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Call for ........ - Art related: Awards, Exhibitions, Competitions, Funding, Scholarships, etc.

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Do support me during this crappy period and to get the website back up and running !
Make a donation here or buy me a coffee (credit card only)

Update September 15th, 2023
The website is still down, I am working on it (It is taking longer then I thought it would) but..
on our Callfor.org facebook page, I will be posting 5 or more interesting open calls, every or every other day,
because of the vacation period , nothing was posted for a while, will restart doing that soon :-)

1st of February 2023
Due to an unforeseen world wide technical PHP update:
the old wordpress theme and multiple plugins stopped working completely.
I am working on fixing the issue, next to my part-time job,
and hopefully it be fully online again quickly.
Your support is highly appreciated !!

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Do support me during this crappy period and to get the website back up and running ! Make a donation here or buy me a coffee (credit card only) Update September 15th, 2023 The website is still down, I am working on it (It is taking longer then I thought it would) but..

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PSU Alternative Licensure Master of Arts

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PSU Alternative Licensure Master of Arts

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The Master of Arts in Teaching with an emphasis in Secondary Education program is designed for candidates who hold a baccalaureate degree and want to earn a Middle/Secondary Teaching License. This is a 36 hour graduate program that is completely online.

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The Master of Arts in Teaching with an emphasis in Secondary Education program is designed for candidates who hold a baccalaureate degree and want to earn a Middle/Secondary Teaching License. This is a 36 hour graduate program that is completely online.

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Teaching (Secondary / Alternative Licensure)

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The Master of Arts in Teaching with an emphasis in Secondary Education program is designed for candidates who hold a baccalaureate degree and want to earn a Middle/Secondary Teaching License. This is a 36 hour graduate program that is completely online.

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This #ResidenciesConnect session will focus on topics unique to programs that support dance, theater and other performing arts practices. ACA is increasing its support for performing arts residencies and finding new resource streams. As we grow this membership area, we want to hear from you about how to best support your needs!

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This #ResidenciesConnect session will focus on topics unique to programs that support dance, theater and other performing arts practices. ACA is increasing its support for performing arts residencies and finding new resource streams. As we grow this membership area, we want to hear from you about how to best support your needs!

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I never wanted to be a starving artist. So while I was in art school I spent countless hours studying, researching, and attempting ways to make a living with art. By the time I graduated I was a full-time freelancer. A year later I had paid off nearly $40,000 in student loans and traveled overseas for three months, all from my freelancing income.

In this 5 hour long lecture I share everything I know about freelancing. Learn from my mistakes, make the most of my successes, and maybe be amused by my occasional stupidity.

Start living your dream. I can show you how.

Noah Bradley

Topics Covered

How do I break into the industry?

How much should I charge?

What should I put in my portfolio?

Am I too old to start?

How do I deal with bad clients?

Do I need a contract?

Should I work for free?

How do I know if I'm ready?

What if my client doesn't pay?

How do I start networking?

Should I go to art school?

...and many more.

I have to tell you- I cannot recommend this enough. While it is primarily aimed at the aspiring or student artist, there is actually information that can be of use to artists of many different levels. I found the offering to be clear, concise, and very honest about the "job" of being a freelance artist. There is a ton of information that will help you go from "aspire" to "hired" ...or at least, have a better idea of the time, energy, and some ideas on how to get there.

This is NOT a feel good, motivational speech. This is NOT a cheerleading section to make you smile and feel all warm and fuzzy about your career choice. This is 5 hours of content that contains some of the most honest appraisals about what it takes to make a career for yourself-it clearly lays out the challenges, and provides ideas for overcoming those hurdles. In my mind, this is priceless information!

Jon Schindehette

Senior Creative Director at Wizards of the Coast

"In art school, we all "knew" that establishing ourselves as working professionals would be difficult. Our teachers would try to temper our expectations by telling us that, statistically speaking, essentially all of us would fail.

We thought that with hard work and persistence we would be exceptions to the rule, but we received little guidance in how to apply ourselves to the business side of illustration. Noah's lecture provided a more effective rundown of freelancing basics than four years of art school.

Many of my instructors established themselves so long ago that they could offer little specific advice about getting started in the modern environment. Noah effectively describes both the basic methods and the mindset required to find work, build your brand, and interact with clients and the creative community. It made me reassess the manner in which I presented my work and myself.

So buy the video."

Illustrator

I would like to formally thank Noah Bradley for creating his Art of Freelancing lecture. It is one of the most informative and affordable resources on the internet today that explains the business aspects of being a freelance concept artist and illustrator. I have been a practicing illustrator for two years part time and since November of 2011 I have decided to take the courage to run a full-time concept art and illustration business. His video explains all the methods of marketing and also ways to make sure that your work is good enough to market. I always knew that marketing was essential but Noah Bradley explains in detail how proper marketing and targeted marketing really can make a freelance artists career successful. Since listening to his lecture I have applied some of his techniques and my work has grown but not only this I have gained some new clients and opportunities as an illustrator and concept artist, even in my hometown Adelaide.

Noah has also helped me and answered emails in a friendly and helpful manner giving me career advice and not only is his artwork fantastic but his business knowledge and marketing techniques are great tools for this challenging field. I recommend his lecture to anyone and again thank you so much Noah Bradley.

Anthony Christou

What you get

5 hour lecture on freelancing (.mp4 format in a .zip archive | 422MB)

2 hour supplemental Q&A video (.mp4 format in a .zip archive | 397MB)

Access to an extensive (and constantly updated) list of freelancing resources

Subscription to an exclusive mailing list that will feature FAQs and supplemental content

100% money back guarantee

I am 100% certain that you will love this lecture and learn so much from it. If you are at all dissatisfied, contact me and I will return the full purchase price.

Special thanks

I would like to thank all of the people who have helped me along the way towards my freelancing career. I only hope that by helping others through this video I might properly thank all of the people who helped me early on.

And despite the catchy subtitle: you taught me a lot, Sterling.

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The Art of Freelancing · Everything I Wish They Had Taught Me in Art School

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I never wanted to be a starving artist. So while I was in art school I spent countless hours studying, researching, and attempting ways to make a living with art. By the time I graduated I was a full-time freelancer.

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10 Things to do Before and During Your First Art Fair

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10 Things to do Before and During Your First Art Fair

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10 Things to do Before and During Your First Art Fair | Meylah

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One of the main ways that many artists make money from selling their art work is by participating

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Submission Guidelines

Calypso Cards, Inc publishes and distributes several lines of sophisticated, contemporary and innovative greeting cards. We work with a handful of talented freelance artists, illustrators and ghostwriters to provide fresh, original artwork and copy that approach the greeting card from a new angle. Before submitting please take a look at our website to make sure that your work fits with our style.

CARTE: Calypso Art Editions

We invite submissions of artwork that lends itself to occasions such as Birthday, Thank you, Anniversary, Wedding, Baby, Sympathy, Get Well, Friendship, New Home, and holidays including Valentine's Day, Easter, Mother's Day, Father's Day, Graduation, Christmas, Thanksgiving, New Year, Halloween.

Generally text is added after the artwork is selected.

Selfish Kitty

We are currently seeking copy for Selfish Kitty, a humor line which is edgy but not cruel or degrading. The audience for Selfish Kitty is young, urban, educated. The artwork is usually designed after the text is selected.

Submitting Digital Art

Send low resolution jpegs with contact information (your name, date, address, telephone number and email address) prominent in the text of the email, and on every page. Please compress larger files to save space and avoid corruption. If we decide to use your designs we will contact you for original files

Submitting Physical Art

Do not send originals, for they cannot be returned. Send high quality color copies, with contact information (your name, date, address, telephone number and email address) clearly printed on the back of each page. If we decide to use your designs we will contact you for original files.

Calypso Cards, Inc
270 Bellevue Avenue, #315
Newport, RI 02840

Submitting Copy

Each idea should be submitted in the following format:

Card occasion eg. Birthday

Outside message

Inside message

Be sure to include a © symbol, name address, telephone number and email address under every idea.

We review several times a year, but several months can go by between reviews. We regret that due to the volume of submissions we will only contact you if we select your artwork or idea.

Please submit to: [email protected]

If you have questions please contact us at [email protected] No phone calls please.

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Submission Guidelines Calypso Cards, Inc publishes and distributes several lines of sophisticated, contemporary and innovative greeting cards. We work with a handful of talented freelance artists, illustrators and ghostwriters to provide fresh, original artwork and copy that approach the greeting card from a new angle.

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If you're an aspiring poet, novelist, artist, actor or playwright looking at graduate schools, you're among a select group of gifted individuals passionate about your craft. Earning a Master of Arts (MA) or a Master of Fine Arts (MFA) is an excellent way to hone your skills. If you already have a Bachelor of Fine Arts (BFA), you may thrive in an environment that allows you to explore your full potential under the tutelage of accomplished instructors in your field.

