels, charcoal, collage, or mixed media, to name a few of the more traditional media. Only a few f ine artists make a living from their art. Most earn income from other careers while pursuing their art in their free time. The most common way for f ine artists to show and sell their art is through galleries. The f ield of visual arts also includes craft, sometimes called handcraft, or arts and crafts. Craft refers to art objects that usually (but not always) have a function. Needle arts, jewelry making, basketry, wood carving, mosaic, some ceramics, and bookbinding are examples of crafts. Crafters sell their works through retail stores, fairs, catalogs, the Internet, and galleries.


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25

DID YOU KNOW?

In high school take as many art and design courses as possible. These will expose you to • There are about 137,700 artists dif ferent types of art and help you develop employed in the United States. your skills. Since many artists now use com• About 60 percent of artists are puters to create or market art, take comself-employed. puter science classes, too. • Nearly 300 college art proArtists should have some natural artisgrams are accredited by the tic ability and also should be creative and National Association of Schools imaginative. But even very talented people of Art and Design. will have dif f iculty becoming professional Source: U.S. Department artists without education. Most artists go of Labor to art school to help develop their skills and learn new ones. Many colleges and universities of fer degrees in f ine art, applied (commercial) art, and art history. Those artists who study in a college or university must also study history, English, and computer science, as these studies help increase their knowledge of history and culture and add to their creative work. Most art schools of fer f ine art and commercial art programs, where you can choose to specialize in graphic design, animation, photography, or f ilm.

Earnings There is no average salary for an artist. Many artists set their own hours and prices for their work. Most artists have other full- or part-time work that provides them with a steady income. Some artists give private classes or teach in art schools or colleges. The U.S. Department of Labor reports the following mean annual salaries in 2009 for commercial artists by specialty: art directors, $78,580; graphic designers, $47,820; and


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FOR MORE INFO For more information about careers in graphic design, contact

American Institute of Graphic Arts 164 F ifth Avenue New York, NY 10010-5901 212-807-1990 http://www.aiga.org For information on union membership, contact.

Graphic Artists Guild 32 Broadway, Suite 1114 New York, NY 10004-1612 212-791-3400 http://www.graphicartistsguild.org For a school directory and a copy of Careers in the Jewelry Industry, contact

Jewelers of America 52 Vanderbilt Avenue, 19th Floor New York, NY 10017-3827 800-223-0673 [email protected] http://www.jewelers.org For general information on the study of the arts, contact

National Art Education Association 1806 Robert Fulton Drive, Suite 300 Reston, VA 20191-4348 703-860-8000 [email protected] http://www.arteducators.org Visit the NASAD Web site for information on schools.

National Association of Schools of Art and Design (NASAD) 11250 Roger Bacon Drive, Suite 21 Reston, VA 20190-5248


703-437-0700 [email protected] http://nasad.arts-accredit.org

The NSS is the oldest organization of professional sculptors in the United States. You can view the work of members at its Web site.

National Sculpture Society (NSS) c/o ANS 75 Varick Street, 11th Floor New York, NY 10013-1917 212-764-5645 http://www.nationalsculpture.org For information on photography careers, contact

Professional Photographers of America 229 Peachtree Street, NE, Suite 2200 Atlanta, GA 30303-1608 800-786-6277 [email protected] http://www.ppa.com To view the work of sculptors, visit the following Web site:

Sculptors Guild 55 Washington Street, Suite 256 Brooklyn, NY 11201-1073 718-422-0555 [email protected] http://www.sculptorsguild.org For information on illustration education and careers, contact

Society of Illustrators 128 East 63rd Street New York, NY 10065-7303 212-838-2560 [email protected]

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27

photographers, $36,370. Salaried, full-time f ine artists earned an average of $44,160 a year in 2009. Earnings ranged from less than $20,000 to more than $86,000 a year. Craft artists earned salaries that ranged from less than $17,000 to more than $57,000. Some artists who are popular around the United States and the world may earn millions of dollars for their work, but this is rare.

Outlook Because artists are usually self-employed, much of their success depends on the amount and type of work they create and their ability to sell it. Employment for visual artists is expected to be good during the next decade, but competition for jobs is very strong. Talented artists who have a wide range of skills, including computer skills, will have the best job opportunities.


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Art Museum Directors and Curators

What Art Museum Directors and Curators Do An art museum director does work that is similar to that of chief executive of f icers at a corporation. They manage the daily operations of the museum. Their most important duties are administrative. They serve as leaders of staf f, promote fundraising campaigns, and make sure that the museum’s mission is carried out. They manage the directors of various museum departments, such as f inance, development, public programs, research, conservation, public education, operations, and marketing and public relations. Some directors work with curators to acquire works of art to add to the museum’s collections. Museum directors play a major role when new facilities are built or the museum is remodeled. They work with architects and planners to reconf igure existing areas of the museum, add a wing, or build a museum from the ground up. Art museum curators take care of all the objects in a museum’s collection, including items in storage as well as those on display. They also search for new items for the museum to purchase, trade, or receive as donations (gifts). Curators make sure that the items are properly cataloged (numbered, described, and stored away) so that they can be found easily when needed. Keeping records is an important part of the curator’s job. Museum curators make sure that collections are in good condition. This includes repairing and restoring damaged pieces as well as making sure that objects stay in good condi28


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29

tion. Delicate items must be kept out of direct sunlight or stored where the humidity is not too EXPLORING G high. Some curators are special• Participate in clubs that involve ists in one area, such as paintings, fund-raising activities. Becoming textiles, or ceramics. the president of one of these clubs Museum curators decide can give you experience in superwhich items are displayed and vising and leadership. sometimes help with ideas for • Read books about careers in exhibit designs. They work with museums. museum teachers to research and • Tour art museums in your area. gather information for museum Visit http://www.artcurators. publications, such as booklets, org/?page=Museums for a list maps, charts, and the labels that of art museums. Additionally, a describe the exhibits. searchable database of museums can be found at http://www.aamCurators are sometimes us.org/aboutmuseums/directory. involved in fund-raising. They cfm. organize events and ask the gen• Sign up for any youth programs eral public, government agencies, your local art museum may of fer, and corporations and other orgasuch as f ield trips or tours. nizations to donate money so that • Ask if there are any volunteer opthey can buy new works of art for portunities for students at the museum. Curators today must your local art museums. also be up to date with the latest • Talk with directors and curators computer technology for catalogabout their careers. ing large collections and making information available to researchers over the Internet. Curators may also spend time in the f ield or as visiting scholars at other museums as a means of continuing research related to the home institution’s collections. F ieldwork is usually supported by grants from external sources. As specialists in their disciplines, curators may teach classes in local schools and universities.


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DID YOU KNOW?


In high school, take courses in art, English, literature, creative writing, history, In 2008: the sciences, speech, business, and for• More than 38.1 million people eign language. Math and computer skills visited Association of Art Museum Directors (AAMD)are also important. Art museum directors member museums. and curators are responsible for preparing • There were 6,494,783 books budgets and seeking funds from corporaand scholarly publications tions and federal agencies. available at AAMD-member You will need at least a bachelor’s museums. degree to become a museum director or • People volunteered more than curator. Most major museums require 2,618,605 hours at AAMDtheir directors to hold doctoral degrees. member museums. Most curators have doctorates in their Source: 2009 State of North area of specialty. Many colleges and uniAmerica’s Art Museums Survey, Assoversities of fer courses in museum studciation of Art Museum Directors ies (museology). The Association of Art Museum Curators of fers a list of colleges and universities that of fer educational programs for people who want to become curators. Many museum directors and curators gain museum experience as volunteers or low-level museum jobs. This allows them to understand the daily operation of the various museum departments and gain valuable skills and experience that will help them when they become directors or curators.

Earnings Museum directors earn salaries that range from less than $71,000 to more than $166,000. Museum curators earned mean annual salaries of $48,640 in 2009, according to the U.S. Department of Labor. Salaries for all curators ranged from less than $27,000 to more than $83,000.


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31

Words to Learn cataloging creating a list of items (such as artwork), detailing their characteristics, and storing the items

mixed media more than one type of medium (like paint, thread, and metal) used to create a work of art

ceramic a work of art that is made from clay and f ired in a kiln

museology museum studies

grant a gift of money kiln an oven that is used to harden and f inish ceramics medium the material an artist chooses to work in, such as marble, oil paint, and ink

painting a work of art that is created by applying paint or another substance to the surface of an object, often canvas, wood, or paper sculpture a three-dimensional work of art textile fabric that is often made by weaving or knitting

Outlook Job opportunities for art museum directors should only be fair during the next decade. The number of art museums in the United States is estimated to be fewer than 1,000, and there is only one director per museum. This means that there are not a lot of job opportunities for people who want to enter the f ield. Those with doctorate degrees and experience as curators at well-known museums will have the best chances of landing a job. Although strong employment growth is predicted for curators during the next decade, competition for jobs is very high. Many new graduates will have to work in part-time or volunteer curatorial assistant positions until jobs become available. The


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FOR MORE INFO For information on education and careers, contact

American Association of Museums 1575 Eye Street, NW, Suite 400 Washington, DC 20005-1113 202-289-1818 http://www.aam-us.org Visit the association’s Web site for lists of art museums and associations and information on college programs for aspiring curators.

Association of Art Museum Curators 174 East 80th Street New York, NY 10075-0439

646-405-8065 http://www.artcurators.org This organization represents directors of the major art museums in North America. Visit its Web site for more information about education and careers in the f ield.

Association of Art Museum Directors 120 East 56th Street, Suite 520 New York, NY 10022-3673 212-754-8084 http://www.aamd.org

U.S. Department of Labor reports that curators with experience in collection management, research, restoration, or exhibit design, as well as good database management skills, will have the best job opportunities.


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Art Teachers

What Do Art Teachers Do Art teachers instruct students how to make, appreciate, and understand art. Like educators in other f ields, they develop teaching outlines and lesson plans, lead discussions and activities, give lectures, assign homework, keep class attendance records, and assess student progress. Art teachers work in schools, community centers, and museEXPLORING G ums. Their job duties depend on the grade level of the students • Read as much as you can about art. they teach. In the f irst and second • Take art classes. grades, for example, art teachers • Explore art mediums such as cover the basic art skills: drawing, painting, illustration, or coloring, and identifying pictures photography. and colors. With older students, • Teach a friend or family member teachers may introduce new matehow to do a specif ic art technique rials and art procedures, such as such as pottery making or watersketching still life, or working with color painting. papier-mâché. They use arts and • Volunteer to work as an art incrafts projects and other interacstructor at your local community tive activities. center or at a summer camp. High school art teachers teach • Talk to your art teachers about students more advanced art contheir careers. cepts, such as ceramics and photography, in addition to basic studio 33


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A middle school art teacher helps a student with an art project. (Barrett Stinson, AP Photo/The Grand Island Independent)

art. Though high school teachers are likely to be assigned to one specif ic grade level, they may be required to teach students in surrounding grades. In the classroom, high school art teachers use a variety of teaching methods. Because their students are more mature, they often integrate lectures about artists, procedures, and art history in with studio time. This lecture time also may include opportunities for student discussion about famous works and their own artwork. High school art teachers may also show f ilms and videos, use computers and the Internet, bring in guest speakers, and organize f ield trips to help students learn and stay interested in the subject. College and university art teachers teach art at junior colleges or at four-year colleges and universities. Most art profes-


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Art Teachers

35

sors teach a very specif ic type of art form, such as sculpture or painting. They are experts in their f ield. They also teach classes in non-studio art, such as art therapy, art criticism and history, art education, and art administration. They use lectures, handson demonstrations, studio sessions, and other methods to teach students about art. Some art educators teach art at community centers, day care centers, juvenile detention centers, and other nonacademic settings. They might teach beginning drawing to a group of eightyear-olds, ceramics to high school students, or an advanced digital photography class to adults. Art teachers who work in these settings typically work part time, although some full-time positions are available. They are often called self-enrichment teachers.

Education and Training Follow your school’s college prep program and take advanced courses in art, computer science, English, mathematics, science, history, and government. You will also need to develop your writing and speaking skills, so be sure to take courses in composition and communications, too. Educational requirements for art teachers vary based on the grade level you teach and whether you work at a public or private school. All 50 states and the District of Columbia require public elementary education teachers to have a bachelor’s degree in either education or in the subject they teach. Aspiring teachers must also complete an approved training program, which combines subject and educational classes with work experience in the classroom, called student teaching. If you want to teach at the high school level, you may choose to major in art while taking required education courses, or you may major in secondary education with a concentration in art. Similar to prospective elementary school teachers, you will need to student teach in an actual classroom environment. College art teachers typically need a master’s degree in art or a related f ield. You will need an


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Tips for Success To be a successful art teacher, you should • have artistic ability • be able to explain and dem-

onstrate a variety of art techniques • be enthusiastic about teaching others about art

• have good leadership skills • be able to work well with

students • have excellent communication skills • be organized • be willing to continue to learn throughout your career

upper-level graduate degree in art if you want to teach at major colleges and universities. Self-enrichment teachers do not necessarily need a college degree, but having one will look good when seeking a job.

Earnings According to the U.S. Department of Labor, the median annual salary for elementary school teachers was $50,510 in 2009. Salaries ranged from less than $34,000 to $78,000 or more. The median annual salary for high school teachers was $52,200 in 2009. New teachers earned less than $35,000. Very experienced teachers earned $82,000 or more a year. College art teachers had median annual earnings of $60,400. Salaries ranged from less than $32,000 to more than $112,000. Full-time self-enrichment education teachers earned median annual salaries of $36,440 in 2009.

Outlook Although employment is expected to be good during the next decade for teachers at all levels, opportunities for art teachers will not be as strong. Most schools have only a few art teachers


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Art Teachers

on staf f. Additionally, there is a surplus of talented, qualif ied artists and art education students who want to become teachers. Art programs are often the f irst to be eliminated when schools are forced to cut their budgets. This further reduces job opportunities for art teachers. Art teachers who teach self-enrichment classes at private educational institutions and in other settings should have slightly better employment opportunities. These positions are typically part time and of fer lower salaries than jobs in formal school settings.

37

DID YOU KNOW? The f irst drawing class in the United States was of fered at Central High School in Pittsburgh, Pennsylvania, in 1840. Rembrandt Peale was the teacher. He was a well-known artist who is best known today for his portraits of George Washington and Thomas Jef ferson.