Finding the best MFA or MA program for you starts with identifying your interests, goals and priorities. What's right for one person is not a good fit for the next. Despite overlapping courses, there are many distinct differences between a Master of Arts and a Master of Fine Arts. Once you understand your options, you are in a better position to commit time and money to graduate studies.

If flexibility is your top priority, an online MA may be the way to go. According to Southern New Hampshire University (SNHU), most MFA programs include a mandatory residency requirement, which incurs more time and money. Online master's degrees with asynchronous classes allow students to access course materials 24/7. This is an advantage for working adults, particularly teachers who spend their days in the classroom and work after hours grading papers, planning lessons and supervising curricular activities.

Schools geared toward working adults offer more options for both undergraduate and graduate students. Online students at SNHU, for example, can enroll in a 36-credit Master of Arts in English and Creative Writing or a 48-credit Master of Fine Arts in Creative Writing degree program that is accessible at the student's convenience. Aspiring MFA students have the traditional option of studying on campus and teaching undergraduate classes as a teaching assistant. They can also select an online track that includes weeklong residencies in January and June.

The MFA can take longer to complete than the MA, which is understandable since the MFA is considered a terminal degree for disciplines like the visual arts. Although a Ph.D. is typically required to teach at colleges and university, an MFA is needed to land a job as a visual arts professor, according to the Kent State School of Art. An MA in Studio Arts at Kent State entails 32 credits in interdisciplinary studies related to art, while the MFA requires 60 credits, including 27 credits with a specific emphasis, such as ceramics or painting.

Moreover, Kent State indicates that some students complete an MA as a steppingstone to gain admission to more selective MFA programs. Seeking an MA, in addition to an MFA, can add another year or more of study. Students pursuing an MA can use that time to develop an impressive portfolio of their studio artwork to impress prospective employers or MFA graduate admission committees.

Although MFA programs are longer, they are not necessarily more expensive because MFA graduate students often receive scholarships and stipends, or work as teaching assistants. If finances are a concern, you may wish to research schools that offer generous fellowships to attract talented MFA students.

The New York Film Academy (NYFA) explains that the MFA degree stands for prestige in the theatrical world. Although directors and talent agents also recognize the value of an MA in Theater, the MFA reflects in-depth immersion in the acting craft. Students in NYFA's MFA Acting program, for example, enroll in a five-semester course of study that requires them to be available during the day, evenings and weekends to rehearse and perform in front of a camera. They start acting their first week in the program.

The MA degree is broader in scope and spans multiple areas of theater, not just acting or directing. Students have more flexibility to select electives that align with their unique interests and career goals. High school teachers, playwrights, acting coaches and directors of community theater companies, for example, may find it helpful to study acting, directing, set design and choreography.

Some MA programs delve into the history and theory of the profession. For example, students enrolled in the 18-month online Master of Arts in Theater program at Regent's University take classes in theater history, research and aesthetics in the theater, as well as text analysis. Students take proficiency exams at the beginning of their studies, and they must pass comprehensive exams before graduation.

Earning an advanced degree is a special accomplishment that few people achieve. Graduates of MA and MFA programs earn recognition in their field for commitment and dedication to their craft. Of the two degrees, the MFA is held in higher regard. MFA programs are known for rigor, and admission is more selective, which sets MFA recipients apart from MA graduates.

Completing an MFA confers special recognition in the artistic community that may even offer a career advantage. For example, your critiques might carry more weight if you graduated from a prestigious MFA program. Your artwork could also receive greater acclaim and recognition because of your credentials. U.S. News & World Report suggests that visual artists with an MFA have a better chance of having their artwork shown in Los Angeles art galleries, for example.

As compared to the MA degree, the MFA curriculum is heavier on performance than research or pedagogy. The singularity of the MFA program allows a student to develop fully as an artist, writer or performer and to compete successfully for acting roles or jobs upon graduation. Recipients of an MFA degree may also pursue college teaching jobs where they teach, advise, mentor and direct BFA and MFA students. They are well connected to professionals in their industry and follow emerging trends.

The MA curriculum has a strong academic focus. Students may work closely with a professor who supervises their work and nurtures their talent. They enroll in seminars and take intensive writing classes. They may conduct original research as part of a thesis project. Supportive professor recommendations can help MA recipients earn a spot in a Ph.D. program. Admission to Ph.D. programs is competitive, and students must show promise as researchers and scholars. Completing a Ph.D. can lead to university teaching jobs and leadership roles at top art museums and conservatories.

If you can't make up your mind and you believe that both degrees could complement your career goals, consider a dual MA and MFA program that you can work on simultaneously. Although that route may seem untenable at first, there are decided benefits. For example, if you're passionate about dance, you can earn an MFA that focuses on choreography and performance, along with an MA that is research intensive. Earning both degrees could be advantageous when seeking teaching positions, for example.

New York University is an example of a school that offers a dual-degree dance program. It enables full-time students to earn an MFA along with an MA in two years and two summers. The 76-credit program is comprised of 29 credits of MA instruction and 47 credits of MFA instruction. Dancers learn dance technique at a famous dance conservatory, while completing student teaching in NYC schools to qualify for pre-K to grade 12 teaching credentials and college teaching opportunities.

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The Difference in Study of an MA & MFA. Though both master's degrees, a Master of Arts (MA) and Master of Fine Arts (MFA) often require different methods of study. These differences relate to the ways in which each degree functions in academia. Understanding the difference between an MA and MFA degree is ...

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How do we always manage to forget something? Every. Time.

You pull up to the art fair and start setting up your space. After a few minutes, it hits you. You forgot the hooks you were going to use to hang your artwork. The panic sets in.

There is a lot to keep track of and a lot going on during the days leading up to an art fair! Artwork, displays, labels, signs, an email list-not to mention tools you'll need just to set up. But, to make sure you (and your booth) remain professional and ready to sell art in any situation, you'll need to have the essential items for set-up, marketing, and sales already by your side.

Take the stress and uncertainty out of packing by using this ultimate art fair packing checklist.

Pack and prep without the stress.

Download and print the art fair checklist, so you can cross off items as you pack them! Once you're packed, don't forget to brush up on these 13 art fair do's and don'ts to make sure your weekend of selling is as successful as possible.

Be prepared and stay organized with Artwork Artwork Archive. Start your free trial here.

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You pull up to the art fair and start setting up your space. After a few minutes, it hits you. You forgot the hooks you were going to use to hang your artwork. The panic sets in. There is a lot to keep track of and a lot going on during the days leading up to an art fair!

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Finding Illustration Clients | Freelance Business Tips Part 1

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What an MFA Degree Is and What You Need to Know

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What an MFA Degree Is and What You Need to Know

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Despite the intense competitiveness of artistic fields and the fact that these disciplines are unlikely to make someone rich unless he or she experiences extraordinary success, these fields continue to attract legions of men and women. The allure of fine arts careers, which allow for a high degree of autonomy and self-expression and offer the constant challenge to produce original and influential work, entices many people. Artists who are determined to become experts on their art form may be interested in a Master of Fine Arts degree, commonly known as an MFA.

What is an MFA degree?

An MFA degree signifies that a professional artist has completed a series of rigorous courses in his or her art form and signals that someone is adept at his or her chosen craft, whether it is a technologically intensive field like graphic design or film editing, or a technology-free art form like drawing. An MFA is a graduate-level credential, meaning that before you get an MFA, you typically need a college degree.

MFA degree recipients say their graduate school education allowed them to refine their artistic philosophy and creative techniques while elevating the quality of their art to make it more unique, polished and interesting. In addition, MFA degree holders say having an MFA has given them the credentials necessary to teach courses in their art form at colleges and universities, and that it gives them sufficient knowledge of their art discipline to offer thoughtful critiques.

Frank J. Stockton, a visual artist who earned an MFA in painting and drawing from the University of California-Los Angeles, says his primary motivation for pursuing an MFA was that he loved painting and wanted to do as much of it as humanly possible. "Also, I just wanted to be the best artist that I could be," he says.

Anthony Borchardt, an assistant professor and gallery director at Fontbonne University in St. Louis, says prospective MFA students should understand that an MFA degree is unlikely to result in an extremely lucrative job.

One is as likely to become wealthy from art as he or she would be to become wealthy from athletics, Borchardt wrote in an email. "It's a rare opportunity, and it takes commitment, sacrifice and patience. Besides being a full-time working studio artist, students can try to get into the teaching field post-graduation. An MFA is not a guaranteed job. As I tell my students, once they get the degree, that's when the hard work actually starts. The payoff is the opportunity to do what few people are able to do. Make art and do what you love. To find success in this field, you need to have a burning desire from within and be committed morning, noon and night."

However, Marta Bistram, a communications professional with an MFA in creative writing from Chapman University in California, says the creativity you cultivate in an MFA program can be applied in multiple career paths. "I pursued a career in communications after defending a creative thesis of original poetry, which some might consider an unusual avenue," she wrote in an email. "I firmly believe that the way an artistic graduate program encourages you to think is applicable to any career path a graduate chooses, whether or not it directly correlates to their discipline. I continue to work on my poetry outside my 9 to 5, but I find extreme satisfaction from both my career and my artistic pursuits."

Experts say that though there are some extremely wealthy people with MFA degrees who achieved fame and fortune as a result of their art, the vast majority of MFA degree holders earn modest salaries. According to PayScale, a compensation data company that publishes the going rates for various types of jobs, the average MFA degree-holder in the U.S. earns an annual salary of $58,000.

Maria Cominis - a theater professor, professional director and working actress who has published books about acting and who most recently played Mona Clarke on the TV show "Desperate Housewives" - says that she has "never regretted" getting an MFA.

Cominis, who teaches at California State University-Fullerton says people who pursue an MFA are typically seeking an artistic career, because they believe such a career would be fulfilling. Cominis adds that most prospective MFAs understand that it is unlikely they will become rich and famous, but that's besides the point.

"I don't think that anybody goes into the arts to become rich," she says. "I don't think I've ever met anybody - whether it's a playwright, an actor, a designer - that enters the arts to become a gazillionaire."

What types of MFA degrees are there, and how do dual-degree programs fit in?

There are a variety of MFA programs, with programs that specialize in nearly any artistic discipline you can imagine. For instance, there are MFA programs specially tailored to the interests of aspiring fashion designers, dramatic actors, fiction authors, choreographers, ballet dancers, sculptors, arts critics and movie directors.

It is also possible to combine an MFA degree with another graduate credential, such as an MBA degree, if you pursue a dual-degree program. For instance, New York University offers a MBA/MFA graduate program which involves coursework in both the school's Tisch School of the Arts and its Stern School of Business.

"A dual degree may be attractive to students because it allows them to gain expertise in two disparate, but complementary academic domains, in order to set themselves apart in their field and foster innovation across sectors," Kathryn Heidemann, assistant dean of Carnegie Mellon University's Heinz College of Information Systems and Public Policy and its College of Fine Arts, wrote in an email. "For example, it's not uncommon now to see the arts and creativity permeate across the fields of health, law, technology, community development, government, and business. However, as dual degrees typically involve earning two separate degrees (which typically involves two separate curricular agendas, faculty/administration and more), this may put all of the onus on the student to 'connect the dots' themselves across disciplines."

Heidemann, who directs Carnegie Mellon University's master of arts management program, says that prospective graduate students who want to combine their interest in art with their passion for another discipline, like business, should consider pursuing an interdisciplinary degree. "With this in mind, it is important to note that there is a strong supply of interdisciplinary degree programs available that offer holistically-designed, cross-disciplinary curricula that allow students to achieve full competency of the arts within a specific cross-sector domain," she wrote in an email.

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How long is an MFA program, and how hard is it to get an MFA degree?

MFA programs vary in length, with some accelerated programs lasting only a year and others lasting as long as three or four years. Typically, an MFA program lasts between two and three years, experts say, and a strong MFA program is a demanding one which requires serious commitment. Experts say that an MFA that can be obtained easily, with minimal effort, is of limited utility, since one of the benefits of high-quality MFA programs is that they teach artists how to be disciplined about their creative process and respond to critiques.

Who should get an MFA?

Michael Markowsky - a studio artist with an MFA who teaches on the faculty of the Emily Carr University of Art and Design in Vancouver, Canada - says an MFA is a large investment of time, energy and money. It's not right for everybody, but it's been very rewarding for him personally.

"I had a fantastic experience, which I always describe to people as saving me 10 years worth of struggling to refine my art practice and ultimately my life," Markowsky wrote in an email. "It was an intense experience, but it was instrumental in helping me understand the core ideas and themes that run throughout all of the diverse artworks that I make."

Markowsky adds that an MFA is only the right choice for someone who is both passionate about becoming a better artist and interested in learning the history and theory of a particular craft. He notes that someone who pursues an MFA needs to be ready and willing to learn from criticism, but he or she must also be confident enough to know that criticism doesn't necessarily mean failure.

"I often discourage students from pursuing an MFA because I don't believe most of them are ready or willing or capable of undergoing such an intense experience, and therefore it would not only be a waste of money, but also might destroy their interest in making art altogether," he says. "I personally believe someone interested in pursuing an MFA should have both a very clear idea of what they are doing and want to do, and also an extremely open mind to working with people who will ruthlessly challenge those ideas. Anyone who is stubborn and inflexible won't get anything else but frustration out of the exercise, and anyone who is lost and timid will find themselves traumatized and torn to pieces, and - as one of my former MFA advisors once said - incapable of putting themselves back together again."

Experts say it is also important to consider whether your financial, professional and family obligations will permit investment in an MFA program, which tends to be very expensive, time-intensive and stressful.

How much does an MFA degree cost?

The cost of an MFA program varies from school to school and from student to student. Fine arts schools often give scholarships and financial awards. However, sticker prices at the nation's most prestigious fine arts programs are significant. Some nationally renowned art schools charge MFA students more than $30,000 annually for tuition and fees.

Bistram says price was a key factor for her when she was choosing an MFA program. "I knew that paying for my graduate degree would be challenging for me, so I looked for programs that were willing to invest in their students," she says. "I only applied to programs that offered full or partial fellowships. This financial assistance allowed me to spend my two years of graduate school focusing primarily on perfecting my craft, rather than splitting my time between competing priorities, and was extremely rewarding."

How much should prestige matter when choosing an MFA program?

MFA recipients disagree about how much MFA applicants should weigh the importance of a program's reputation and name recognition when choosing a program.

Stockton says some art institutions and galleries in Los Angeles do have a preference for featuring artists with MFAs, so visual artists who want to have their work displayed in prestigious art shows may want to get an MFA. "It's no secret that the art world looks at all kinds of different criteria for deciding who is worthy of working with and who to take seriously, and there is a perception that you are a professional artist, I find, if you have a master's degree," Stockton says. He notes that the MFA can add credibility to an artist's resume and help him or her get a second look from art curators, but ultimately, the quality of the art is what matters most for artistic career success.

Stockton says enrolling in an MFA program with an exceptionally talented cohort of students allows you to learn from those students, both during and after the program, assuming you establish and maintain strong relationship with classmates.

Markowsky notes that another important factor to consider is the quality of professors at an MFA program, since having top-notch artistic mentors in the area of art that you are interested in can be very valuable.

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However, experts says prospective MFA students who are unable to gain admittance to the most competitive fine arts schools should find reassurance in the idea that they can become great artists and produce beauitful art, regardless of which art school they attend, so long as they are committed to their craft.

Steve Almond, a published author who earned an MFA in creative writing and who teaches narrative journalism courses at Harvard University, says the quality of a person's artwork is the primary metric that matters in artistic careers, so if someone can become a tremendous artist without going to a big-name art school, that's fine.

Almond says in creative writing, good editors and publishers judge work based on its own merits, rather than the credentials of the person who made it. "What matters is whether it's a gripping story," he says.

What is the best way to judge the quality of an MFA program?

Borchardt says one key thing to look for when evaluating MFA programs is rigor.

"The degree is an intense multiyear commitment to creating a style of art that will separate you in a very difficult market," he says. "It is a study in which you may end up not creating the art that you love or first desired but an art that can be both marketable and self worthy."

Borchardt says a solid MFA program will provide students with highly technical training in their particular art form. "A good program will focus on the technical aspects of how to make art, whether that's learning new painting processes or studies in different firing techniques for ceramics," he wrote. "Knowledge is what needs to be gained to be able to create art that stands the test of time. Art work will flourish out of those studies. Some programs focus on just creating work and not focusing on the processes, but a good program should be technical and offer the freedom to create after the skills are built up....Red flags for a subpar program include limited instruction in technical processes and fundamentals."

How does someone become a competitive applicant for an MFA program?

MFA professors and alumni say the most important component of an MFA application is the quality of the art that is included in the application. Depending on the type of MFA a person is applying for, he or she would either be submitting an artistic portfolio or writing sample, or he or she would be auditioning before a panel of judges.

Bistram says when she applied for an MFA program, the component of her application which she focused on was her portfolio. "The portfolio component of the application was most important in my admissions process," she wrote. "While other graduate programs place a great deal of value on test scores and undergraduate transcripts, MFA programs evaluate a candidate primarily based on the artistic work they can produce."