FOR MORE INFO To read about the issues af fecting college professors, contact

American Association of University Professors 1133 19th Street, NW, Suite 200 Washington, DC 20036-3655 202-737-5900 [email protected] http://www.aaup.org For information about union membership, contact

American Federation of Teachers 555 New Jersey Avenue, NW Washington, DC 20001-2029 202-879-4400 http://www.aft.org For information on useful publications, contact


National Art Education Association 1806 Robert Fulton Drive, Suite 300 Reston, VA 20191-4348 703-860-8000 [email protected] http://www.arteducators.org For information on accredited teacher education programs and teaching careers, contact

National Council for Accreditation of Teacher Education 2010 Massachusetts Avenue, NW, Suite 500 Washington, DC 20036-1023 202-466-7496 [email protected] http://www.ncate.org

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Cartoonists and Illustrators What Cartoonists and Illustrators Do Cartoonists draw the illustrations for comic strips, political cartoons, comic books, magazines, greeting cards, and advertisements. Sometimes cartoons are meant to entertain, as in comic strips. Other times they send a political or social message, as in editorial cartoons in a newspaper. Sometimes cartoonists tell a longer story, as in a comic book or in a full-length illustrated book (called a graphic novel). Still other times, cartoonists are hired to sell a product, as in advertisements. Some artists get ideas from their own experience, much like a stand-up comedian. Others get ideas from events or people in their neighborhoods and towns. Some f ind humor in news events that happen around the world. Cartoonists make sketches and “rough out” their ideas. These sketches eventually lead to a f inal drawing. The f inal drawing is often done lightly in pencil and then cartoonists ink in the lines. They add lettering and sometimes color by hand. Many cartoonists today use computer software programs to draw and edit their cartoons. Most cartoonists are freelancers, which means they work in their own studios and set their own hours. Many cartoonists begin their careers by selling cartoons to small publications, such as community newspapers. Another way to start your career is to put together a collection, called a portfolio, of your best work and show it to publishers, syndicates, or advertising agencies. 38


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Cartoonists and Illustrators

39

Illustrators create artwork with a variety of media. They use pencil, pen and ink, pastels, paints (oil, acrylic, watercolor), airbrush, colEXPLORING lage, and computer programs. Illus• Read books about cartooning and trations appear in books, magazines, illustration. newspapers, signs and billboards, • Visit the National Museum of packaging, Web sites, computer American Illustration in Newport, programs, greeting cards, calenRhode Island. If you can’t make dars, stationery, and direct mail. it to the actual museum, visit its Some illustrators specialize. Web site, http://www.american Medical illustrators, for example, illustration.org, for more informamake drawings, paintings, and tion on the f ield of illustration three-dimensional computer modand exhibits. els of medical procedures and • Read comic strips, comic books, and other cartoons. specimens. Their work appears in • Keep a sketchbook handy and textbooks, advertisements, medipractice drawing every day. cal journals, video, and films. It • Submit some of your cartoons to may also be used at medical conyour school newspaper. Ask the ventions, in public exhibits, and as editors to use you as a regular teaching aids in classrooms and cartoonist. Draw posters for laboratories. school or sporting events, dances, Fashion illustrators work for or meetings. advertising agencies, newspapers, • Talk to cartoonists and illustrators catalog houses, and fashion magaabout their careers. zines. They attend fashion shows and work closely with fashion designers to make sure clothing colors and styles are represented accurately. Natural science illustrators create illustrations of plants and wildlife. They often work at museums such as the Smithsonian Institution.


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Tips for Success To be a successful cartoonist or illustrator, you should • be creative and have artistic

talent • have good drawing skills • be able to generate ideas

• have a good sense of humor • be flexible regarding assign-

ments from employers • be able to use computer technology and art materials

Most illustrators are self-employed, but some work in advertising agencies, design f irms, commercial art f irms, or printing and publishing companies. They are also employed in the motion picture and television industries, retail stores, catalog companies, and public relations f irms.

Education and Training To be a cartoonist or illustrator, you need to develop art and drawing skills. English composition and literature classes will help you develop creative writing skills. Computer classes will help you become familiar with drawing and art programs. You don’t necessarily need a college education to be a cartoonist or illustrator, but you should have some formal art training. Political science, history, and social studies classes give you dif ferent views of life and can be a good source of ideas. Many colleges of fer art classes and degrees. The Center for Cartoon Studies of fers educational programs for aspiring cartoonists. Visit its Web site, http://www.cartoonstudies.org, for more information. Some illustrators earn college degrees in art or illustration. Medical illustrators need a master’s degree in medical illustration.


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Most illustrators become known for their particular style and medium (paint, pen and ink, pastel, pencil, and collage to name a few). Until they become well known, they spend a great deal of time showing their portfolios to clients.

Earnings Salary.com reports that earnings for cartoonists ranged from less than $31,732 to $65,047 or more in 2011. Syndicated cartoonists can earn much more. Freelance cartoonists earn anywhere from $50 to $1,200 per assignment. Well-known artists earn much higher fees. Comic strip cartoonists are usually paid according to the number of newspapers that carry their strip. They can earn $100,000 or more a year. Those who create very popular strips and characters may share in the prof its of merchandise such as toys, dolls, calendars, and games inspired by the strip. Cartoonists can earn high fees for large full-color illustrations or an advertising campaign.

Prof ile: Charles Schultz (1922–2000) Charles Schulz created the comic strip Peanuts. The strip appeals to young and old alike. Its child characters, including Charlie Brown, Lucy, and Linus, combine traits of children and adults. Another main character is Snoopy, Charlie Brown’s thinking dog. Schulz was born in Minneapolis, Minnesota. He took his f irst drawing lessons in the early 1940s and after army


service became a cartoonist. By 1950 he had created the Peanuts strip, which eventually appeared in more than 1,000 newspapers in North America and some 40 foreign countries, in a dozen dif ferent languages. Schulz also published many books portraying the comic strip characters. A musical, You’re a Good Man, Charlie Brown (1967), and a number of television specials were based on Peanuts.

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FOR MORE INFO Visit the association’s Web site to view cartoons and read How to Become a Cartoonist and prof iles of editorial cartoonists.

Association of American Editorial Cartoonists 3899 North Front Street Harrisburg, PA 17110-1583 717-703-3086 http://editorialcartoonists.com For information on educational and career opportunities for medical illustrators, contact

Association of Medical Illustrators 201 East Main Street, Suite 1405 Lexington, KY 40507-2004 866-393-4264 [email protected] http://www.ami.org For information on union membership, contact

Graphic Artists Guild 32 Broadway, Suite 1114 New York, NY 10004-1612

212-791-3400 http://www.graphicartistsguild.org For information on publications, contact

Guild of Natural Science Illustrators PO Box 652 Ben Franklin Station Washington, DC 20044-0652 301-309-1514 http://www.gnsi.org Visit the society’s Web site to read How to be a Cartoonist.

National Cartoonists Society 341 North Maitland Avenue, Suite 130 Maitland, FL 32751-4761 [email protected] http://www.reuben.org For career information, contact

Society of Illustrators 128 East 63rd Street New York, NY 10065-7303 212-838-2560 [email protected] http://www.societyillustrators.org

Average earnings for full-time visual artists (including illustrators) ranged from $20,000 to $86,000 or more a year in 2009, according to the U.S. Department of Labor.

Outlook Many people want to become cartoonists, so it can be very dif f icult to earn a steady wage and work full time in this career. The most opportunities will be with advertising departments or graphic arts agencies. Having your work published in magazines


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and newspapers will require a lot of determination. The syndicates (those companies that sell strips to newspapers) reject thousands of artist portfolios every year. Small local newspapers are a good place to start. Many cartoonists are f inding success publishing their work on the Internet—through their own Web sites or for companies that have a presence on the Web. There should be good opportunities for illustrators during the next decade. The continuing growth of the Internet should provide more opportunities for illustrators. The f ield of medical illustration is small, but the f ield of medicine and science in general is always growing, and medical illustrators will be needed to depict new techniques, procedures, and discoveries. There are few opportunities available in fashion illustration, since photography is more popular for magazines and catalogs.


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Cinematographers What Cinematographers Do Cinematographers run the cameras during the making of a f ilm or video. They work closely with directors, actors, and other members of the f ilm crew. Cinematographers work on feature f ilms, educational f ilms, industrial training f ilms, documentaries, and commercials. They have dif ferent job duties based on the size of the production. For a documentary with a small crew, a cinematographer may set up the lighting and camera equipment and direct the movements of the actors. For a larger production, the cinematographer might focus solely on running the camera, while a team of assistants helps out with loading and unloading f ilm and setting up the equipment. Cinematographers begin work on a f ilm project by reading the script. (A script is the written version of what happens in a f ilm or television show.) They discuss with the director how to f ilm each scene. They decide whether to f ilm from across the room, or up close to the actors. They decide whether to use bright lighting with lots of shadows or more muted, even lighting. They decide on camera angles, how the camera moves, and how to frame each scene. Cinematographers also have a great deal of technical knowledge about f ilm. This helps them decide which cameras, f ilm, and f ilters to use. Cinematographers are also in charge of the f ilm crew. They hire various assistants and tell them how to f ilm each scene. Cinematographers work both indoors and outdoors. They sometimes spend several months on location away from home. 44


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Cinematographers

Locations may range from a dusty desert, to a freezing mountaintop, to a busy city street. When working on smaller productions, there may be a limited budget and a smaller f ilm crew, so cinematographers may have to load and unload f ilm from the camera, set up tripods (a three-legged object that holds up the camera), and carry the camera long distances. They participate in long hours of rehearsal before they actually start to f ilm a scene. Although all their work is behind the scenes, cinematographers play an important part in the appearance and the success of the f inal f ilm. Cinematographers work for motion picture studios, production companies, independent producers, and documentary filmmakers. Some work on a freelance basis.

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EXPLORING G • Read books and magazines about •

•

•

•

•

cinematography. Watch as many movies as you can. Study them closely for the styles of the f ilmmakers. If you have access to a 16 mm camera, a camcorder, or a digital camera, you can experiment with composition, lighting, and other skills. Check with your school’s media center or journalism department about recording school events on f ilm. Your school’s drama club may of fer opportunities to work on writing and staging your own productions. Talk to a cinematographer about his or her career.

Education and Training Art and photography courses can help you understand the basics of lighting and composition. When you get to high school, take broadcast journalism or media courses that teach camera operation and video production. A college degree is not always necessary to f ind a position as a cinematographer. Experience and artistic talent is much more


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DID YOU KNOW? • The f irst Oscar winners in the category of cinematography were Charles Rosher and Karl Struss for Sunrise (1927–1928). • In 1939, the Academy of Motion Picture Arts and Sciences began to give separate awards for black-andwhite and color cinematography. That year, Gregg Toland won in the black-and-white category for Wuthering Heights and Ernest Haller

and Ray Rennahan won in the color category for Gone With the Wind. • The last award for black-and-white cinematography was awarded to Haskell Wexler for Who’s Afraid of Virginia Woolf? in 1966. • Only one cinematographer has won four Oscars: Leon Shamroy for The Black Swan (1942), Wilson (1944), Leave Her to Heaven (1945), and Cleopatra (1963).

Award Winners Following are recent Oscar winners for cinematography: 2010: Wally Pf ister, Inception 2009: Mauro F iore, Avatar 2008: Anthony Dod Mantle, Slumdog Millionaire 2007: Robert Elswit, There Will Be Blood 2006: Guillermo Navarro, Pan’s Labyrinth 2005: Dion Beebe, Memoirs of a Geisha 2004: Robert Richardson, The Aviator


2003: Russell Boyd, Master and Commander: The Far Side of the World 2002: Conrad L. Hall, Road to Perdition 2001: Andrew Lesnie, The Lord of the Rings: The Fellowship of the Ring 2000: Peter Pau, Crouching Tiger, Hidden Dragon For more information on Academy Award-winning cinematographers, visit http://www.oscars.org/ awardsdatabase.

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FOR MORE INFO For information about colleges with f ilm and television programs of study, and to read interviews with f ilmmakers, visit the AF i Web site.

American F ilm Institute (AF i) 2021 North Western Avenue Los Angeles, CA 90027-1657 323-856-7600 information@af i.com http://www.af i.com The ASC Web site has articles from American Cinematographer magazine, industry news, and a tips and tricks for cinematographers section.

American Society of Cinematographers (ASC) PO Box 2230 Hollywood, CA 90078-2230 800-448-0145 http://www.theasc.com For information on union membership, contact

International Cinematographers Guild (IATSE Local 600) National Of f ice/Western Region 7755 Sunset Boulevard Hollywood, CA 90046-3911 323-876-0160 http://www.cameraguild.com

important. Many cinematographers, though, get that valuable experience during their college studies. Many colleges and art schools of fer programs in f ilm or cinematography. Your training should include all aspects of camera operations and lighting. It is important to practice working on a team. You must be able to give directions as well as follow them.

Earnings When starting out, apprentice f ilmmakers may make no money. They may even spend their own money to pay for, or f inance, their own projects. Since they usually are hired one f ilm at a time, there may be periods of unpaid time between assignments. As you gain experience, you will begin to f ind more jobs and earn more. According to the U.S. Department of Labor, camera operators (a category that includes cinematographers) earned an average salary of $42,940 a year in 2009.


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Well-established cinematographers working on big-budget Hollywood productions can make more than $1 million a year, but very few cinematographers earn that much.

Outlook Many people want to work in the movie industry. This means that there are far more qualif ied cinematographers than there are job openings. If you are skilled and well trained, you should f ind positions, but it could take a long time before you f ind work in industry hotspots such as Los Angeles or New York. You may f ind better opportunities working on TV commercials, documentaries, or educational f ilms. Cinematographers will f ind some new opportunities helping to make made-forInternet broadcasts, such as digital movies, sports features, music videos, and general entertainment programs. Cinematographers of the future will be working more closely with special ef fects experts. Computer technology can create crowd scenes, underwater images, and other ef fects more easily and cheaply.