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What an MFA Degree Is and What You Need to Know

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Despite the intense competitiveness of artistic fields and the fact that these disciplines are unlikely to make someone rich unless he or she experiences extraordinary success, these fields continue to attract legions of men and women.

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Printable Art Fair Checklist from Artwork Archive

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Printable Art Fair Checklist from Artwork Archive

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Call For Entry and Application Management for the Arts | CaFÉ - CallForEntry.org

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CaFÉ™ is the foremost call for entries submission and online jurying solution by and for artists specifically for the arts and the public art field.

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Contracts & Invoices for Freelance Artists & Illustrators

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Contracts & Invoices for Freelance Artists & Illustrators

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Contracts & Invoices for Freelance Artists & Illustrators

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What’s the Difference Between an M.F.A. in Studio Art vs. M.A. in Studio Practice for Art Educators?

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What’s the Difference Between an M.F.A. in Studio Art vs. M.A. in Studio Practice for Art Educators?

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M.A. in Studio Practice for Art Educators (Hybrid)

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5 July, 2021

If you've ever thought you don't have enough time to really focus on your own artistic work, or you're having trouble balancing your responsibilities as a teacher with your passion as an artist, you're not alone. One of the challenges of both teaching and creating art is finding the right balance between developing artistic and teaching skills. It can also be especially difficult to find quality professional development opportunities that are geared toward artists.

In fact, in 2013, researchers noted many professional development opportunities for artist educators had little to do with art at all. In a 2019 survey of teachers, personal learning and development was one of the top five concerns for the coming year,-ahead of even essential job duties like preparing students for state assessments.

In part to fill this gap and, due to increasing pressure on teachers to develop their skills, many art educators pursue graduate education. According to the National Center for Education Statistics, the number of people completing visual and performing arts master's degrees in the U.S. has been steadily increasing since the early 2000s, and education master's degrees show a similar trend.

This presents two broad pathways to consider: Should you pursue a program like an M.F.A. in Studio Art that empowers you to elevate your personal creativity, or should you opt for a traditional art education master's program to focus on your ability to inspire creativity in others?

At Teachers College, we decided to create an option that gives you both: The M.A. in Studio Art for Art Educators. For this article, we'll focus specifically on comparing the structure and outcomes of our Studio Practice for Art Educators master's program to a Master of Fine Arts (M.F.A.) in Studio Art.

Benefits of Earning an Art Education Master's Degree

Many artists and art educators choose to pursue an advanced visual arts degree, such as an M.F.A. for holistic purposes. An advanced degree in visual arts can provide a way to connect with other artists, hone your own craft, and learn proven strategies for inspiring creativity in yourself. Graduate education can also help you advance in your career.

According to Burning Glass, art teachers have a projected job growth of 16.2% over the next ten years. In addition, art teachers with a master's degree make an average of six thousand dollars more a year than those with a bachelor's degree (this data includes job postings between April 2020 and March 2021).

Both a traditional M.F.A. and the Teachers College M.A. in Studio Art for Art Educators can help you grow as an artist and take your career to the next level, but they're designed to help you excel in different ways.

M.F.A. in Studio Art vs. an M.A. in Studio Practice for Art Educators

M.F.A. in Studio Art

M.A. in Studio Practice for Art Educators

Part Time or Full Time

Full time

Part time

Credits to Complete

60 semester hours or 90 quarter hours

32 semester hours

Areas of Study

Typically, a focus on one or two studio art mediums

Option of a broader focus on several studio art mediums

What is an M.F.A. in Studio Art?

If you want to teach at the collegiate level, have the time to focus solely on graduate studies, and are interested in specializing in one particular type of visual art, an M.F.A. might be the right option for you.

An M.F.A. in Studio Art is a terminal degree, similar to a Ph. D., and it's often the minimum requirement to teach art at a four year university. Most in-person M.F.A. programs often require a full-time commitment. According to CAA, the preeminent international leadership organization in the visual arts, an M.F.A. degree requires 60 semester hours or 90 quarter hours of credits.

An M.F.A. degree can typically be completed in two to three years, full time. In addition to in-person M.F.A. programs, there are low-residency programs, which are a hybrid of online learning and in-person residencies once or twice a year.

As referenced in the name, students in an M.F.A. in Studio Art program tend to focus on either one artistic medium or pick a combination of a couple. Some potential mediums include painting, drawing, illustration, ceramics, photography, video, printmaking, and textiles.

What is an M.A. in Studio Practice for Art Educators?

The M.A. in Studio Practice for Art Educators combines the parts of an art education degree with the aspects of an M.F.A.

The breadth of this degree makes it an excellent option for art educators who work in primary and secondary education, as well as artists or teachers in the public, non-profit or private sectors.

While an M.F.A. tends to have a more focused curriculum, an M.A. can give you the chance to take coursework in a variety of studio arts. In the case of the M.A. in Studio Practice for Art Educators (Hybrid) from Teachers College, Columbia University, students are able to take a blend of diverse studio art courses or focus on one area while also completing classes in key art education topics.

The average length of an in-person M.F.A. degree is two to three years, and often requires a full-time commitment. By contrast, an M.A. degree can often be completed part-time while you work. This gives you the opportunity to advance your skill set without sacrificing other parts of your life.

An M.A. in Studio Practice for Art Educators combines coursework on education with coursework in visual arts. Since many of these programs offer in-person residencies, they are also an excellent way to build a network.

"Students who have some experience as teachers, might be unsure of themselves as artists because maybe it's been a long time since they've actually done a lot of art work. They are re-engaging, and there's a whole bunch of people who are doing the same thing," said Mary Hafeli, professor of art and art education in the Teachers College M.A. in Studio Practice for Art Educators (Hybrid) program.

In addition to helping students refine their artistic style and explore new mediums, an M.A. in Studio Practice for Art Educators may also give students practical skills to assist with their job search and help them position themselves for advancement.

"We have a whole course called professional practices, where students learn to develop an artist CV, an artist statement about their work, a website that showcases their work," Hafeli said of the M.A. in Studio Practice for Art Educators (Hybrid) program. "They learn how to enter their completed works into juried exhibitions, and they learn how to write grants for special projects."

In addition, if the M.A. program features online learning, art educators are able to take what they learn in online teaching methods and apply it to their own classrooms.

"There have been some things developed that allow the kinds of experiences to take place in an online community that didn't exist before," said Hafeli. "Especially since we had to go online last year, that has pushed that development forward quite a bit among all of our instructors."

About the M.A. in Studio Practice for Art Educators (Hybrid) from Teachers College, Columbia University

The Teachers College M.A. in Studio Practice for Art Educators (Hybrid) is a 32-point, studio-based program. The hybrid structure gives students the best of both worlds. Students take classes online during the academic year, and attend Summer Residencies on campus in New York City. During the Summer Residencies, students have opportunities to hone their craft alongside a community of their peers.

The M.A. in Studio Practice for Art Educators (Hybrid) gives students the ability to enhance as studio artists and allows them to delve into the future of art education through online learning.

Full-time M.A. in Studio Practice for Art Educators (Hybrid) students can complete the program in as little as 14 months.

Request Information

Are you enrolling from outside the U.S.? Click here.

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What's the Difference Between an M.F.A. in Studio Art vs. M.A. in Studio Practice for Art Educators?

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5 July, 2021 If you've ever thought you don't have enough time to really focus on your own artistic work, or you're having trouble balancing your responsibilities as a teacher with your passion as an artist, you're not alone. One of the challenges of both teaching and creating art is finding the right balance between developing artistic and teaching skills.

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ArtFairCalendar.com - Fine Art Fair and Craft Show Listings

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He has worked with Jim Henson Productions; traveled to Brazil with a jungle tour company where he made a commitment to producing work through printmaking. Nick developed a series of prints of the local flora and fauna that ultimately were used in a tour guide book.

He has continually refined his printmaking skills while working with a timber company, the Neu Erth Worm Farm and in the Northwest Territories of Canada producing many woodcuts of the landscape and its inhabitants. His work is usually derived from the natural world and he is deeply committed to the continual exploration and development of his artistic growth.

Learn more about Nick and his work.

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Virtual art fair, art show, and craft show event dates are here! (But please note: Shows listed here are subject to change. We suggest you doublecheck before you start out.) Click for virtual and street art fair event listings nationwide,...

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Preparing to Teach Your First Artist Workshop

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Preparing to Teach Your First Artist Workshop

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Workshops also give you the opportunity to meet new people in the art world, gain exposure for your art business, beef up your contact list, stimulate your own creativity, improve your public speaking skills ... and the list of benefits goes on.