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Computer and Video Game Designers What Computer and Video Game Designers Do Computer and video game designers create the games played on computers and game consoles, in arcades, and on cell phones and the Internet. They think up new game ideas, including sound ef fects, EXPLORING G characters, story lines, and graph• Read magazines like Computer ics. Some designers, also known as Graphics World (http://www.cgw. developers, work full time for the com) and Game Developer (http:// companies that make the games. Or www.gdmag.com). They have they might work part time as freearticles about digital video and lancers making the games in their other technical and design own studios and then sell their information. ideas and programs to production • Read books about computer and companies. video game design. • Visit http://archives.igda.org/ Each game must have a story as breakingin to read Breaking In: well as graphics and sound that will Preparing For Your Career entertain and challenge the players. in Games. A game begins with careful plan• Write your own stories, puzzles, ning and preparation. Designers and games to work on your storywrite scripts, sketch storyboards, telling and problem-solving skills. decide how the characters and • Ask your teacher or counselor to places should look, and make notes help set up a presentation with a on sound ef fects and other features. game designer. Designers use computer programs, or write their own programs 49


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A designer works on a game. (Ton Koene, akg-images/PictureContact/The Image Works)

to assemble text, art, and sound for the game. There is a long process of reviewing and trial-and-error to correct problems and smooth rough spots. Designers usually create a basic game and then design several levels of dif f iculty for beginning to advanced players. It takes from about six to 18 months to design a computer or video game. Designing computer games often requires a whole team of workers, including programmers, artists, musicians, writers, and animators. Computer and video game designers have a unique combination of highly technical skills and vivid, creative imaginations. Computer and video game designers work in of f ice settings, whether at a large company or a home studio. At some compa-


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nies, artists and designers sometimes f ind themselves working 24 or 48 hours at a time, so the of f ice areas are set up with sleeping couches and other areas where employees can relax. Because the game development industry is competitive, many designers f ind themselves under a lot of pressure from deadlines, design problems, and budget concerns.

Education and Training If you want to be a computer and video game designer, you need to learn many dif ferent computer skills, including programming languages such as C++, Java, or Python. Take as many computer classes in high school as possible. Some schools may even of fer introductory courses on game design and animation. Art, literature, and music classes can help you develop your creativity. You don’t necessarily need a college degree to be a game designer, but most companies prefer to hire those with a bachelor’s degree. Many schools now of fer training programs that teach people how to design computer games. Recommended college courses include programming (including assembly

Tips for Success To be a successful computer and video game designer, you should • love playing computer and

video games • be creative and imaginative • stay up to date with everchanging computer technology • have good communication skills in order to work well with


programmers, writers, artists, musicians, electronics engineers, production workers, and others • have good writing and design skills • be able to work under deadline pressure • be flexible about design and schedule changes

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Types of Computer Games 3D games games that feature 3D environments and usually include action and shooting

retro games games, such as Atari classics, that are recreated on a new platform

adventure games that are puzzle-based

role-playing games games that require building a character

edutainment games that combine educational elements with game elements

shooters games in which the player shoots at targets

f ighting games games that feature hand-to-hand combat god games games that allow the player to control outcomes platform games verticalscrolling screen games

simulation games that put the player in a seemingly real situation sports games strategy games based on soccer, football, tennis, baseball, and other sports

level), computer architecture, software engineering, computer graphics, data structures, algorithms, game design, communication networks, artif icial intelligence and expert systems, interface systems, mathematics, and physics.

Earnings Game designers had average salaries of approximately $62,739 in 2009, according to Payscale.com. Game designers with less than one year of experience earned approximately $41,620. Those with one to four years of experience averaged $46,832 annually, and those with f ive to nine years of experience averaged $61,389 per year.


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FOR MORE INFO For industry information, contact

Entertainment Software Association 575 7th Street, NW, Suite 300 Washington, DC 20004-1611 [email protected] http://www.theesa.com For a list of colleges that of fer game design programs and career informa-

tion, including Breaking In: Preparing For Your Career in Games, visit the association’s Web site.

International Game Developers Association 19 Mantua Road Mt. Royal, NJ 08061-1006 856-423-2990 http://www.igda.org

Outlook The computer and video game industry is growing quickly. More and more companies are hiring skilled designers at many levels. Designers should f ind good job opportunities in the next 10 years as companies try to keep up with the demand for new games on a variety of new platforms, including the Internet.


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Conservators and Conservation Technicians What Conservators and Conservation Technicians Do Conservators and conservation technicians examine and judge the condition of works of art and artifacts. These objects may include human-made objects, such as paintings, photographs, sculpture, metal, and paper, and natural objects, such as bones and fossils. Conservation workers are employed in museums, historical societies, or state institutions. They usually focus on a particular area of work, such as conserving books and paper, photographs, paintings, textiles, or wooden objects. Other conservators specialize in archaeological or ethnographical (human culture) materials. The main job of conservators is to conserve or preserve items. They do this so that we can learn from them and continue to study them. They decide on the best environment for the artwork or artifact to be stored and preserved. Areas that are too hot or too cold or that are high in humidity can cause further damage to the item. Conservators also document the condition of the structure using written or computer records, photography, and videography. A conservator’s tools can include microscopes and cameras, including equipment for specialized processes such as infrared and ultra-violet photography, and X-ray processes. Conservation technicians help conservators preserve and restore art objects and artifacts. They study descriptions and other information about the object. They may perform physical 54


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and chemical tests. If an object is metal, a technician may clean it by gently rubbing it with a cloth or by applying chemical solvents. Statues can sometimes be washed with soap solutions, while silver and some types of furniture can be polished. If an object is damaged, conservation technicians may reassemble the broken pieces using solder or special glue. They may repaint an object if the original paint is missing or faded, using paint of the same color and chemical make-up as the original.


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EXPLORING G • Read books about art •

•

conservation. Learn art and craft techniques, such as furniture or wood ref inishing, oil painting, plastering, and embroidery. Conservators often have to put pieces of broken items back together. To see what that might be like, try this exercise: F ind an old ceramic pot or vase that nobody wants. Break it into pieces with a hammer (remember to wear safety glasses and take other safety precautions). Then glue the pieces back together. Visit museums and ask if they of fer behind-the-scenes tours that might include talking to conservators. Ask a teacher or counselor to arrange an information interview with a conservator or conservation technician.

You can begin to prepare for a • career in conservation by concentrating on art, chemistry, history, science, foreign language, • and social science classes in high school. In the past, most conservation workers learned their craft as apprentices with experienced conservators. Today, most conservators receive graduate training. F irst you must earn a bachelor’s degree that includes classes in science (especially chemistry), the humanities (art, history, archaeology, and anthropology), and studio art. Then you go on to earn a graduate degree in conservation of art and historic works.


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DID YOU KNOW? There are good and bad ways to handle art and artifacts. Following are a few suggestions: • Always wear gloves. • Support the base of the object. Do not lift or carry the object by its handles or appendages. • When moving objects with multiple parts, move only one part of the object at a time. • Always set the object on a padded surface in its most stable position.

Earnings The U.S. Department of Labor reports that museum conservators and technicians earned median annual salaries of $37,120 in 2009. Those just starting out in the f ield earned less than $24,000. Very experienced workers made more than $67,000.

Outlook Employment of conservators and conservation technicians is expected to be good during the next decade. Competition for these desirable positions, however, will be strong. Those who know a foreign language and are willing to relocate for jobs will have the best employment opportunities.

Tips for Success To be a successful conservator or conservation technician, you should • be able to concentrate on

physical and mental tasks for long periods of time • have good manual dexterity • have knowledge of artistic techniques


• have a love of art • be able to work well with others • be willing to continuously

learn about new conservation techniques throughout your career

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An art conservator restores a mural. (Nati Harnik, AP Photo)

People will always be interested in artwork and artifacts of all kinds, so there will continue to be a need for qualif ied conservation workers. Museums often depend on government funds and grants to pay for conservation programs. This type of funding is not always available, which can reduce job opportunities.


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FOR MORE INFO For additional information on conservation careers and training, contact

American Institute for Conservation of Historic and Artistic Works 1156 15th Street, NW, Suite 320 Washington DC 20005-1714 202-452-9545 [email protected] http://www.conservation-us.org For information on preservation training, contact

National Center for Preservation Technology and Training

National Park Service 645 University Parkway Natchitoches, LA 71457-3913 318-356-7444 [email protected] http://www.ncptt.nps.gov RAP is a “national network of nonprof it organizations with expertise in the f ield of conservation and preservation.” Visit its Web site for more information.

Regional Alliance for Preservation (RAP) http://www.rap-arcc.org

Private conservation companies and for-prof it companies may of fer more opportunities in the future for conservation workers than museums and nonprof it organizations.


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Creative Arts Therapists What Creative Arts Therapists Do Creative arts therapists help people with mental, physical, and emotional disabilities get better. They usually work as part of a health care team of physicians, nurses, psychiatrists, psychologists, and social workers. Therapists work in hospitals, schools, rehabilitation centers, shelters for battered women, substance abuse programs, hospices, and correctional facilities. Some therapists have their own private practices. The goal of a creative arts therapist is to improve their patients physically, mentally, and emotionally. Before they begin any treatment, they meet with a team of other health care professionals. After they determine the disability, limitations, and interests of a patient, they create a special program for him or her. Creative arts therapists continue to meet with the other health care workers during the course of the program. They change

EXPLORING • Read books about creative arts •

•

•

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therapy. Take music, art, drama, or dance lessons offered in your community. Many community programs offer arts classes to those with disabilities. You might be able to find classes where you can learn along with students that have developmental or physical disabilities. Volunteer at a hospital, clinic, nursing home, or health care facility to learn about working with people who have disabilities. You might be able to assist in creative therapy sessions. You can get experience by working at a summer camp for children with disabilities. Talk with a creative arts therapist about his or her career.

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the program according to the patient’s progress. How these goals are reached depends on the unique specialty of the therapist. There are several main types of creative arts therapists. Art therapists teach patients to express their thoughts, feelings, and anxieties through sketching, drawing, painting, or sculpting. Music therapists use music lessons and activities to improve a patient’s self-confidence. Playing a musical instrument can help a patient’s depression, and improve physical dexterity. Dance and movement therapists teach dance exercises to help improve the physical, mental, and emotional health of patients. Drama therapists use role-playing, pantomime (the telling of a story by the use of expressive body or facial movements), puppetry, improvisation, and performance to increase self-confidence and help patients express themselves. Poetry therapists and bibliotherapists teach patients to write and speak about their experiences and feelings. This is an excellent way to get rid of anxiety, depression, and fear.

Education and Training If you plan to become a creative arts therapist, you should begin studying the arts as early as possible. Classes in art, art history, drama, music, and writing will give you important background skills for whichever arts field interests you. You should also take an introductory class in psychology. Communication classes will

Words to Learn acting out uncontrolled, often aggressive behavior impulsive disorder any disorder in which a person acts on impulse without thinking about the consequences of the action


portfolio a collection of artwork that shows examples of an artist’s skills and techniques psychotherapy the treatment of mental disorders by psychological, rather than physical, means

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DID YOU KNOW? • Art therapy is based on the idea that people who can’t discuss their problems can use other ways to express themselves. In the early 1900s, psychiatrists began to look more closely at their patients’ artwork. • In the 1930s, art educators discovered that children often expressed their thoughts better with pictures and role-playing than they did through speaking. Children often don’t know the words to explain how they feel, or how to make their needs known to adults. Researchers

began to look into art as a treatment for children who were abused, neglected, ill, or had other physical or emotional disabilities. • During and after World War II, the Department of Veterans Affairs (VA) developed art, music, and dance activities for patients in VA hospitals. These activities had a major effect on the physical and mental wellbeing of the World War II veterans. Creative arts therapists began to use the same activities to treat patients in other health care settings.

give you an understanding of the various ways people communicate, both verbally and nonverbally. A bachelor’s degree is the minimum requirement to become a creative arts therapist. Usually a creative arts therapist earns an undergraduate degree in art, music, or drama and then continues in a master’s program. Many colleges and universities offer degrees in specific creative arts therapy fields. A master’s degree in education, counseling, or a related field is acceptable. Upon completion of the master’s degree, creative arts therapists can apply for certification in their specialty. Creative arts therapists who work in public schools must also be licensed by their state’s department of education.

Earnings According to the American Art Therapy Association, entrylevel art therapists earn annual salaries of approximately


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FOR MORE INFO For information on educational programs and careers, contact

American Art Therapy Association 225 North Fairfax Street Alexandria, VA 22314-2646 888-290-0878 [email protected] http://www.arttherapy.org For information on educational programs and careers, including answers to frequently asked questions about dance therapy, contact

American Dance Therapy Association 10632 Little Patuxent Parkway, Suite 108 Columbia, MD 21044-3263 410-997-4040 [email protected] http://www.adta.org For information on music therapy careers, contact

American Music Therapy Association 8455 Colesville Road, Suite 1000 Silver Spring, MD 20910-3392 301-589-3300 [email protected] http://www.musictherapy.org For career information, contact

American Society of Group Psychotherapy and Psychodrama 301 North Harrison Street, Suite 508 Princeton, NJ 08540-3512 609-737-8500 [email protected] http://www.asgpp.org For career information, contact

National Association for Drama Therapy 44365 Premier Plaza, Suite 220 Ashburn, VA 20147-5058 888-416-7167 nadt.of f [email protected]

$32,000. Median annual salaries are about $45,000. Creative arts therapists who have administrative or managerial duties can earn from $50,000 to $100,000 a year.

Outlook Creative arts therapy programs are growing rapidly. Many new positions are being created each year for trained workers. Job openings in nursing homes will increase as the elderly population continues to grow. There will also be jobs in managed care facilities, chronic pain clinics, and cancer care facilities. The outlook for creative arts therapists will continue to brighten as more people become aware of the need to help people with disabilities.


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Fashion Designers What Fashion Designers Do Fashion designers design coats, dresses, suits, and other clothing. A small number of designers work in the fashion centers of the world: Paris, France; New York, United States; Milan, Italy; and London, United Kingdom. These high-prof ile designers create styles that set fashion trends for each season. Most designers, however, work for textile, apparel, and pattern manufacturers. Some work for fashion salons, high-fashion department stores, and specialty shops. A few design costumes for the theater and movies and television. Designers f irst f igure out what their customers want and need. Some designers make rough sketches and then draw flat pattern pieces on large sheets of paper. The patterns are laid on the fabric to provide cutting guidelines. Other designers use computer software to create designs. Computer-aided designing and computer-aided manufacturing allow for thousands of fashion styles and colors to be stored in a computer and accessed at the click of a mouse. This largely eliminates the long process of gathering fabrics and styling them into samples. Instead of using sketches or computer-aided design software, still other designers prefer to work directly with fabrics on a dressmaker dummy. They use inexpensive fabric, such as muslin, and pin or stitch the material directly on the dummy. Fabric pieces are then removed and used to make paper patterns. Once the f inal pieces are cut and sewn, designers f it them on a model. This sample garment is shown to buyers, and alterations are made as needed. In small shops, designers work 63


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EXPLORING • Read books about careers in

fashion design. Here are a few suggestions: Trendsetter: Have You Got What It Takes to Be a Fashion Designer?, by Lisa Thompson (Compass Point Books, 2008); Designer Doodles: Over 100 Designs to Complete and Create, by Nellie Ryan (Running Press Kids, 2009); and I Want to Be a Fashion Designer, by Mary R. Dunn (PowerKids Press, 2008). • Practice your sewing skills. Start by using commercial patterns available at fabric stores. • Art and design courses will help you work on your sketching and drawing ability, and develop your color sense. The Fashion Institute of Technology in New York City of fers fashion classes for middle school and high school students year-

•

•

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• •

round. Visit http://www.f itnyc. edu/5915.asp for more information. Keep a sketchbook of fashion ideas. Collect fabric swatches and match them to the fashions you have drawn. Visit fabric stores and look at the materials available, including fabrics, buttons, threads, ribbons, and other notions. Attend fashion shows, visit art galleries, and observe clothing worn by fashion leaders. Talk to a fashion designer about his or her career. Visit the museum at the Fashion Institute of Technology in New York City to learn more about fashion and fashion design. If you can’t make it to New York, you can check out the museum’s exhibitions online at http://f itnyc.edu/3662.asp.

on all phases of fashion production, from thinking up the original idea to sewing the completed garment. In larger companies, designers design and draw the original style, while the other work is left to patternmakers, graders (who draw the paper patterns in various sizes), and sewers.