But, you've never hosted a workshop before. So how do you actually go about setting up and teaching one?

Whether you're wondering what lessons to demonstrate or how many students you should have in each class, we've rounded up eight tips for teaching your first artist workshop, so your students leave feeling satisfied and ready to sign up for more.

Teach Actual Techniques

Listen to this less than desirable workshop experience from watercolor artist Angela Fehr:

"Although I didn't know it at the time, I had chosen a teacher who was more concerned with encouraging students' creativity than actually teaching us how to paint. From that class, I learned not to waste my time with cheap supplies, and to paint from light to dark as a rule, but I was still pretty much uninstructed where actual techniques were concerned."

Long story short: you don't want your students feeling this way. You want workshop participants to go home feeling empowered with the new skills they gained and confident to apply them in their own work. A fun way to do this? Angela suggests having students create cheat sheets to help recall different techniques they've learned.

Complete a Full Piece

Don't stop at techniques, either. Have students finish an entire piece so they feel more accomplished. Having the finished artwork with them when they go home will also give them a wonderful opportunity to discuss your workshop with friends and advertise your expertise to other potential students.

Plan and Practice

Now that you have the bulk of the teaching material nailed down, focus on the two big P's-planning and practice-because winging it probably won't cut it.

As for the planning, sketch out the most important lessons to teach and gather the right supplies. When you get ready to practice, call a friend to walk through demonstrations with, time yourself, and write down whatever you feel is necessary. While it may take some work up front, your preparation will pay off in the long run.

Cover Your Costs

Knowing what to charge for workshops can be a real pickle. To help, take a look at Art Biz Coach Alyson Stanfield's post on what other artists are getting paid for teaching workshops, and try researching similar workshop costs in your area.

Just don't forget to include the cost of supplies for each student in the fee, or else that cost will be left for you to cover. And, if you want to give more people the chance to attend your workshop, consider offering a payment plan for those who may not be able to afford the workshop costs all at once.
What's next?
Promote Like a Pro

Once you have your workshop planned and ready to go, promotion is key! This means hitting up fans on social media, your blog, newsletters, online groups, at art fairs, and any other outlet you can think of to spread the word.

Erase any fears students may have of signing up by clearly stating the experience level needed for the class. Some artists have success with enrollment numbers by casting a wide net with workshops open to all skill levels, and others teach more advanced techniques that attract professionals from all over the country.

Keep the Class Size Small

Know your limits. This includes knowing how many people you can instruct at once. You want to be able to have one-on-one time to answer questions and provide guidance, where students aren't begging for your attention.

This may mean starting off with as little as two or three students and seeing what you can handle. If smaller classes are more comfortable with your teaching style, you can offer multiple workshop sessions each month to accommodate more students.

Leave Time to Recharge

Another tip? Determine how long you want your workshop to last. Depending on the lesson, workshops can range from a few hours to half a day, or more.

If the class spans multiple hours, don't forget to allow for rest, water, and snack breaks as needed. One great idea is to let students walk around the room and generate conversation about everyone's progress.

Don't Forget to Have Fun

Finally, keep your workshop lighthearted and relaxed. While you want students to walk away with newfound knowledge and skills, this should be a fun experience! Having the right amount of excitement will make students want to come back for more, instead of treating it like a chore.

Go forth and teach!

Of course, you want teaching your first artist workshop to be a success. To make the process less daunting, keep in mind what you would want to get out of the workshop if you were the student. Aim for creating an inviting atmosphere where pupils can learn real techniques with one-on-one guidance. Follow this advice and help make artist workshops a thriving venture for your art business.

Workshops are a great way to connect with fellow artists and boost your art business. Learn more ways here.

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Preparing to Teach Your First Artist Workshop

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Workshops also give you the opportunity to meet new people in the art world, gain exposure for your art business, beef up your contact list, stimulate your own creativity, improve your public speaking skills ... and the list of benefits goes on. But, you've never hosted a workshop before.

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The Benefits of Teaching Artist Workshops

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The Benefits of Teaching Artist Workshops

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Teaching artist workshops can positively impact your artistic bottom line in a variety of ways. Not only can you use them as a way to earn extra income, but also to increase your effectiveness at creating and publicizing your art. Workshops are additionally preferable to non-art-related income producing options because they allow you to continue working with art and don't require large commitments in terms of time, energy, preparation or overhead.

The most immediate and obvious benefit of conducting workshops, of course is that they are a good source of supplemental income. A single workshop can net you anywhere from several hundred to over a thousand dollars. Teach one per month and you can see how the money adds up.

Money isn't the only reason for holding workshops, however, and for some artists, not even the primary one. For example, a workshop can stimulate your own creative impulses, help relieve artist's block, or result in new ideas and inspirations for future work. These are some of the fringe benefits to being around new people, amateurs and first-timers experimenting and creating whatever they feel like. Even though you're the one doing the teaching, beginners in particular are not bound by convention and tend to engage in original techniques and approaches that experienced artists who are more set in their ways might overlook or not think of. Everyone benefits-- you as well as your students.

Selling art is another benefit of teaching workshops. Holding them in your studio, for example, allows you to display a good selection of your art for attendees to observe and appreciate while they're learning. Not only do they see this art as the backdrop, but during the course of their instruction you can talk about how you make it, and help them understand it on additional levels beyond the visual. As they become increasingly familiar and informed about it, they feel less intimidated, more comfortable and-- here's the good news-- more inclined to buy it if they like it.

Increasing your overall exposure and profile in the arts community will likely also result from conducting workshops. For one thing, you'll be able to add participants' names to your email list for subsequent workshops, shows and open studios. Those who enjoy your workshop experience tend to return for shows as well as additional workshops, and often bring friends who they think may be interested in your art or in attending your workshops as well.

If you advance to the point where more serious artists start attending your workshops, potential ancillary opportunities increase even more. Artists who teach other artists in their workshops report that they're great ways to network. Participants share information about events, arts organizations, venues for having shows, personal contacts, art techniques, selling, publicity, good resources for buying supplies, and more. In general, artists who maintain good consistent relationships and contacts with other artists are more effective at creating and presenting their art than those who go it alone.

Some enterprising artists further augment workshop income by selling art supplies. For example, you can give participants the option of bringing their own materials or paying to use yours. You might also consider participating in art store or website affiliate programs or possibly even arrange sponsorships with certain manufacturers or companies to represent their products.

Lastly, workshops are a great way to gain teaching experience and improve your overall ability to talk about your art in public. Over time, they can lead to speaking engagements or appearances as guest or resident artist at schools, colleges, recreational centers, adult or continuing education programs, community centers, and teaching or workshop opportunities in other cities.

People attend artist workshops for a variety of reasons and often choose according to how the events are portrayed and what's being offered. Many of those who sign up have little or no previous experience with art and merely want to relax, have fun and explore their creative sides. Some are even uncomfortable or intimidated around art and want to become more familiar with it. Others want to take art up as a pastime but not invest large amounts of time or effort in ongoing programs of study. Trained artists usually attend them in order to acquire new skills or learn specialized techniques outside of their areas of expertise.

Artist workshops ordinarily run from four to six hours and cost anywhere from $50 to $350, sometimes more. Artists who are beginners at teaching workshops might consider sliding scales in order to attract more participants. Likewise, artists who teach more expensive workshops can also use sliding scales so that people who can't afford the full fare can still attend. Offering payment levels is not generally a problem in terms of students taking advantage because they really want to be there and typically pay the most that they can.

Two of the most important criteria for successful workshops are that a complete method or technique be advertised and taught, and that each student come away with a finished work of art. This gives students a feeling of mastery and accomplishment. Not only have they learned something new, but they also have "diplomas" to show for it.

Another advantage of workshops as opposed to formal courses of study is that you can make them less structured and more fun and social. Attendees will still learn, of course, but they'll be able to do so in the relaxed and casual setting of your studio or home. So if you're thinking about conducting a workshop for the first time, don't forget to make it fun. This is one of the great advantages you have over more traditional and structured forms of art education when it comes to attracting participants.

The other big plus of workshops is that attendees are able to receive plenty of individual attention and support. Beginners and amateurs or part-timers appreciate a positive hands-on approach for self-esteem and personal creative growth reasons as well as instructional ones. Artists appreciate it for professional and technical reasons, especially when it comes to understanding fine points and nuances.

Regarding food, short snack breaks are usually included. But some artists take this one step further, particularly those who love to cook or know someone who does, and provide a gourmet meal as part of the program. Amenities like this can transform a basic teaching workshop into a dynamic interactional experience where participants actually get to know each other and share thoughts and ideas around art.