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A fashion design student shows of f one of her new shoe designs. (J. Berry, Syracuse Newspapers/The Image Works)

Fashion designers who work for large f irms that massproduce clothing often create 50 to 150 designs for each season. They work on spring and summer designs during the fall and winter months, and work on fall and winter clothing during the spring and summer months. There are many opportunities for fashion designers to specialize. The most common specialties are particular types of garments such as bridal wear, resort wear, or sportswear.


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DID YOU KNOW? There are four main rules of fashion design. They are as follows: • Harmony: All parts of a fashion design should work together. • Proportion: All parts of an outf it should relate to one another in size, length, and bulk. • Emphasis: A garment should have one feature that attracts the eye. • Balance: A garment should have equal interest in all directions from the main center of interest.

Some designers work for a few individual clients. In fact, many designers start out this way. As their reputation and number of clients grows, so does their business, until they are creating a full set of designs for each new season.

Education and Training In high school, there are many courses that will prepare you for college training in fashion design. These include art, family and consumer science, math, and computeraided design. The best way to become a fashion designer is to complete a two- or three-year program in design from a fashion school. Some colleges of fer a four-year degree in f ine arts with a major in fashion design. Typical courses include mathematics,

Words to Learn drape to hang a piece of fabric from a dressmaker dummy or a model


haute couture the creation of exclusive fashions

epaulette a shoulder ornament

inseam the interior seam on a pant leg

fabric swatch a small sample of a piece of fabric

microf iber a synthetic fabric that is soft and ultraf ine

fashion the popular style of a culture that is demonstrated in clothing, hair, makeup, and accessories

season a time of the year when certain fashions, such as winter wear or summer wear, are made available to the public

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FOR MORE INFO The AAFA represents “apparel, footwear and other sewn products companies, and their suppliers.” Visit its Web site for information on endorsed college programs.

American Apparel & Footwear Association (AAFA) http://www.apparelandfootwear.org For industry information, contact

Council of Fashion Designers of America 1412 Broadway, Suite 2006 New York, NY 10018-9250 http://www.cfda.com Those interested in creating men’s fashions should visit the CTDA Web site for business and training information.

Custom Tailors and Designers Association (CTDA) 42732 Ridgeway Drive Broadlands, VA 20148-4558 888-248-2832 http://www.ctda.com To learn more about the programs and exhibitions of fered at FIT, check out its Web site or contact

Fashion Institute of Technology 227 West 27th Street New York, NY 10001-5992

212-217-7999 http://www.f itnyc.edu For industry information, visit the IACDE Web site.

International Association of Clothing Designers & Executives (IACDE) http://www.iacde.net/en For a listing of accredited design schools and information on choosing the best program, contact

National Association of Schools of Art and Design 11250 Roger Bacon Drive, Suite 21 Reston, VA 20190-5248 703-437-0700 [email protected] http://nasad.arts-accredit.org For information on careers in the sewn products industry, including fashion design, contact

CareerThreads.com http://www.careerthreads.com For subscription information, visit the following magazine’s Web site

Women’s Wear Daily http://www.wwd.com

business, color theory, design, sketching, art history, fashion history, human anatomy, literature, pattern making, sewing and tailoring, clothing construction, and textiles. Many students participate in internships that provide them with handson experience in the f ield.


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Earnings Fashion designers earned median annual salaries of $64,260 in 2009, according to the U.S. Department of Labor. New designers just starting out in the f ield earned less than $33,000. A few highly skilled and well-known designers in top f irms have annual incomes of more than $131,000. Top fashion designers who have successful lines of clothing can earn bonuses that bring their annual incomes into the millions of dollars. Few designers are in this category.

Outlook Little employment change is expected for fashion designers during the next decade. Good designers always will be needed, although not in great numbers. Increasing populations and growing personal incomes should increase the demand for fashion designers. Those who design clothing that is sold in department stores and retail chain stores will have the best job prospects.


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Fashion Illustrators and Photographers What Fashion Illustrators and Photographers Do Fashion illustrators and photographers work in a glamorized, intense environment. The focus of their art is styles of clothing. They work for advertising agencies, the news media, catalog houses, and fashion magazines. Fashion illustrators create illustrations that appear in print and electronic formats. Illustrations are used to advertise new fashions, promote models, and popularize certain designers. Some illustrators provide artwork to accompany editorial pieces in magazines such as Glamour, Redbook, and Seventeen and newspapers such as Women’s Wear Daily. Catalog companies also hire illustrators to provide the artwork that sells their merchandise through print or online publications. Fashion illustrators work with fashion designers, editors, and models. They make sketches from designers’ notes or they may sketch live models during runway shows or other fashion presentations. They use pencils, pen and ink, charcoal, paint, airbrush, or a combination of media to create their work. In addition to working with pens and paper, fashion illustrators also need to be able to work with computer programs that are designed to help them create and edit their artwork. The advertising industry is the largest employer of fashion photographers. These artists create the pictures that sell clothing, cosmetics, shoes, accessories, and beauty products. Fashion

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EXPLORING • Read books about fashion •

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•

•

illustration. Visit http://fashionbook.com to view portfolios of illustrators, photographers, and other fashion professionals. The best way to see if you have what it takes to become a fashion illustrator is to start drawing. Visit http://www. fashion-era.com/drawing_ fashion.htm to practice drawing basic modeling f igures and read tips about using other materials such as glue, pens, and mounting boards. Visit http://www.fashion.net/ howto/fashionphotographer to learn how to become a fashion photographer. Explore your interest in the fashion f ield by reading

•

•

•

•

fashion magazines that will keep you up to date on fashion trends and styles in advertising, illustration, photography, and art. Take drawing and photography classes of fered by your school or a community center. Join your school’s yearbook, newspaper, or literary magazine. These publications often include student illustrations and photographs along with text. Apply for a part-time job at an art supply, photography, or retail clothing store. Talk to fashion illustrators and photographers about their careers.

photographers’ tools include cameras, f ilm, f ilters, lenses, tripods, and lighting equipment. Those who do their own developing have darkroom facilities. In addition to being skilled at photography, fashion photographers should also be able to use new technologies such as digital cameras and computer programs designed to edit and store images. Fashion photographers sometimes are in charge of choosing a location for a shoot, such


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as a beach or a train station, or they may DID YOU KNOW? construct a studio set. They work with a team of people, including designers, editors, models, photo stylists, hair stylists, and Where Fashion makeup artists. The team works together Illustrators and to create shots that make the clothes and Photographers the models look good. Catalog shots tend to Work be straightforward, showing as much detail • Book publishers in the clothing as possible. Photographs • Design or advertising f irms for fashion magazines and advertising are • Fashion f irms (called houses) often more creative, suggesting a particular • Large retailers mood and emphasizing glamour. • Magazines The fashion world is fast paced and • Newspapers competitive. The hours can be long. There • Self-employment is pressure to produce good work under tight deadlines. Illustrators and photographers may have to face rejection of their work when they are starting out until they can earn a reputation and develop a style that is in demand.

Education and Training There are no formal education requirements for fashion illustrators or photographers. Many high schools of fer photography classes, and most of fer art courses. If you plan to run your own business, be sure to take business, math, and accounting classes. English and communication classes will help you to develop your communication skills. It is important to be able to communicate ef fectively with clients and models. For both photographers and illustrators, the best education is practice. As you continue to practice your art, you will begin to build a portfolio of your work, or a collection of the best of your sketches or photos. There are some vocational or fashion schools that of fer classes in fashion illustration. These classes not only teach you art technique but also teach you how to assemble and present your portfolio. Photography programs are widely


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available from the associate’s degree level to the bachelor’s degree level. Photographers can apprentice themselves to established photographers to learn about photographic techniques and the fashion world, and also to develop contacts in the industry. Apprentices work for established photographers for a few years before they gain enough training to work on their own.

Earnings The U.S. Department of Labor (DOL) reports that salaried f ine artists, including illustrators, had median yearly incomes of approximately $44,160 in 2008. Earnings ranged from less than $20,000 to more than $86,000.

Prof ile: Frances Pellegrini Frances Pellegrini, an American fashion photographer and businesswomen, gained commercial success during the 1940s and 1950s. She is best known for her black and white photos, many of which depict New York’s cityscapes and models in a very natural and unposed manner. A family friend introduced Pellegrini to photography. Soon she was roaming the streets of New York, armed with her own camera—a Rolliflex. After honing her photography skills, Pellegrini joined the Photo League and worked with famous photographers such as Dan Weiner and Sid Grossman. Along with other members of the league, Pellegrini was able to use photography as a tool to initiate social change and express her artistic vision.


Pellegrini’s first fashion photo assignment involved photographing a model in an Upper Eastside apartment, and from then on she was hooked. Pellegrini eventually opened her own photo studio and counted many popular magazines as regular clients, including Harper’s Bazaar, Glamour, Seventeen, Modern Bride, and Woman’s Day. She was responsible for the photography, while her husband took care of the editorial side. Many of Pellegrini’s early works, specifically her black and white photos from the 1950s, are currently highly sought after by collectors. Sources: Art in Motion, Biddingtons.com

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FOR MORE INFO To learn more about the programs and exhibitions of fered at F iT, check out its Web site or contact

Fashion Institute of Technology (F iT) 227 West 27th Street New York, NY 10001-5992 212-217-7999 http://www.f itnyc.edu For information on union membership, contact

Graphic Artists Guild 32 Broadway, Suite 1114 New York, NY 10004-1612 212-791-3400 http://www.graphicartistsguild.org For information on art and design schools, visit the following Web site:

National Association of Schools of Art and Design 11250 Roger Bacon Drive, Suite 21 Reston, VA 20190-5248 703-437-0700 [email protected] http://nasad.arts-accredit.org For information on photography careers, contact

Professional Photographers of America 229 Peachtree Street, NE, Suite 2200 Atlanta, GA 30303-1608 800-786-6277 [email protected] http://www.ppa.com For information on illustration education and careers, contact

Society of Illustrators 128 East 63rd Street New York, NY 10065-7303 212-838-2560 [email protected] http://www.societyillustrators.org This Web site allows you to browse through galleries of hundreds of established fashion photographers and a few fashion illustrators.

FashionBook.com http://www.fashionbook.com Visit this site for more career advice.

Fashion Net: How to Become a Fashion Photographer http://www.fashion.net/howto/ photography

The median annual pay for salaried photographers was approximately $29,770 in 2009, according to the DOL. The lowest paid 10 percent made less than $18,000, while the highest paid 10 percent made more than $62,000 per year. Earning potential for both fashion illustrators and fashion photographers depends on where their work is published. For


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example, a large fashion magazine is able to pay more for an illustration or photograph than a small publisher. Illustrators and photographers who build a strong portfolio of published work and work for more prestigious clients can make hundreds of thousands of dollars a year.

Outlook Employment for visual artists, including illustrators, is expected to be good during the next decade. But since many people want to become fashion illustrators, it will be hard to land a job. The employment of illustrators specif ically working in fashion will depend on the prosperity of magazines, newspapers, advertising f irms, and fashion houses. The outlook for these employers currently looks only fair. Illustrators who are creative and persistent in f inding job leads will be the most successful. Employment for photographers in general is expected to be good during the next decade. The outlook in the fashion industry is not as strong. Many people want to become fashion photographers. Despite the challenge of landing a job, magazines, newspapers, advertising f irms, and fashion houses will always need trained photographers to capture the latest styles. Employment opportunities will also be found in new media outlets such as e-zines and retail Web sites.


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Graphic Designers What Graphic Designers Do Graphic designers plan how to arrange artwork and lettering for books, magazines, television programs, advertisements, and product packaging. They also develop content for Web sites, interactive media, and multimedia projects. All designers today do their work on computers, using illustration, photo editing, animation, scanning, and page layout software. Graphic designers receive materials for their assignments from editors and writers, illustrators, and photographers. They might receive special instructions from art directors or publishers. They have to consider the medium—print, electronic, or film or television—and the audience. They decide on a central point of focus, such as the title of a magazine article or the name of a product on a package. They size the lettering; choose and size the artwork, whether it’s an illustration, photograph, or logo; and choose colors. Designers for already existing magazines, newspapers, and other periodicals usually have to follow a regular format that makes every issue look consistent. Some graphic designers create logos for companies or draw charts and graphs. Others create design elements for Web sites or design the entire Web site. Graphic design is a process. For example, when designing a cover for a book, designers make two or three rough designs for the client to look at. The client might choose one of the designs immediately, or ask a designer to change the point size (the size of the letters on the page), type style, color, or another element.

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EXPLORING • Read books about graphic

• Participate in school and com-

design. Here are two suggestions: Graphic Design, by Tina Kafka (Lucent Books, 2007) and The Complete Idiot’s Guide to Graphic Design, by Marjorie Crum and Marcia Layton Turner (Alpha, 2008). • Take as many art and design courses as you can. If your school does not of fer them, you might be able to f ind them of fered at community centers or art schools. • Learn dif ferent software programs for page layout and illustration. Design your own publications.

munity projects that call for design talents. These might include building sets for plays, setting up exhibits, planning seasonal and holiday displays, and preparing concert programs and other printed materials. • Work on the layout of your school newspaper or yearbook. • Design and create a Web site or an electronic publication. • Ask your art teacher or a school counselor to arrange an information interview with a graphic designer.

Designers rework their pieces until their clients are satisfied. Then they prepare the final piece for print or electronic publication. Each medium is different. Graphic designers in film and television design the credits and other type that appears on screen. They also work on animated graphics, maps, and charts. In product packaging, designers must be able to visualize a three-dimensional object that will be printed from a flat piece of artwork. Web sites require a different arrangement of type and pictures than print magazine pages. Graphic designers usually specialize in one of these media. Graphic designers are employed by design studios, advertising firms, publishing companies, printers, television and film


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studios, computer and video game design firms, manufacturing firms, and retail stores. Many designers work independently as freelancers.


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DID YOU KNOW? • Approximately 286,100 graphic designers are employed in the United States. • Graphic designers who work for the federal government earn the highest mean yearly wages—$74,030 in 2009. • The following states have the highest concentration of graphic designers: 1) New York; 2) Minnesota; 3) Utah; and 4) District of Columbia.

Classes in math, art, graphic design, and computer science are a good foundation for this field. Most employers prefer to hire people who have had formal art education. The best preparation after high school is a four-year art school program that leads to a bachelor of fine arts degree. There are art schools that offer a specialty in graphic design or advertising design. Some graphic Source: U.S. Department designers obtain their training at vocational of Labor schools that teach the required technical skills for a beginning job. Since computer skills are increasingly important, some formal education in computer graphics is highly recommended.

Earnings Graphic designers earned median annual salaries of $43,180 in 2009, according to the U.S. Department of Labor. Entry-level

Tips for Success To be a successful graphic designer, you should • have artistic ability • be creative and imaginative • have good computer

• be able to follow instructions • have good communication skills • be willing to continue to learn

throughout your career

design skills


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FOR MORE INFO For more information about careers in graphic design, contact

American Institute of Graphic Arts 164 F ifth Avenue New York, NY 10010-5901 212-807-1990 http://www.aiga.org For information on union membership, contact

Graphic Artists Guild 32 Broadway, Suite 1114 New York, NY 10004-1612 212-791-3400 http://www.graphicartistsguild.org For a list of accredited schools, contact

National Association of Schools of Art and Design 11250 Roger Bacon Drive, Suite 21 Reston, VA 20190-5248

703-437-0700 [email protected] http://nasad.arts-accredit.org For information on careers in environmental design, contact

Society for Environmental Graphic Design 1000 Vermont Avenue, Suite 400 Washington, DC 20005-4921 202-638-5555 [email protected] http://www.segd.org For information on publication design, contact

Society of Publication Designers 27 Union Square West, Suite 207 New York, NY 10003-3305 212-223-3332 [email protected] http://www.spd.org

graphic designers earned less than $27,000. Very experienced graphic designers earned more than $76,000. Salaried designers who advance to the position of design manager or design director earn about $100,000 a year.

Outlook Graphic design is an exciting and rewarding career f ield. Because the design f ield appeals to many talented individuals, many people want to become designers. Beginners and designers with only average talent or without formal education and skills may have some dif f iculty f inding jobs. Employment should be best for those involved with computer graphics, animation, and Web site design.


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Interior Designers and Decorators What Interior Designers and Decorators Do Interior designers plan and create the overall design for interior spaces in houses, of f ices, hotels, restaurants, factories, hospitals, theaters, stores, and other buildings. Interior decorators focus on the decorative aspects of the design and furnishing of interiors. The duties of interior designers and decorators are sometimes handled by one individual. The f irst step in the interior design process is to meet with the client and determine their goals for the project. They ask the client questions such as How will the space be used?, Is it living or working space?, How many people will occupy the space?, and What are the traf f ic patterns? They also ask the customer how much money they would like to spend on the project. This helps them set a budget and decide how many workers they can hire and what types of materials they can use. Once designers have seen the space that they will be designing/decorating, they make sketches or models of their plans, or use computer-aided design software to create design plans. They estimate how much the materials and the work will cost and present their f indings to their clients. If the clients approve the plans, the designers buy materials, such as drapery and upholstery fabrics, furniture, lighting, flooring, paint, and wallpaper. They hire and supervise workers to make sure that everything is built according to their client’s wishes. These specialists include architects, painters, carpenters, electricians, plumbers, 79


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EXPLORING • For useful career information,

• Watch interior design and

visit http://www.careersin interiordesign.com. • Study dif ferent styles of furniture, window treatments, and floor coverings. • Read decorating magazines, such as Interior Design (http:// www.interiordesign.net), House Beautiful (http://www. housebeautiful.com), Architectural Digest (http://www. architecturaldigest.com), CONTRACT (http://www.contractdesign.com/contract/magazine/Contract-Interior-De-25. shtml), and Home & Design (http://www.homeanddesign. com). Cut out pictures and keep a scrapbook of interior designs you like.

home improvement shows on television. • Ask your parents if you can redecorate your own room or help with other decorating projects at home. • Visit fabric stores and look at fabrics in the upholstery and drapery departments. There are fabric stores that carry only fabrics for interior decorating. Try to f ind colors, patterns, and textures that might go together. • Ask your art teacher or counselor to arrange an information interview with an interior designer or decorator.

carpet layers, drapery hangers, and floor covering specialists. Designers must be familiar with building and zoning laws that af fect the project they’re working on. Designers coordinate the project from start to f inish. They hire and supervise workers to make sure that everything is built according to their client’s wishes. If the client is not satisf ied, they make changes until both parties agree that the project is complete.


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Two interior designers use computer-aided interior design software to create designs for a project. (Topham/The Image Works)

Some designers and decorators become experts in a specif ic area of interior design, such as lighting, kitchen and bath, or closet design. Others specialize in particular environments, such as of f ices, hospitals, houses, or restaurants. Still others specialize in restoring old buildings. Many interior designers and decorators operate their own businesses. While owning a business can be rewarding, it also means that they have to handle every aspect of their business. These tasks include invoicing, advertising, marketing, managing workers, and other of f ice tasks.


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Education and Training If you’re thinking about a career as an interior designer or decorator, study math, history, art history, architectural drawing and drafting, f ine arts, and family and consumer science. Most interior designers earn a two- or three-year certif icate or diploma from an interior design school or a degree from a college or university. Bachelor’s and graduate degrees in interior design are also available. Students who earn at least a bachelor’s degree are eligible to participate in a one- to three-year apprenticeship under the supervision of an experienced designer. Advanced courses at design schools and universities will include furniture design, codes and standards of design, lighting and electrical equipment, and computer-aided design. You will also take classes that focus on the types of materials used, such as f ibers, wood, metals, and plastics. Most architectural f irms, department stores, and design f irms accept only professionally trained people, even for entry positions. New designers can also participate in the Interior Design Experience Program, which is of fered by the National Council for Interior Design Qualif ication. This program allows them to work with experienced designers, who provide mentoring and training.

Tips for Success To be a successful interior designer or decorator, you should • be very creative • have a good eye for color • be able to use computer de-

sign software


• be organized • have excellent communica-

tion skills • be able to follow instructions • be willing to stay up to date on design trends

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Questions Interior Designers Ask STYLE: Will the style be traditional or contemporary (modern)? Formal or informal? Lively or subdued? SCALE: Is the furniture in scale with the size of the room and the sizes of other furnishings? COLOR: Do selected colors set the desired mood? Do they work well with the room’s size and shape?

PATTERN: Will fabrics, carpeting, and wallpaper be a solid color, or will they have a pattern? ARRANGEMENT: Is furniture grouped and the room arranged so that people can move around freely? LIGHTING: Does the lighting go with the room’s style and colors?

Earnings Interior designers earned median annual salaries of about $46,180 in 2009, according to the U.S. Department of Labor. Salaries ranged from less than $27,000 to $83,000 a year or more. Interior designers working in large urban areas make much more than those who work in smaller cities.

Outlook Employment opportunities are expected to be good for interior designers and decorators well into the next decade. But strong competition for jobs is expected because many people want to enter this f ield. Since the services of design professionals are in many ways a luxury, the long-term job outlook depends on the economy. When the U.S. economy is strong, interior designers and decorators with formal training and talent should f ind


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FOR MORE INFO For industry trends, career guidance, and other resources, contact

American Society of Interior Designers 608 Massachusetts Avenue, NE Washington, DC 20002-6006 202-546-3480 http://www.asid.org For a list of accredited interior design programs, contact

Council for Interior Design Accreditation 206 Grandville Avenue, Suite 350 Grand Rapids, MI 49503-4014 616-458-0400 [email protected] http://www.accredit-id.org For information on careers and a list of educational programs in interior design, contact

Interior Design Educators Council 9100 Purdue Road, Suite 200 Indianapolis, IN 46268-3165

317-328-4437 [email protected] http://www.idec.org For information on the industry, contact

International Interior Design Association 222 Merchandise Mart, Suite 567 Chicago, IL 60654-1103 888-799-4432 [email protected] http://www.iida.com For information on the Interior Design Experience Program, contact

National Council for Interior Design Qualif ication 1602 L Street, NW, Suite 200 Washington, DC 20036-5681 202-721-0220 [email protected] http://www.ncidq.org

plenty of career opportunities. When it is weak, people have less money to spend on home and business remodeling. This creates reduced demand for interior designers and decorators.


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Makeup Artists What Makeup Artists Do Makeup artists apply makeup to actors and models. They are employed in the fashion, motion picture, and television and commercial industries. They also work in theatrical productions. Makeup artists who work in the fashion industry prepare models for photo shoots, fashion shows, and other fashion industry events. They often work closely with designers to create makeup and hair “looks” for seasonal collections. In addition to applying makeup, in smaller markets, makeup artists are often responsible for styling hair, extensions, and wigs.

EXPLORING • Read The Artisan magazine

(http://www.local706.org/ artisan.cfm) to learn about makeup artists who work in the f ilm and television industries. • Look for opportunities to volunteer your help to local theaters. The summer months will of fer the most opportunities. Small community the-

aters will pay little or nothing, but they may allow you the best chance to explore makeup artistry. • Volunteer to do makeup for school productions or fashion shows. Make sure to take pictures of your work. • Talk with a makeup artist about his or her work.

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A makeup artist applies makeup to an actress. (Damian Dovarganes, AP Photo)

Makeup artists play an important role during fashion events as well. For example, they observe models during fashion shows to make sure their makeup is just right. They reapply or adjust makeup as needed during the show. They help the models remove makeup at the end of the day. These artists must be able to spot any makeup problems before a fashion show or other event begins. Makeup artists also design and apply makeup for stage and screen actors. They read scripts and meet with directors, pro-


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ducers, and special ef fects technicians. They create makeup and special ef fects such as scars and prosthetics (artif icial body parts). Sometimes makeup artists apply “clean” (naturallooking) makeup and eliminate or apply wrinkles, tattoos, or scars. When they design makeup, makeup artists must consider the age of the characters, the setting and period of the f ilm or play, and the lighting ef fects that will be used. Historical productions require considerable research to design hair, makeup, and fashion styles of a particular era. Makeup artists also may work on hair, but in many states locally licensed cosmetologists must be brought in for hair cutting, coloring, and perms. Most makeup artists are self-employed and work on a freelance basis. Makeup artists for the theater may be employed full time by a theater, or they may be freelancers. Freelance makeup artists must handle all the administrative tasks that go with running a business. These include arranging job appointments, running errands, invoicing clients, updating their portfolio and Web sites, and shopping for supplies in stores and online.

Education and Training Most makeup artists have bachelor’s or master’s degrees in theater, art history, f ilm history, photography, fashion merchan-

Tips for Success To be a successful makeup artist, you should • • • •


have patience be able to work well with others have artistic ability be attentive to detail

• be able to work well under

deadline pressure • have business skills • be able to accept constructive criticism regarding your work • be conf ident of your abilities

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dising, fashion, or a related subject. To prepare for a career as a makeup artist, take art classes, such as art history, pho• The largest movie studios by tography, painting, drawing, and sculptmarket share in 2009 were ing. Anatomy and chemistry classes will 1) Warner Bros., 2) Paramount, also be useful. Some high schools of fer 3) Sony/Columbia, 4) 20th Cencourses in fashion; if available, take as tury Fox, 5) Buena Vista, and many as possible. Participate in school 6) Universal. drama productions and assist with • In 2009, the average admission makeup whenever possible. price for a family of four to the Cosmetology licenses or certif icates movies was $28.72. from special makeup schools are not • There are about 40,000 movie required, but they may help, especially screens in 7,000 theaters in the when you start out. If you are willing to United States. spend some time working for very little Source: Visual Ef fects Society pay, or even for free, you can gain valuable experience assisting an experienced, established makeup artist. There are also some highly regarded schools for makeup artists, such as the Joe Blasco Makeup Schools in California and Florida.

DID YOU KNOW?

Earnings Makeup artists usually earn a daily rate for their services. This rate varies depending on the budget and size of the production and the experience and reputation of the makeup artist. Day rates can range from $50 for a small theater production to $1,000 for a large Broadway show or feature f ilm. Work is rarely steady. Most makeup artists work long hours for several weeks, and then may be without work for a time. The U.S. Department of Labor reports that makeup artists, theatrical and performance, who worked full time had median annual salaries of $31,450 in 2009. Salaries ranged from less than $17,000 to more than $94,000. However, celebrity artists can earn salaries of more than $100,000 annually.


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FOR MORE INFO For information on union membership, contact

International Alliance of Theatrical Stage Employees, Moving Picture Technicians, Artists and Allied Crafts of the United States, Its Territories, and Canada 1430 Broadway, 20th Floor New York, NY 10018-3348 212-730-1770 http://www.iatse-intl.org This local union of the International Alliance of Theatrical Stage Employees, Moving Picture Technicians, Artists and Allied Crafts of the United States, Its

Territories, and Canada represents the professional interests of makeup artists and hair stylists who work in f ilm and television. Visit its Web site for more information.

Make-Up Artists & Hair Stylists Guild Local 706 http://www.local706.org For information about the Joe Blasco Makeup Schools and careers in makeup artistry, visit

Joe Blasco Makeup Schools http://www.joeblasco.com

Outlook Employment opportunities for makeup artists vary by specialty. It will be dif f icult to land a job working solely in the fashion industry because the f ield is so small and many people want to enter it. New jobs will become available as the f ilm and television industries continue to grow. Increased use of special ef fects will require makeup artists with special talent and training. On the other hand, the growing popularity of computer-generated ef fects in f ilms and television shows will reduce the number of makeup artists needed for some productions. The future for work in theaters is less predictable, but traveling productions and regional theaters should continue to of fer employment opportunities. Makeup artists with advanced training, strong artistic skills, and the ability to f ind work in multiple industries will have the best job prospects.