Here are some additional tips for any artist considering putting on a workshop for the first time:

* Decide what you want to teach and plan your agenda ahead of time. Practice in order to make sure that you can accomplish what you want to within your chosen period of time.

* Advertise that no experience is necessary in order to attend, but also make clear that even artists who sign up will be able to learn something new. That way you maximize the number of potential participants. A good workshop giver knows how to address a variety of skill levels and makes sure that everyone feels comfortable and accomplishes something.

* Advertise on the Internet and in places where artists and people who like art tend to congregate. Options include websites or newsletters of arts and artist organizations, your own collector and student email lists, word of mouth, recreation centers, arts centers, art schools, cafes, coffee shops, community galleries, performance spaces, and other online options. Some experienced workshop givers even have their own brochures. And don't forget senior or retirement centers. Many retirees have disposable income and are interested in exploring their creative sides.

* Determine what supplies are needed and whether or not to provide them. If you're just starting out, supplying everything yourself is usually the best way to go. All students have to do is show up. Just remember to work supply costs into your overall fee.

* Plan on having three to ten participants. Teaching larger numbers is difficult in such a short period of time. You want to make sure that each person gets plenty of individual attention.

* If your studio space is not adequate for teaching, ask your best collectors whether they can provide you with space. Offer a free workshop, a piece of art, or both in exchange for the favor.

* No matter where you hold your workshop, make sure that plenty of your art is on display.

* Once you get going, teaching regular workshops is the best strategy. One every month to two months is a good frequency. Holding too many cuts into production time for your own art and makes finding new students difficult. If you hold too few, you can get out of practice or give people the impression that you're doing this as a lark and may not have the experience necessary to make it rewarding.

* If you find that you enjoy teaching workshops, you might offer options for collectors as well as those who simply want to learn to make art. For example, you might invite collectors to attend at no charge or for a nominal fee. They can choose to either watch you create art and teach others how to make it, or they can participate and make art along with everybody else. Ask them in advance or in casual conversations what they would like to do or see you do. Collectors often have interesting and workable ideas-- plus they're generally eager to learn more about the artists whose work they collect.

* A variation on workshops, assuming you're comfortable with the idea, is creating art in public places while people watch. Cafes or coffee shops, hotel lobbies, malls and some restaurants are particularly suited to this form of "entertainment." Getting paid for letting people watch you make art in public is a plus. Commercial establishments may be reluctant to hire you at first, so perhaps offer a barter or volunteer arrangement for starters. Hopefully you'll attract positive attention and upgrade the atmosphere to the point where owners will be more inclined to pay for your time. And of course, you can always use the opportunities to sell your art.

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Teaching workshops and making art in public brings you closer to people, brings people closer to art, and is great advertising for your art as well as for future workshops and shows. Reluctance and intimidations that many people have around art often evaporate once they actually see how it's created and are able to interact firsthand with artists while they're making or teaching others how to make it. And we all know that the more people who feel good about knowing artists, being artistic, and owning art, the more we all benefit.

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The Benefits of Teaching Artist Workshops

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Teaching artist workshops can positively impact your artistic bottom line in a variety of ways. Not only can you use them as a way to earn extra income, but also to increase your effectiveness at creating and publicizing your art.

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If you've never heard of a zine, fret not, you're in the right place. I've made a bunch of zines and contributed to friends' zines and, chances are, you may have made one too even if you didn't know that's what they were called. Whether you're just starting out or are a seasoned creator, zines are a great way to publish your own art, poems, writing, musings, and anything else you want to express-without needing anyone else's permission to do so.

I hope this guide will empower and inspire you to share your ideas with the world in the form of a zine.

Ideating: Coming up with a great zine idea
A very brief history of the zine
Before there was stan twitter there was the fanzine, created originally by sci-fi enthusiasts of the early twentieth century who used the medium as a forum for dialogue, free from corporate editors or publishers. That same do-it-yourself ethos is what drew punks of the late twentieth century to embrace fanzines as a complement to their music, and as a means to challenge mainstream ideologies. In the '80s and '90s, zines became a centerpiece of movements like Queercore and Riot Grrrl. While the latter of these was critiqued for being primarily white and heteronormative, overall, these movements used zines to subvert dominant and patriarchal ideologies through the sharing of lived experiences. At the core of the zine-making ethos are subversion, freedom of thought, and a DIY attitude.

As is the nature of capitalism, corporations increasingly appropriated the practice as time went on; however, even today, zine-making remains a cornerstone for marginalized voices disseminating information and publishing creative work about things they love.
What are zines good for?
Zines tend to be a bricolage of various images, texts, and messages. Here is a list of just a few of the things you can do with the zine format:

Publish sketches, drawings, and mini-comics

Match recipes with whimsical illustrations

Mix words with images and textures

Print lines of poetry

Share a manifesto

...the list goes on

Basically, what you can include in a zine is only limited by your imagination.
What will your zine be about?
If you've never made a zine before, getting started may seem intimidating. But a journey of a thousand miles begins with a single step, and if you're interested in putting your voice out there by publishing your own zine, the first step you must take is deciding on a topic. There is no barrier to entry, so you can really do whatever you want. So, what makes a good zine for YOU to work on? Think about what topics you could you go on and on talking about for hours. Then, let your imagination run wild and see what exciting, novel, or curious ideas you come up with.

To help get your mind moving, here's a cool look at a radical Asian-American zine created by UCLA students in the '60s, and here's a whole archive of other zines. Additionally, ISSUU is a great hub for digital layout inspiration. I also recommend flipping through this issue of F WORD, which is an intersectional feminist zine collective based in Montreal.

As you start conceptualizing your zine, you might want to create a journal for the specific purpose of recording your ideas (for zines, or otherwise). And, if that goes well, maybe you'll want to start keeping a binder that can hold your journal in one of its pockets, as well as magazine clippings, pressed flowers, patterned papers, polaroids, and any other ephemera you might find inspiring.

If digital is more your route, maybe you'll want to organize your inspiration into something like a mood board on Are.na or Pinterest. These practices are a great way to organize your ideas and begin imagining what the stitching-together of your zine will be like.
[Pssst, The Creative Independent also publishes some pretty neat zines, including On making a living as an artist, On dealing with creative anxiety, and On finding your voice.] Working with collaborators
If the topic of your zine is something your friends are passionate about too, you might want to think about getting them involved. Making a zine can be a great collaborative project, since they can be pretty casual and fun; plus, having more people involved brings more creative voices and ideas, and can help you distribute it to a wider audience once it's done. Depending on what you're trying to make, it might make sense to co-create your zine with a friend or two, or perhaps you could put out a call for contributors on social media and open a line there. You can ask for people to submit poems, illustrations, essays, collages, etc.-and you may be surprised to see what people send you.
Licensing
If you do decide to work with other people, just make sure everyone is on the same page on their role as a contributor or collaborator. For example, how will contributors be credited? Will they be compensated? Who will own the rights to the work once it's published in the zine? Communicating openly about these questions before anything goes awry is always a good idea. For more tips on working with other people, see The Creative Independent's guide to joining forces with a creative collaborator.

Along these same lines, as you put your zine together, make sure you only use visuals (or any type of content) that you have the rights to. Google has a tool that makes it really easy to browse through open-licensed content ( learn more here), and the website Creative Commons can also help you find even more neat stuff that's free and clear for you to use.

Creative direction: Giving your zine its own signature feel

Once you have a topic or general plan for your zine, now it's time to clarify and design your little labor of love. How specific can you get in terms of what it will cover, what types of content it will include, and what it will look like? And, overall, what kind of impression do you want to give your reader as they take it all in? Having answers to these questions will help you come up with a creative direction (the way it looks, the way it feels, and what it includes) that can effectively communicate your ideas while also feeling intriguing and cohesive to your readers.

As an example, let's say you want to start a food zine. Maybe you want it to be about a specific cuisine that's a part of your family's history. But now, how will you convey what exactly it is you want to say about that food and its unique story? Think about the ways that different fonts, colors, formats, paper qualities, and visuals will change how your subject is viewed. Will your food zine be the size of a scrapbook, full of old family recipes and family photos? Or, will it be something small you can fit in your apron pocket, with a more minimalistic design? These stylistic choices, no matter how small they may seem, send messages to your reader-so think it all over and imagine a plan that feels exciting and right for your vision.
Designing your zine
Now comes the fun part: getting everything laid out and stylized. Things to think about here are:

What format will your zine take? Do you want it to be able to fit in someone's pocket, or are you looking to make something a bit more substantial? Will it be a folded piece of paper, will it be stapled together, or will you have it printed and bound somewhere? Depending on what you decide, you can download zine templates for software like InDesign and Microsoft Word. Or, if you don't want to go the digital route, you can always assemble your zine using paper and glue/tape, and then scan or photocopy the pages to print more.