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Multimedia Artists What Multimedia Artists Do Multimedia artists combine traditional art skills with new technologies such as computers, digital cameras, and scanners to create art and animation for commercial and fine art purposes. Their work appears in art galleries or as commercial products that are produced by the computer and video gaming, advertising, film, and animation industries. Many multimedia artists are EXPLORING G self-employed fine artists. They work full time or part time practicing and • Experiment with multimedia and developing their art. They experitraditional art techniques. Ask your teacher to give you some ment with new types of technology exercises that will help you hone and styles. They use their life expeyour skills. riences and artistic skills to com• Read books and magazines about municate ideas and emotions to the multimedia art. public. Multimedia fine artists spend • Visit the Web sites of colleges a lot of time trying to sell their work. and universities that of fer trainThey search for galleries or art shows ing in multimedia art. that would be good places to exhibit • Talk to a multimedia artist about their work. They also search the Web his or her career. for sites where they can post their • Visit art galleries and museums work. When a work is sold, the gal—especially those that exhibit lery owner or art show management multimedia art. company receives a commission (a portion of the sale price). The art90


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Multimedia Artists

ist is given the rest of the money. As multimedia artists become better known and respected for their work, it often becomes easier to sell their art. Multimedia commercial artists who work for computer and video gaming, film, advertising, and animation companies have less leeway regarding the content of their work. They receive an assignment—such as work on a video game or commercial animation—and are expected to follow the instructions given by their managers in order to complete the project on time.

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DID YOU KNOW? Where Multimedia Artists Work • Advertising agencies • Animation companies • Computer and video game design f irms • F ilm and television production companies and studios • Graphic design f irms • Publishing houses • Self-employment

Education and Training Take as many art classes as you can in high school—especially those that focus on animation and computeraided design. You should also focus on traditional art disciplines, such as painting, illustration, ceramics, and photography. You do not need to earn a college degree to become a multimedia artist, but many people go to college to improve their art skills. Some people earn associate’s degrees in art, then begin creating art or try to land a job with a game design company or other employer. Others pursue a four-year bachelor’s of art degree at an art school or general college or university. Some seek out degrees in computer science, graphic design, or other related f ields.

Earnings Fine art multimedia artists work with gallery owners and other art industry professionals to set prices for their work. This pricing is generally based on public demand for their work. A particular work may sell for a few dollars or tens of thousands of dollars,


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DID YOU KNOW? • There are approximately 79,000 multimedia artists and animators employed in the United States. • The highest concentration of salaried multimedia artists and animators work in the following states: 1) California; 2) New York; 3) Washington; 4) Maryland; and 5) Arkansas. • Top-paying states for workers in this f ield include California ($76,010), Maryland (66,850), and Washington ($64,840). Source: U.S. Department of Labor

or at any price in between. The price may increase a lot after it has been sold if the artist’s work becomes well known and is in demand. The median annual earnings of salaried multimedia artists were $58,250 in 2009, according to the U.S. Department of Labor (DOL). Salaries ranged from less than $33,000 to more than $99,000. The DOL reports the following mean annual salaries for salaried multimedia artist by employer: motion picture and video industries, $70,960; software publishers, $68,320; computer systems design and related services, $63,140; and advertising, public relations, and related services, $57,630.

Outlook Although multimedia art is growing in popularity, it will be dif f icult for multimedia f ine artists to achieve fame and success. There are many talented artists in the world, but only so many people who want to buy this type of work. Also, most museums are more apt to exhibit the work of traditional artists—such as painters and sculptors—rather than multimedia artists. Multimedia artists with excellent artistic ability and determination will have the best chances of being successful. Employment opportunities for commercial artists are expected to be much better. There is strong demand for multimedia artists and animators to create computer and video games, special ef fects for movies and television shows, advertising campaigns, and 3D animated movies. There will also be demand for artists to create computer graphics for mobile technologies and scientif ic research.


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FOR MORE INFO For information about animated f ilms and digital ef fects, visit the AWN Web site, which includes feature articles, a list of schools, and a career section.

Animation World Network (AWN) 6525 Sunset Boulevard, Garden Suite 10 Hollywood, CA 90028-7212 323-606-4200 [email protected] http://www.awn.com The guild represents the interests of animation professionals in California. Visit its Web site for information on training, earnings, and the animation industry.

Animation Guild Local 839 1105 North Hollywood Way Burbank, CA 91505-2528 818-845-7500 http://animationguild.org This organization helps artists market and sell their art. It of fers marketing tools, a newsletter, a directory of artists, and reference resources.

ArtNetwork PO Box 1360 Nevada City, CA 95959-1360 530-470-0862 [email protected] http://www.artmarketing.com For membership information, contact

International Animated F ilm Society-ASIFA Hollywood 2114 West Burbank Boulevard Burbank, CA 91506-1232 818-842-8330 [email protected] http://www.asifa-hollywood.org


For general information on the study of the arts, contact

National Art Education Association 1806 Robert Fulton Drive, Suite 300 Reston, VA 20191-4348 703-860-8000 [email protected] http://www.arteducators.org For information on art and design schools, visit the following Web site:

National Association of Schools of Art and Design 11250 Roger Bacon Drive, Suite 21 Reston, VA 20190-5248 703-437-0700 [email protected] http://nasad.arts-accredit.org The NEA was established by Congress in 1965 to support excellence in the arts. It of fers grants to artists and arts organizations, as well as various community-based programs. Visit its Web site for more information.

National Endowment for the Arts (NEA) 1100 Pennsylvania Avenue, NW Washington, DC 20506-2501 202-682-5400 [email protected] http://arts.endow.gov Visit the society’s Web site for information about festivals and presentations and news about the industry.

Visual Ef fects Society 5535 Balboa Boulevard, Suite 205 Encino, CA 91316-1544 818-981-7861 info@visualef fectssociety.com http://www.visualef fectssociety.com

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Photographers What Photographers Do Photographers take many types of photos. Some of these photos are considered art and are comparable to a beautiful painting or sculpture. Artistic photos are framed and hung on the walls of museums, homes, and businesses; are printed in f ine art books and magazines; or are posted online at art-related Web sites. Other photographs are not artistic, but are used for commercial purposes. They help sell products, report on medical breakthroughs, capture sporting events, or illustrate the news, to name just a few uses for commercial photographs. Photography is both an artistic and technical career. There are many variables in the process that a skilled photographer can control to produce a clear image or a more abstract work of f ine art. F irst, photographers know how to use cameras and can adjust focus, shutter speeds, aperture, lenses, and f ilters. They know about the types and speeds of f ilms, as well as digital photography. Photographers also know about light and shadow, deciding when to use available natural light and when to set up artif icial lighting to achieve desired ef fects. Some photographers send their f ilm to laboratories, but some develop their own negatives and make their own prints. These processes require knowledge about chemicals such as developers and f ixers and how to use enlarging equipment. Photographers must also be familiar with the large variety of papers available for printing photographs, all of which deliver a dif ferent ef fect. Most photographers continually experi94


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EXPLORING • Visit http://store.kodak.com/

store/ekconsus/en_US/html/ pbPage.GlossaryContent/ThemeID.16765600 for a glossary of photographic terms. • Read books about photography. • You will f ind lots of photography resources in your library or bookstore and on the Internet. Look for information on how to compose photos, arrange lighting, f igure camera settings, choose f ilm for various ef fects, and use a digital camera. • Photography is a f ield that you can begin to explore now. Experiment with dif ferent cameras—both traditional and digital. Experiment with

•

•

•

• •

dif ferent kinds of pictures, too. Take photos of friends and family, school events, current events in your town, objects, landscapes, animals, or buildings. Join school camera clubs, or work on your yearbook or newspaper staf f. Enter contests sponsored by magazines or community groups. Visit http://www.fashion.net/ howto/fashionphotographer to learn how to become a fashion photographer. Visit art museums to view photographic exhibitions. Talk to a photographer about his or her career.

ment with photographic processes to improve their technical prof iciency or to create special ef fects. Many photographers use high-quality digital cameras to take photographs. With this technology, f ilm is replaced by microchips that record pictures in digital format. Pictures can


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A photographer takes photos of a nature scene. (Fritz Polking, The Image Works)

then be downloaded onto a computer’s hard drive. Photographers use special software to edit the images on screen. Photographers often specialize in one kind of photography. For example, f ine art photographers take pictures for artistic expression. They might shoot images that are beautiful, thought provoking, or even disturbing to convey ideas and feelings. Portrait photographers take pictures of people in their own studios, or at schools, homes, weddings, and parties. Photojournalists take pictures of events, people, places, or things for newspapers, Internet sites, and magazines. Aerial photographers take pic-


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Prof ile: Ansel Adams (1902–1984) U.S. photographer Ansel Adams was known for his dramatic scenes of the American West and for his contributions to photographic technology. His zone system was a method of controlling f ilm exposure and development to give a range of dark and light tones in black and white prints. Adams was born in San Francisco, California. He studied music and photography and was a concert pianist until 1930. In 1932 he joined Edward

Weston and other photographers in forming Group f/64, which helped establish photography as a f ine art. Adams’s photos were published in more than 35 books and portfolios. He also wrote many books on photographic techniques, including The Negative and The Print. For more information on Ansel Adams, visit the following Web sites: http://www.pbs.org/wgbh/amex/ansel and http://www.sfmoma.org/adams.

tures from airplanes for newspapers, businesses, research companies, or the military. Scientif ic photographers take pictures for scientif ic magazines and books. Sports photographers are specialists hired to shoot pictures of sporting events and athletes. Medical photographers create photographs, slides, prints, transparencies, f ilms, and computer graphics to make medical concepts easier to understand. They are also called biological photographers. Wildlife photographers take photographs and make f ilms of animals in their natural environment. Fashion photographers shoot pictures of the exciting world of fashion.

Education and Training Classes in photography, chemistry, and art will help prepare you for this career. If you are interested in digital photography, study computers and learn how to use programs that allow you to edit photos.


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Tips for Success To be a successful photographer, you should • be creative and imaginative • have good eyesight and color

vision

• have good business skills if you

are self employed • be self-motivated • be able to handle deadline-pressure

• have an eye for form and line

You do not have to earn a college degree to become a photographer, but many colleges of fer associate’s or bachelor’s degrees in photography. A college program will teach you advanced techniques and help you build a portfolio of your work.

Earnings Salaried photographers earned median salaries of $29,770 in 2009, according to the U.S. Department of Labor. Salaries ranged from less than $18,000 to $69,000 or more. Many photographers are self-employed freelancers.

Outlook Employment of photographers is expected to be good during the next decade. Despite employment growth in the f ield, it will be dif f icult to land a full-time job because many people want to become photographers. Art photographers with advanced training and artistic and technical skills will have the best chances of success in the f ield.


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FOR MORE INFO The ASMP promotes the rights of photographers, educates its members in business practices, and promotes high standards of ethics.

American Society of Media Photographers (ASMP) 150 North Second Street Philadelphia, PA 19106-1912 215-451-2767 http://asmp.org For information on publications, contact

American Society of Picture Professionals 217 Palos Verdes Boulevard, Suite 700 Redondo Beach, CA 90277-5820 424-247-9944 http://www.aspp.com For information on New Photographer magazine, contact

National Press Photographers Association 3200 Croasdaile Drive, Suite 306 Durham, NC 27705-2588


919-383-7246 [email protected] http://www.nppa.org For information on nature photography, contact

North American Nature Photography Association 10200 West 44th Avenue, Suite 304 Wheat Ridge, CO 80033-2840 303-422-8527 [email protected] http://www.nanpa.org For information on photography careers, contact

Professional Photographers of America 229 Peachtree Street, NE, Suite 2200 Atlanta, GA 30303-1608 800-786-6277 [email protected] http://www.ppa.com

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Photo Stylists What Photo Stylists Do Photo stylists work with photographers, art directors, models, and clients to create visual images. They use props, backgrounds, accessories, food, linens, clothing, costumes, and other set elements to create these images. Much of the work they do is for catalogs and newspaper and magazine advertising. Stylists also work on f ilms and television commercials. Most stylists specialize in fashion, food, hair and makeup, or bridal styling. Some do only prop shopping or location searches. Prop shopping involves searching local stores and resale shops for props (such as furniture, dinnerware, etc.) that will be used in advertisements. Location searches are conducted to f ind the right spot for an advertising shoot or commercial to be f ilmed. Others photo stylists prefer to develop a variety of skills so they can f ind dif ferent kinds of photo styling work. Photo stylists use their imagination, resourcefulness, and artistic skills to set up a shot that will help sell a product. For example, a mail-order clothing company may want a series of ads to sell their line of winter clothing. Photo stylists may decide to design a set outside with a snow background or indoors near a f ireplace with holiday decorations in the background. They gather props, such as lamps or table decorations. They rent chairs and couches to decorate the set where the shoot will take place. For an outdoor scene, they might use a sled or skiing equipment. Photo stylists hire models to wear the clothing. They may work with other photo stylists and assistants to style the hair and makeup of the models. 100


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Photo stylists usually have a “bag of tricks” that will help them solve problems or create certain visual effects. This kit may include everything from duct tape to cotton wadding to a spare saltshaker. Sometimes photo stylists build and design props from scratch. They may have to oversee the entire production, from finding the location to arranging places to stay for the crew. The best photo stylists are versatile and creative enough to come up with ideas and solutions on the spot. If they cannot create or locate something, they have many contacts who can help them out.


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EXPLORING G • Team up with friends and class-

•

• •

mates who are interested in photography and fashion. Of fer to work on setting up shots. A backyard photo shoot can be a good way to learn the elements involved with this career. Watch someone prepare a display in a department store window. Many stylists start out as window dressers. Work on set design or props for a school or community theater. Join a photography club and learn the basics of taking pictures. This will help you visualize what the photographer sees through the lens. Talk to a photo stylist about his or her career.

• There is no specif ic training or schooling to become a photo stylist, but there are other ways to prepare for this job. Art classes can help train your eye for design and composition. Experience with building and constructing displays will be of great help. Sewing skills are necessary, especially in fashion photo design, to make minor alterations to fabrics. Those interested in hair and makeup styling should take courses in cosmetology. Interior design courses will help you learn how to arrange room settings. A general knowledge of photography, f ilm, and lighting will help you communicate with photographers.


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DID YOU KNOW? Where Photo Stylists Work • • • • • •

Advertising agencies Catalog houses Design f irms Magazine publishers Self-employment Any companies that sell their merchandise through catalogs

Most photo stylists enter the f ield as apprentices to established stylists. Apprentices usually work for two years or more before taking on clients of their own.

Earnings Wages at production houses can start as low as $8 an hour. Experienced fashion or food stylists can earn as much as $800 a day and more, depending on reputation and the budget of the production. On average, stylists earn around $350 to $500 per day as freelancers.