How will it look? Spend some time thinking through an overall color palette, font choices, and other design elements that will help the zine strike a particular mood, and feel cohesive. (For more tips on graphic design, I recommend this fun primer).

How will it be edited together? Will it be broken into different sections, or will it all flow together organically? Will it have an introduction, a table of contents, or any other hallmarks of a more traditional publication? Once all your content is written, will you work with an editor to make sure there are no typos?

To give you a sense of how a zine's creative direction can affect the way it looks and feels, below is an example of a non-digital zine spread I made, published by my pals at Deskarga Groupo. It was made using only a single piece of paper ( learn how here). At the time I made it, I was in a funky emotional state, reconciling first-generation pressures to achieve, the desire to be loved and nurtured, struggles with body hair and polycystic ovary syndrome, and feelings of being scrutinized on social media. The emotional nature of the content led me to pursue a low-lift medium (one page seemed doable). And, it felt natural to leave it without color.
Here's another example of a zine spread, by my friend Leo of Deskarga Groupo.
Here's what he said about his zine's topic and format:

" Agua 'Rriba y Agua 'Bajo: When it Rains at the Beach is a collection of 20 photo-collages exploring the cultural landscape of The Dominican Republic accompanied by bilingual word-associative poems. My intention is to reconcile the nostalgia of my formative years living in the island as a child with my anxieties about identity as an adult living in the U.S. The Spanish portion of the title translates directly to 'water above and water below.' An apt metaphor for the suffocating feeling of isolation when stuck between two cultural forces."

Sharing your zine with the world
Printing your zines
If you want to create a bunch of physical copies of your zine, there are several routes you can take. While I've printed my own zines from workplace Xerox machines before, I don't recommend this, for the record (unless you get permission). Instead, you can go to a local printing service, or order copies of your zine from an online printer-both options can be good, so just do your research in advance and make a pros-and-cons list to help yourself decide between the options.

Printing in high volumes can bring the cost per unit down, and so can printing in black and white (versus color). Are you a student? Sometimes universities offer free or discounted rates for student print jobs.

If you don't have the budget to print copies of your zine, you can simply post your zine as a PDF online, and let people print their own copies. Or, you can explore on-demand printing, where people can order copies of your zine online without you needing to lift a finger. Blurb or Lulu could be good options if you decide to go this route.
Distributing your zine
Once you have some physical copies of your zine, now's time to distribute them (if that's what you want to do). Of course, if you have contributors, you'll want to give them a copy (or, better yet, give them a few copies so they can distribute some, too). Depending on how many you print and how widely you want them distributed, there are many routes you can go here. Will you mail them out to your friends, or to people who you'd like to be your friends? Or will you try to sell them in a retail store ( some tips on this here)? Maybe you want to bring them to a zine fair or festival? In the past, I've handed out copies of my zines to friends, but it's also fun to keep some in your bag with the intention of handing a few out to strangers. Zines are a great tool to use in joining or imagining new communities you want to be a part of.

When you distribute your zines, it can be cool to include some goodies-like stickers or a handwritten message-inside the pages of your zine. Here's an example of how this could work from my friends at Nickname Zine.
Promoting your zine
As you consider ways to spread the word about your zine, think about using the resources that are already available to you. Your social media pages and personal website could be a great place to start, especially if you plan to publish a digital version online. If your zine is a collaborative work, get your creative partners to promote it on their social media and websites too.

Getting involved in some of the different zine communities that already exist is another way to put yourself, and your zine, out there. Are there forums or Facebook groups you can join to promote your work ( here's a great start)? Just remember that the key word here is community-usually it's frowned upon to simply show up in a community with the sole aim of promoting your own work.

If you plan on creating multiple issues of your zine, it could be worth starting an Instagram or Twitter account where you can interact with your readers and other zinesters. For more tips on promoting your zine, read The Creative Independent's guide to thoughtful promotion.
Trading zines
Trading zines is a popular practice and easy to do if there's a zine or arts community in your area. If there isn't, meeting people and exchanging information online is just as popular. Maybe you want to barter your zine for a poster or some other creative good. A few months ago, I posted about my zine on Instagram Stories asking if anyone wanted me to send them a copy or trade with them, and sure enough, I received a few DMs.

In summary...

Get specific about your topic and be playful. Always be mindful of how you're sourcing your content, and give credit where it's due. There are free online tools that will make your zine-making process easier if you choose to go the digital route. Have fun, get outside of your comfort zone, make bold choices, and connect with other passionate people. There is no wrong or right way to make a zine, so have fun and don't worry too much about making it perfect. If you need a friend along the way, I'm only a tweet away.

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A guide to ideating, publishing, and distributing a DIY zine, written by Rona Akbari and illustrated by Somnath Bhatt.

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They stood shoulder to shoulder on the main corridor of campus, all 50 or so dressed in black, and that was what stopped Mike Murase in his tracks.

He had never seen so many African-American students on UCLA's mostly-white campus before, not together, not like this. They appeared to be demonstrating, their expressions filled with anger and sorrow. Murase recognized a few of his friends in the crowd and walked over. What were they all doing standing around? They told him they were mourning; Malcolm X had just been assassinated. Murase had never heard the name, but he was impressed that one person's death could move so many. "Who is Malcolm X?" he asked.

It was February of 1965. The Civil Rights Act was seven months old. Congress stood on the verge of sending the first deployment of American troops into Vietnam. Martin Luther King, Jr. was about to lead a march from Selma to Montgomery to protest voting restrictions on African-Americans. Murase was a Japanese-American college freshman studying to become an engineer. That afternoon, seeing those black students in mourning, sparked something in him.

Murase read Malcolm X's autobiography, published a few months after his murder, and put it down feeling like it was one of the best books he ever read. He heard the Black Panthers' Eldridge Cleaver speak at UCLA. He read Carlos Bulosan's 1946 book America Is In the Heart, which depicted the life of Filipino migrant laborers in California. He watched the Vietnam War and its casualties play out on television, unable to understand why the United States was caught up in a war 5,000 miles away. He wondered why he didn't hear more about the men, women, and children in Vietnam who were also dying-men, women, and children who looked a lot like him. As the historic sights and sounds of black liberation, free speech, and anti-war movements swirled around him, Murase began to wonder where, exactly, he fit in.

At UCLA, Murase met other students who were wondering the same. Many of them were, like him, immigrants or descendants of immigrants, mostly from Japan, China, and the Philippines. (The 1965 immigration reform that passed as part of civil rights legislation abolished quotas that previously restricted non-Northern European immigration, but it would still be decades before record numbers of immigrants from Asia, Latin America, and other non-Western countries would arrive.) Many of them grew up in the predominantly working-class Crenshaw district of south central Los Angeles, where thousands of Japanese-American families returning from internment camps settled among African-American neighbors.

Murase and other Asian-American students at UCLA were a minority in a country where being American meant being black or white. Growing up, friends and acquaintances asked them which they were, because they were confused that they didn't look like either. They seldom saw faces like theirs in the textbooks they read in school, not in the Founding Fathers or the westward pioneers, except maybe the one brief mention of Chinese laborers who in the 1800s built the first railroads connecting the San Francisco Bay to the Missouri River. As historian Karen Ishizuka put it her 2016 book, Serve the People: Making Asian America in the Long Sixties, "we too became homesick for a place to call home."

Their families tried hard to blend in, to assimilate and keep their head down, so as to avert the hate of the people who called them "Orientals," "dirty Japs," "ching chong China men," "Chinks," "gooks." Many of the adults Murase knew growing up worked as gardeners, farmers, store clerks, and in the garment factories. They were not yet "Asian-American"-the concept did not exist then. It would be up to Murase's generation to invent it, claim it, assert it, and fight for it over and over in the decade to come.

Three years after Malcolm X's death, in the spring of 1968, Murase, then a college senior, and his friends began to hear about groups of students of color protesting at their campuses in northern California. At San Francisco State University, one group of black, Chinese, Mexican, Filipino, and Native American students known as the Third World Liberation Front, had organized sit-ins across campus, demanding that the university establish new departments devoted to ethnic studies, to hire more non-white faculty, and to accept more non-white students. The student strike lasted nearly five months, becoming the longest in US history, and eventually spreading to Berkeley and New York.

Around this time, newsletters started appearing at college campuses across California, from a new student group at UC Berkeley called the Asian American Political Alliance. "We believe," one of them read, "that the American society is historically racist and one which has systemically employed social discrimination and economic imperialism, both domestically and internationally, exploiting all non-white people in the process of building up their affluent society."