Outlook Employment of photo stylists is expected to grow at an average rate. Good photo stylists are becoming more and more impor-

Tools of the Trade Following are some of the things photo stylists might carry with them to photo shoots: • • • • • • • • •


Blow torch Brushes Cloth steamer Cotton swabs Eye droppers Glycerine Mixer Needle and thread Oil

• • • • • • • •

Pastry bags and tips Safety pins Skewers Spray bottles Tape Toothpicks Tweezers Utility knife

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Photo Stylists

tant to photographers and advertising clients. However, the employment outlook for photo stylists depends on the health of the advertising, f ilm, and commercial photography industries. New digital photography and photo enhancement technology may change the role of the photo stylist in the future. There may be more educational programs for photo stylists and this may increase the competition for styling assignments.


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FOR MORE INFO To view the work of photo stylists, visit

Photo Talent Online http://www.phototalentonline.com

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Special and Visual Effects Technicians

What Special and Visual Ef fects Technicians Do Special and visual ef fects technicians make fantastic things seem real in movies, theater, and television. They can make a spaceship fly to distant planets, create an alien with two heads and six arms, or bring dinosaurs to life on the screen. There are two dif ferent types of ef fects technicians: special ef fects technicians and visual ef fects technicians. Both use special ef fects to wow viewers, but they use dif ferent methods to go about creating these ef fects. Special ef fects technicians create actual physical ef fects that are shot while the camera is rolling during a scene. There are three main subspecialties in the f ield: make-up, pyrotechnics, and mechanical ef fects. Makeup ef fects specialists create masks and costumes. They build prosthetic devices, such as fake human or animal heads or limbs. They must be skilled at modeling, sewing, applying makeup, and mixing dyes. Pyrotechnics ef fects specialists are experts with f irearms and explosives. They create explosions for dramatic scenes. This work can be very dangerous. Most states require them to be licensed in order to handle and set of f explosives. Mechanical ef fects specialists build sets, props, and backgrounds. They build, install, and operate equipment mechanically or electrically. They usually are skilled in carpentry, electricity, welding, and robotics. 104


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Visual ef fects technicians use computer software programs to add or improve ef fects after a f ilm is made. These ef fects would be impossible or too costly to build. These ef fects make it possible for a human face to change or “morph” into an animal’s face, or for a realistic looking bear to drink a popular soda. They typically work in an of f ice or animation studio, separate from the actual f ilming location. Visual ef fects technicians also work in the computer and video game industry.


105

EXPLORING G • Explore computer animation soft-

•

•

•

ware programs that allow you to create special ef fects. Visit your school or public library and bookstores to read more about special ef fects technology. Look for magazines such as Animation Journal, Cinefex, Daily Variety, and Hollywood Reporter. If you have a video camera, experiment with special ef fects in f ilming and editing. Work on school drama productions as a stagehand, sound technician, or makeup artist. Ask a teacher or counselor to arrange an information interview with a special or visual ef fects technician.

To be a special ef fects technician, • you need to know about science and art. Take high school classes in art, sculpture, art history, chemistry, physics, shop, and computers. If you want to work as a visual ef fects technician, you should take as many computer science classes as possible, especially those that focus on animation and related topics. Some universities have f ilm and television programs that of fer courses in special and visual ef fects. Visual ef fects technicians can also earn degrees in animation or computer and video game design. Most technicians in the industry say that the best way into this career is through experience working on a f ilm crew.


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Tips for Success To be a successful special effects technician, you should • • • •

have basic mechanical ability have good artistic skills be able to meet deadlines have good people skills

• be especially attentive to

safety on the set • be able to work long hours in varied environments • be able to deal with stress

Earnings The U.S. Department of Labor (DOL) does not of fer information on salaries for special ef fects technicians. It does report that average annual earnings of all wage and salary workers in the motion picture and video industries were $32,604 in 2008. The DOL classif ies visual ef fects technicians under the heading of “multimedia artist and animator.” Workers in these specialties who were employed in the motion picture and video industries earned annual mean salaries of $70,960 in 2009,

The Most Influential Visual Effects Films of All Time 1. 2. 3. 4. 5. 6.


Star Wars (1977) Blade Runner (1982) 2001: A Space Odyssey (1968) The Matrix (1999) Jurassic Park (1993) Tron (1982)

7. King Kong (1933) 8. Close Encounters of the Third Kind (1977) 9. Alien (1979) 10. The Abyss (1989) Source: Visual Ef fects Society

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FOR MORE INFO For information about animated f ilms and digital ef fects, visit the AWN Web site, which includes feature articles, a list of schools, and a career section.

Animation World Network (AWN) 6525 Sunset Boulevard, Garden Suite 10 Hollywood, CA 90028-7212 323-606-4200 [email protected] http://www.awn.com The guild represents the interests of animation professionals in California. Visit its Web site for information on training, earnings, and the animation industry.

Animation Guild Local 839 1105 North Hollywood Way Burbank, CA 91505-2528 818-845-7500 http://www.animationguild.org For industry information, contact

Entertainment Software Association 575 7th Street, NW, Suite 300 Washington, DC 20004-1611 [email protected] http://www.theesa.com

818-842-8330 [email protected] http://www.asifa-hollywood.org For a list of colleges that offer game design programs and career information, including Breaking In: Preparing For Your Career in Games, visit the association’s Web site.

International Game Developers Association 19 Mantua Road Mt. Royal, NJ 08061-1006 856-423-2990 [email protected] http://www.igda.org Visit the society’s Web site for information about festivals and presentations and news about the industry.

Visual Ef fects Society 5535 Balboa Boulevard, Suite 205 Encino, CA 91316-1544 818-981-7861 info@visualef fectssociety.com http://www.visualef fectssociety.com

For membership information, contact

International Animated F ilm Society-ASIFA Hollywood 2114 West Burbank Boulevard Burbank, CA 91506-1232

according to the DOL. Salaries for all multimedia artists and animators ranged from less than $33,000 to more than $99,000. Technicians at some of the top ef fects houses can earn hundreds of thousands of dollars on a project.


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Outlook The competition for jobs in f ilm special and visual ef fects houses is very strong. For decades now, f ilms and television shows of all kinds have used high-tech ef fects, inspiring a whole generation of young people to enter the f ield. Only very talented people with specialized training and knowledge of the latest technology will be able to land a job in this exciting, highly creative f ield.


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Glossary accredited approved as meeting established standards for providing good training and education; this approval is usually given by an independent organization of professionals annual salary the money an individual earns for an entire year of work apprentice a person who is learning a trade by working under the supervision of a skilled worker; apprentices often receive classroom instruction in addition to their supervised practical experience associate’s degree an academic rank or title granted by a community or junior college or similar institution to graduates of a two-year program of education beyond high school bachelor’s degree an academic rank or title given to a person who has completed a four-year program of study at a college or university; also called an undergraduate degree or baccalaureate bonus an award of money in addition to one’s typical salary that is given to an employee for extra-special work or achievement on the job career an occupation for which a worker receives training and has an opportunity for advancement certif ied approved as meeting established requirements for skill, knowledge, and experience in a particular f ield; people are certif ied by an organization of professionals in their f ield college a higher education institution that is above the high school level community college a public or private two-year college attended by students who do not usually live at the college; graduates of a community college receive an associate’s degree and may transfer to a four-year college or university to complete a bachelor’s degree

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Discovering Careers: Art diploma a certif icate or document given by a school to show that a person has completed a course or has graduated from the school distance education a type of educational program that allows students to take classes and complete their education by mail or the Internet doctorate the highest academic rank or title granted by a graduate school to a person who has completed an additional two- to threeyear program after having received a master’s degree fellowship a f inancial award given for research projects or dissertation assistance; fellowships are commonly of fered at the graduate, postgraduate, or doctoral levels freelancer a worker who is not a regular employee of a company; they work for themselves and do not receive a regular paycheck fringe benef it a payment or benef it to an employee in addition to regular wages or salary; examples of fringe benef its include a pension, a paid vacation, and health or life insurance graduate school a school that people may attend after they have received their bachelor’s degree; people who complete an educational program at a graduate school earn a master’s degree or a doctorate intern an advanced student (usually one with at least some college training) in a professional f ield who is employed in a job that is intended to provide supervised practical experience for the student internship 1. the position or job of an intern; 2. the period of time when a person is an intern junior college a two-year college that of fers courses like those in the f irst half of a four-year college program; graduates of a junior college usually receive an associate’s degree and may transfer to a four-year college or university to complete a bachelor’s degree liberal arts the subjects covered by college courses that develop broad general knowledge rather than specif ic occupational skills; the liberal arts are often considered to include philosophy, literature and the arts, history, language, and some courses in the social sciences and natural sciences major (in college) the academic f ield in which a student specializes and receives a degree


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Glossary

111

master’s degree an academic rank or title granted by a graduate school to a person who has completed a one- or two-year program after having received a bachelor’s degree pension an amount of money paid regularly by an employer to a former employee after he or she retires from working scholarship A gift of money to a student to help the student pay for further education social studies courses of study (such as civics, geography, and history) that deal with how human societies work starting salary salary paid to a newly hired employee; the starting salary is usually a smaller amount than is paid to a more experienced worker technical college a private or public college of fering two- or four-year programs in technical subjects; technical colleges of fer courses in both general and technical subjects and award associate’s degrees and bachelor’s degrees undergraduate a student at a college or university who has not yet received a degree undergraduate degree see bachelor’s degree union an organization whose members are workers in a particular industry or company; the union works to gain better wages, benef its, and working conditions for its members; also called a labor union or trade union vocational school a public or private school that of fers training in one or more skills or trades wage money that is paid in return for work done, especially money paid on the basis of the number of hours or days worked


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Browse and Learn More Books Artell, Mike. Funny Cartooning for Kids. New York: Sterling Publishing Company, 2006. Beker, Jeanne, and Nathalie Dion. Passion for Fashion: Careers in Style. Toronto, ON, Canada: Tundra Books, 2008. Bidner, Jenni. The Kid’s Guide to Digital Photography. New York: Scholastic, 2007. Brecke, Nicole, and Patricia M. Stockland. Cool Girl Stuf f You Can Draw. Minneapolis: Millbrook Press, 2009. Brommer, Gerald, and Joseph Gatto. 2d ed. Careers In Art: An Illustrated Guide. New York: Sterling Publishing, 1999. Camenson, Blythe. Great Jobs for Art Majors. 2d ed. New York: McGraw-Hill, 2003. Campbell, Marc, and Dave Long. Digital Photography for Teens. Florence, Ky.: Course Technology PTR, 2006. Clay, Kathryn, and Julia Nielsen. How to Draw Cool Fashions. Bloomington, Ind.: Snap Books, 2009. Crum, Marjorie, and Marcia Layton Turner. The Complete Idiot’s Guide to Graphic Design. New York: Alpha, 2008. Darby, Jason. Game Creation for Teens. Florence, Ky.: Course Technology PTR, 2008. Daynes, Katie, Lesley Sims, and Nilesh Mistry. The Fabulous Story of Fashion. Atlanta, Ga.: Usborne Books, 2006. Dunn, Mary R. I Want to Be a Fashion Designer. New York: PowerKids Press, 2008. Frings, Gini Stephens. Fashion: From Concept to Consumer. 9th ed. Upper Saddle River, N.J.: Prentice Hall, 2007.

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Gaines, Thom. Digital Photo Madness!: 50 Weird & Wacky Things to Do With Your Digital Camera. Asheville, N.C.: Lark Books, 2010. Gulrich, Kathy. 187 Tips for Artists: How to Create a Successful Art Career—and Have Fun in the Process! New York: Center City Publishing, 2007. Hardnett, Charles R. Virtual World Design and Creation for Teens. Florence, Ky.: Course Technology PTR, 2009. Kallen, Stuart A. Photography. Farmington Hills, Mich.: Lucent Books, 2009. Kohl, MaryAnn F., and Kim Solga. Great American Artists for Kids: Hands-On Art Experiences in the Styles of Great American Masters. Bellingham, Wash.: Bright Ring Publishing Inc., 2008. Lanza, Barbara. Fashionable Fun How to Draw Cool & Casual Fashions. Mineola, N.Y.: Dover Publications, 2009. McAlpine, Margaret. Working in the Fashion Industry. Strongsville, Ohio: Gareth Stevens Publishing, 2005. Muehlenhardt, Amy Bailey, and Bob Temple. Drawing and Learning About Fashion. Mankato, Minn.: Picture Window Books, 2005. Pardew, Les. Game Art for Teens. 2d ed. Florence, Ky.: Course Technology PTR, 2005. Pease, Pamela. Design Dossier: The World of Design. Chapel Hill, N.C.: Paintbox Press, 2009. Phaidon Press. The Art Book For Children: Book Two. New York: Phaidon Press, 2007. Raimondo, Joyce. Imagine That!: Activities and Adventures in Surrealism. New York: Watson-Guptill Publications, 2004. Raimondo, Joyce. Make it Pop!: Activities and Adventures in Pop Art. New York: Watson-Guptill Publications, 2006. Roche, Art. Art for Kids: Cartooning: The Only Cartooning Book You’ll Ever Need to Be the Artist You’ve Always Wanted to Be. Asheville, N.C.: Lark Books, 2005. ———. Art for Kids: Comic Strips: Create Your Own Comic Strips from Start to F inish. Asheville, N.C.: Lark Books, 2007.


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Discovering Careers: Art Ryan, Nellie. Designer Doodles: Over 100 Designs to Complete and Create. Philadelphia: Running Press Kids, 2009. Sabbeth, Carol. Monet and the Impressionists for Kids: Their Lives and Ideas, 21 Activities. Chicago: Chicago Review Press, 2002. Salmon, Mark. Opportunities in Visual Arts Careers. 3d ed. New York: McGraw-Hill, 2008. Stalder, Erika. Fashion 101: A Crash Course in Clothing. San Francisco: Orange Avenue Publishing, 2008. Thompson, Lisa. Trendsetter: Have You Got What It Takes to Be a Fashion Designer? Mankato, Minn.: Compass Point Books, 2008. Watt, F iona. The Usborne Book of Art Ideas. Tulsa, Okla.: EDC Publishing, 2005.

Periodicals American Cinematographer http://www.theasc.com

Animation World Magazine http://www.awn.com/magazines/animation-world-magazine

The Artisan http://www.local706.org/artisan.cfm

ChildArt http://www.icaf.org/whatwedo/childart.html

Cinefex http://www.cinefex.com

CosmoGIRL! http://www.seventeen.com/cosmogirl

Creative Kids http://www.prufrock.com/client/client_pages/prufrock_jm_ createkids.cfm

Interior Design http://www.interiordesign.net


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Seventeen http://www.seventeen.com

Stone Soup http://www.stonesoup.com

Teen Vogue http://www.teenvogue.com

Time for Kids http://www.timeforkids.com/TFK

Women’s Wear Daily http://www.wwd.com

Web Sites @rt junction http://www.artjunction.org About: Art History http://arthistory.about.com About: Drawing/Sketching http://drawsketch.about.com Albright-Knox ArtGames http://www.kids.albrightknox.org All About Art http://library.thinkquest.org/J001159/index.htm Amazing Kids Virtual Art Gallery http://www.amazing-kids.org/old/gallery.html American Association of Museums: F ind a Museum http://www.aam-us.org/aboutmuseums/directory.cfm American Library Association: Great Web Sites for Kids http://www.ala.org/greatsites The American Museum of Photography http://photographymuseum.org


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Discovering Careers: Art Animation World Network http://www.awn.com ArtCyclopedia http://artcyclopedia.com ArtGames http://www.kids.albrightknox.org The Art Institute of Chicago: Art Access http://www.artic.edu/artaccess The Artist’s Toolkit http://www.artsconnected.org/toolkit ArtLex Art Dictionary http://www.artlex.com Art Safari http://www.moma.org/interactives/artsafari Artsonia http://www.artsonia.com Breaking In: Preparing for Your Career in Games http://archives.igda.org/breakingin Career Threads.com http://careerthreads.com Careers in Interior Design http://www.careersininteriordesign.com Cartoonster http://www.kidzdom.com/tutorials Chuck Jones http://www.chuckjones.com Color With Leo http://www.colorwithleo.com Destination Modern Art http://www.moma.org/interactives/destination


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Ellegirl http://ellegirl.elle.com Fabric Online http://library.thinkquest.org/C004179 Fashion Club Online http://www.fashionclub.com Fashion Net: How to Become a Fashion Photographer http://www.fashion.net/howto/fashionphotographer FashionBook.com http://fashionbook.com Fashion-Era http://www.fashion-era.com Fashion Schools http://www.fashion-schools.org F ine Art Online http://www.harcourtschool.com/activity/art_line/art_line.html GettyGames http://www.getty.edu/gettygames Haring Kids http://www.haringkids.com International Child Art Foundation http://www.icaf.org Kodak: A Glossary of Photographic Terms http://store.kodak.com/store/ekconsus/en_US/html/pbPage. GlossaryContent/ThemeID.16765600 The Metropolitan Museum of Art: Just for Fun http://www.metmuseum.org/explore/justforfun.asp Museum at the Fashion Institute of Technology http://f itnyc.edu/3662.asp


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Discovering Careers: Art Museum of Children’s Art http://mocha.org Museum of Web Art: Kids http://www.mowa.org/kids/kids_enter.html National Gallery of Art: The Art Zone http://www.nga.gov/kids/zone/zone.htm National Museum of American Illustration http://www.americanillustration.org OnlineNewsHour Extra: Fashion Issue http://www.pbs.org/newshour/on2/fashion.html The Renaissance Connection http://www.renaissanceconnection.org Show Me…Art and Design http://www.show.me.uk/topicpage/Art-and-Design.html SmART Kids http://smartmuseum.uchicago.edu/smartkids Style.com http://www.style.com Style.com: Fashion Shows http://www.style.com/fashionshows The Toymaker http://www.thetoymaker.com University of California–Berkeley Art Museum Online Guide for Kids http://www.bampfa.berkeley.edu/education/kidsguide/welcome/ welcomekids.html The Walt Disney Family Museum http://disney.go.com/disneyatoz/familymuseum The Worldwide Kids Art Gallery http://www.theartgallery.com.au/kidsart.html


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Index Central High School (Pittsburgh, Pennsylvania) 37 ceramic artists 23–24 Chicago (film) 20 ChildArt 13 Cinefex 105 cinematographers 44–48 Cleopatra (film) 46 Close Encounters of the Third Kind (film) 106 college and university art teachers 34–35 commercial artists 22 The Complete Idiot’s Guide to Graphic Design (Crum and Turner) 76 computer and video game designers 49–53 computer games, types of 52 conservators and conservation technicians 54–58 CONTRACT 80 crafters 24 creative arts therapists 59–62 Crouching Tiger, Hidden Dragon (film) 20, 46 Crum, Marjorie 76 Cubism 24 curators, art museums 28–32 The Curious Case of Benjamin Button (film) 20

A The Abyss (film) 106 Academy of Motion Picture Arts and Sciences 46 Adams, Ansel 97 aerial photographers 96–97 Alice in Wonderland (film) 20 Alien 106 American Art Therapy Association 61–62 Animation Journal 105 animators 5–10 Architectural Digest 80 art dealers 11–15 art directors 22 art directors and production designers 16–21 Art in Motion 72 The Artisan 85 artists 22–27 art museum directors and curators 28–32 art photographers 24 Arts Olympiad 13 art teachers 33–37 art therapists 60 Association of Art Museum Curators 30 Association of Art Museum Directors (AAMD) 30 Avatar (film) 20, 46 The Aviator (film) 20, 46

D

B Beebe, Dion 46 bibliotherapists 60 Biddingtons.com 72 biological photographers 97 The Black Swan (film) 46 Blade Runner (film) 106 Blasco, Pablo Ruiz (Pablo Picasso) 24 Boyd, Russell 46 Breaking In: Preparing for Your Career in Games 49 Buena Vista 88 Burt, Donald Graham 20

Daily Variety 105 dance and movement therapists 60 decorators, interior designers and 70–84 The Demon Barber of Fleet Street (film) 20 Department of Labor. See U.S. Department of Labor Department of Veteran’s Affairs (VA) 61 Designer Doodles: Over 100 Designs to Complete and Create (Ryan) 64 designers 5 developers, video game designers 49 DOL. See U.S. Department of Labor drama therapists 60 Dunn, Mary R. 64

C

E

Caballero, Eugenio 20 calligraphers 23 Carter, Rick 20 cartoonists and illustrators 22, 38–43 Cartoonster 6 cell animators 5 Center for Cartoon Studies 40

earnings animators 8 art dealers 15 art directors and production designers 19 artists 25, 27 art museum directors and curators 30 art teachers 36

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120

Discovering Careers: Art cartoonists and illustrators 41–42 cinematographers 47–48 computer and video game designers 52 conservators and conservation technicians 56 creative arts therapists 61–62 fashion designers 68 fashion illustrators and photographers 72–74 generally 3 graphic designers 77–78 interior designers and decorators 83 makeup artists 88 multimedia artists 91–92 photographers 98 photo stylists 102 special and visual effects technicians 106–107 education and training animators 8 art dealers 14 art directors and production designers 19 artists 25 art museum directors and curators 30 art teachers 35–36 cartoonists and illustrators 40–41 cinematographers 45–46 computer and video game designers 51–52 conservators and conservation technicians 55 creative arts therapists 60–61 fashion designers 66–67 fashion illustrators and photographers 71–72 generally 2–3 graphic designers 77 interior designers and decorators 82 makeup artists 87–88 multimedia artists 91 photographers 97–98 photo stylists 101–102 special and visual effects technicians 105 Elswit, Robert 46 employment outlook animators 10 art dealers 15 art directors and production designers 20 artists 27 art museum directors and curators 31–32 art teachers 36–37 cartoonists and illustrators 42–43 cinematographers 48 computer and video game designers 53 conservators and conservation technicians 56–58 creative arts therapists 62 fashion designers 68 fashion illustrators and photographers 74 generally 3–4 graphic designers 78 interior designers and decorators 83–84 makeup artists 89


multimedia artists 92 photographers 98 photo stylists 102–103 special and visual effects technicians 108 exploring the field animators 6 art dealers 12 art directors and production designers 17 artists 22 art museum directors and curators 29 art teachers 33 cartoonists and illustrators 39 cinematographers 45 computer and video game designers 49 conservators and conservation technicians 55 creative arts therapists 59 fashion designers 64 fashion illustrators and photographers 70 graphic designers 76 interior designers and decorators 80 makeup artists 85 multimedia artists 91 photographers 95 photo stylists 101 special and visual effects technicians 105 “extras” 4

F facts. See “Did You Know?” fashion designers 63–68 fashion illustrators and photographers 39, 69–74 fashion photographers 97 The Fellowship of the Ring (film) 46 Ferretti, Dante 20 fine art photographers 96 Fiori, Mauro 46 “For More Info” animators 10 art dealers 14 art directors and production designers 21 artists 26 art museum directors and curators 32 art teachers 37 cartoonists and illustrators 42 cinematographers 47 computer and video game designers 53 conservators and conservation technicians 58 creative arts therapists 62 fashion designers 67 fashion illustrators and photographers 73 generally 4 graphic designers 78 interior designers and decorators 84 makeup artists 89 multimedia artists 93 photographers 99

9/15/11 3:55 PM

Index

photo stylists 103 special and visual effects technicians 107

G Game Developer 49 Glamour 69, 72 Gone With the Wind (film) 46 graders 64 graphic designers 16, 22, 75–78 Graphic Design (Kafka) 76 Graphics World 49 Grossman, Sid 72 Group f/64 97

H Hall, Conrad L. 46 Haller, Ernest 46 Harper’s Bazaar 72 Healing Arts programs 13 high school art teachers 33–34 Hollywood Reporter 105 Home & Design 80 House Beautiful 80

I illustrators 22, 38–43 Inception (film) 46 information. See “For More Info” Interior Design 80 interior designers and decorators 79–84 International Child Art Foundation (ICAF) 13 I Want to Be a Fashion Designer (Dunn) 64

J Jefferson, Thomas 37 job, described animators 5–8 art dealers 11–12, 14 art directors and production designers 16–19 artists 22–25 art museum directors and curators 28–29 art teachers 33–35 cartoonists and illustrators 38–40 cinematographers 44–45 computer and video game designers 49–51 conservators and conservation technicians 54–55 creative arts therapists 59–60 fashion designers 63–66 fashion illustrators and photographers 69–71 generally 2 graphic designers 75–77 interior designers and decorators 70–81 makeup artists 85–87 multimedia artists 90–91


121

photographers 94–97 photo stylists 100–101 special and visual effects technicians 104–105 Jurrasic Park (film) 106

K Kafka, Tina 76 King Kong (film) 106

L Leave Her to Heaven (film) 46 Lesnie, Andrew 46 The Lord of the Rings (film) 20, 46

M Major, Grant 20 makeup artists 85–89 makeup effects specialists 104 Mantle, Anthony Dodd 46 Martin, Catherine 20 Master and Commander: The Far Side of the World (film) 46 The Matrix (film) 106 mechanical effects specialists 104 mechanical illustrators 39 medical photographers 97 Memoirs of a Geisha 20, 46 Modern Bride 72 Moulin Rouge (film) 20 multimedia artists 24, 90–93 multimedia commercial artists 91 multimedia fine artists 90 museum conservators and conservation technicians 54–58 museum teachers 29 music therapists 60 Myhre, John 20

N National Museum of American Illustrators 39 natural science illustrators 39 Navarro, Guillermo 46 The Negative and the Print (Adams) 97

O Oscar winners art directors and production designers 20 cinematographers 46 outlook. See employment outlook

P painters 23 Pan’s Labyrinth 20, 46

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122

Discovering Careers: Art Paramount 88 Pau, Peter 46 Payscale.com 52 Peace Through Art 13 Peale, Rembrandt 37 Peanuts (comic strip) 41 Pellegrini, Frances 72 Pfister, Wally 46 photographers 22, 94–99 photojournalists 96 photo stylists 100–103 Picasso, Pablo 24 poetry therapists 60 portrait photographers 96 printmakers 23 production designers 16–21 pyrotechnics effects specialists 104

Q questions interior designers ask 83

R Redbook 69 Rennahan, Ray 46 The Return of the King (film) 20 Richardson, Robert 46 Road to Perdition (film) 46 Rosher, Charles 46 Ryan, Nellie 64

S Schultz, Charles 41 scientific photographers 97 screenwriters 5 Seventeen 69, 72 Shamroy, Leon 46 Slumdog Millionaire (film) 46 Sony/Columbia 88 special and visual effects technicians 104–108 sports photographers 97 Star Wars (film) 106 storyboard artists 5 Stromberg, Robert 20 Struss, Karl 46 studios, animation 8 Sunrise (film) 46 Sweeney Todd (film) 20

T There Will be Blood (film) 46 Thompson, Lisa 64 tools of the trade, photo stylists 102 Trendsetter: Have You Got What It Takes to Be a Fashion Designer? (Thompson) 64


Tron (film) 106 Turner, Marcia Layton 76 20th Century Fox 88 2001: A Space Odyssey (film) 106

U Universal 88 U.S. Department of Labor animators 8 art directors and production designers 19 artists 25 art museum directors and curators 30 art teachers 36 cartoonists and illustrators 42 cinematographers 47 conservators and conservation technicians 56 fashion designers 68 fashion illustrators and photographers 72–73 generally 3 graphic designers 77–78 interior designers and decorators 83 makeup artists 88 multimedia artists 92 photographers 98 special and visual effects technicians 106–107

V video game designers 49–53 visual effect films of all time, most influential 106 Visual Effects Society 88, 106 visual effects technicians 104–108 vocabulary. See words to learn

W Warner Bros. 88 Washington, George 37 Weiner, Dan 72 Weston, Edward 97 Wexler, Haskell 46 Who’s Afraid of Virginia Woolf? (film) 46 wildlife photographers 97 Wilson (film) 46 Women’s Wear Daily 69 words to learn animators 9 art museum directors and curators 31 creative arts therapists 60 fashion designers 66 World Children’s Festival 13 Wuthering Heights (film) 46

Y Yip, Tim 20 You’re a Good Man, Charlie Brown (musical) 41

9/15/11 3:55 PM

Art

Art

Minimal Art (Taschen Basic Art)

Art Nouveau (Art of Century)

Art. 285b

Contemplating Art

Dying Art

Candy Art

Bad Art

Art School:

Picking Art

Pop Art

Christian Art

Art Nouveau

Art. 285b

Activating Art

Art Nouveau

Art in Chemistry, Chemistry in Art

Art After Conceptual Art (Generali Foundation Collection)

Spraycan Art (Street Graphics - Street Art)

Art. 285b

Art 285B

Art Figurines

Intimate Art

Body Art

Body Art

Body Art

Art 285b

Thinking Art

Revealing Art

Art

Art

Minimal Art (Taschen Basic Art)

Art Nouveau (Art of Century)

Art. 285b

Contemplating Art

Dying Art

Candy Art

Bad Art

Art School:

Picking Art

Pop Art

Christian Art

Art Nouveau

Art. 285b

Activating Art

Art Nouveau

Art in Chemistry, Chemistry in Art

Art After Conceptual Art (Generali Foundation Collection)

Spraycan Art (Street Graphics - Street Art)

Art. 285b

Art 285B

Art Figurines

Intimate Art

Body Art

Body Art

Body Art

Art 285b

Thinking Art

Revealing Art

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