Murase and dozens of other students approached UCLA administrators about forming its own ethnic studies department. The department would hire faculty and offer courses on black, Mexican, Asian, and Native American history and anthropology. The university said no but granted permission for the students to establish informal study centers without faculty or courses and the black and Mexican-American students soon received funding from the university to start their own publications on campus. Murase and his Asian-American friends asked administrators for funding to start one of their own. They argued that the budding Asian-American community needed a forum for creative expression and discussing the social and political issues affecting them. The administrators replied that they would only grant funding if they could have final editorial say.

Murase and four friends-fellow UCLA students Dinora Gil, Laura Ho, Tracy Okida, and Colin Watanabe-decided to start the newspaper on their own. Each student kicked in $100 for ink and printing supplies, and filled four pages with essays and poems and illustrations. They called the paper Gidra -Tracy, a third-generation Japanese American, made up the name one day while thinking about King Ghidorah, a three-headed dragon-caterpillar known as one of Godzilla's archenemies.

The first issue of Gidra was released in April 1969. On the cover, a sketch of five Asian children peering through a barbed-wire fence ran alongside an essay introducing the Third World Liberation Front, an organization focused on "the eradication of institutional racism," and an article criticizing the sudden firing of Thomas Noguchi, the Japanese-American Los Angeles county coroner known for performing high-profile autopsies, including that of Marilyn Monroe and Robert F. Kennedy. LA county supervisors had accused Noguchi of using excessive amounts of drugs and needing psychiatric care, among nearly 60 other charges that United Press International "some of the most bizarre ever lodged against a public official." Other Japanese-American newspapers, Gidra argued, had "chosen to ignore the racial issue" in Noguchi's case. "But how can one ignore it when it appears to permeate the entire system?" A county commission later reinstated Noguchi after finding insufficient evidence to support the supervisors' charges.

Another article denounced "yellow prostitution" and the subjugation of Asian women in particular: "It is not enough that we 'kow tow' to the Yellow male ego, but we must do this by aping the Madison Avenue and Hollywood version of White femininity." An essay titled "Yellow Power!" opened with a 1857 quote by the abolitionist Frederick Douglass-"Power concedes nothing without a demand"-before launching into the story of a 500-person mob that hanged at least 17 Chinese men, women, and children in Los Angeles in 1871, an incident that some describe as the largest mass lynching in American history. "Asian American history is filled with innumerable racist incidents," the essay, written by Larry Kubota, said. "Looking back into the past, it is incredible that we have taken so long to confront this problem of racism. We are relegated to second-class citizenship, and adding insult upon injury, we are told to be thankful for our blessings...Today, however, is the dawn of a new era."

Murase and the Gidra staff handed out the first copies to students on UCLA's campus and at local community meetings, marches, and speeches. Friends handed out more copies at nearby campuses, including Cal State Long Beach, USC, and Occidental. Within months, letters from readers came pouring in to the staff. "I feel I want to be a part of the Gidra," one woman wrote. "After I have slowly realized that life is and will be different if you are not Caucasian middle-class type, I began to see frustration because no one else admits or acknowledges it. All of the oriental people I know seem intent on carrying out their life pretending that daily inequalities do not exist...How can you discover your identity if no one seems to accept reality. Are discussions possible? Are answers possible?"

Gidra repulsed some people, like Samuel Ichiye Hayakawa, the San Francisco State University president who famously climbed on top of a sound truck during one of the 1968 student rallies for Ethnic Studies and tried to unplug the speakers. A few weeks after the first issue of Gidra circulated, Hayakawa reportedly held a copy in his hand while speaking to 600 people at Disneyland during an annual meeting of the Japanese American Citizens League. The JACL was an influential and controversial advocacy group that had helped Japanese-American veterans fight for citizenship after World War I, but later sided with the FBI during World War II internment. According to an article about his speech, Hayakawa called Gidra the work of a sansei (third-generation Japanese American) "child," adding that it was "hard to imagine more errant nonsense." (He was also quoted as saying that young people fighting racism were "fighting semantic ghost fictions made by the process of abstraction," and that "the Sansei should not be imitating the Negro.")

A July 1969 letter from a "happy White mother" to Gidra read, "Your all a bunch of hand outs you want your cake and eat it to, without the white man youd all be one hell of a mess...You can't live without us and you no it, thats why you're all angry you all feel inferior shame on you that your so little that you have to be so full of pity for yourself I should not want to be anything but white because Im proud of it. Sorry your not proud of your nationality."

Provocative as it was, Gidra gave young Asian-Americans "a sense of belonging at a time when we really had not seen ourselves in the media, in television, or magazines," Ishizuka, the historian, told me. "So many of us didn't know there were others who had the same hopes and fears. It was a lifeline for me." Gidra became a DIY textbook, a capsule of what Asian-Americans were seeing and thinking at the time. Activists flew in from New York and other cities to pick up copies of Gidra and other centerpieces of the budding Asian-American movement so that they could use them as teaching materials back home. "I had started an Asian-American studies course at Hunter College and our friends were pushing for a department at City College, but we had no curriculum," artist and activist Fay Chiang said in an interview with Ishizuka. "So I was just collecting all the mimeograph sheets and ditto sheets I could get my hands on."

By the paper's ninth issue, Murase and the rest of the Gidra team were printing between 7,000 to 8,000 copies a month. ( Gidra averaged a monthly circulation of 3,000.) Its pages burst with stories, poems, cartoons, photos, and illustrations, alongside reports on local activism and historical accounts of racism and abuse in the Asian immigrant experience. The minds of twentysomething Asian-Americans splashed across its pages, Gidra became "a Petri dish for growing oppositional consciousness," Ishizuka said, capturing "in real time the passions and issues that were affecting people on the ground as it was happening."

What started with a handful of staff quickly multiplied. In the next five years, more than 200 people would volunteer to produce the paper from month to month, among them students, community organizers, Vietnam veterans, and people who served time in juvenile detention or state prison. One of Gidra's closest collaborators was Yellow Brotherhood, a Los Angeles-based organization dedicated to helping Asian-American youth through issues like gang participation, drug abuse, depression, and suicide. Most of the magazine staff were born and raised in Los Angeles, but before long, volunteers arrived from as far as New York and Toronto. "The beauty of us coming together was that we came from such different backgrounds and personalities," Murase tells me, "but somehow because we had Gidra in common we were friends."

Murase remembers the buzz of late nights and sleep deprivation. "People would drop by and hangout for hours," he says. "A lot of times we stayed up until three, four, five in the morning, doing work, but also talking and joking around with each other." Gidra's office, which, after the first few issues moved off campus and into a strip mall in Crenshaw, smelled of burritos and Chinese take out. Motown played on the speakers. Chewed-up sunflower seeds scattered over newspapers on the desks and floor. Sometimes there were beach parties or bowling nights, but mostly Gidra staffers were learning, in teach-ins and study circles and protests, about the history of their elders, about capitalism and Marxism and Maoism, about the Soviet Union and the United States's proxy wars, and about the greed for resources that drew them into such wars. "All of us were learning so much, so fast," Murase says. "There was a sense of urgency, and our commitment was a 24-7 commitment. It wasn't like the rest of the time life goes on."

As a child, Murase lived in an idyllic town in the Okayama prefecture, about 110 miles northeast of Hiroshima. He was born in 1947, after the Second World War had ended, but throughout his childhood he was reminded of it often. Murase's parents sometimes took him and his older sister on train rides to see Hiroshima-what remained, what was destroyed, and the peace monuments erected in its place. In elementary school, Murase heard his teachers lecture about why war was bad and why peace was good.

Murase's father was a kibei nisei-he was born in Arizona to Japanese immigrants but moved back to Japan when he was still a child. Murase imagined that his father had a good life in America, because he often talked of going back. Before Murase and his family left Japan for Los Angeles in 1956, his mother bought him two children's books about America. One told the story of Abraham Lincoln; the other, a book about all-American families, depicted fathers mowing lawns and mothers at kitchen sinks. Everyone in the images was white. When Murase arrived on the shores of San Francisco, the nine-year-old noticed that all the dock workers were black, and all the customs officers were white. Maybe he had misread the story of Abraham Lincoln, he thought. Maybe there were still slaves here.

They were fleeting curiosities then, but as Murase grew older and the war ramped up in Vietnam, these early memories formed the basis of his opposition against the war. By the time Gidra started in 1969, roughly one out of every two Americans knew someone who had been killed or wounded in Vietnam. Murase and hundreds of other Asian-Americans created their own presence at anti-war marches, holding up signs that read "Makibaka!" ("struggle" in Tagalog), "Stop killing our Asian sisters!" and "Remember Manzanar!" referring to one of the 10 internment camps where Japanese Americans were incarcerated during World War II. In Gidra, writer Charles W. Cheng wrote, "Let us not forget that what occurred in Hiroshima is now occurring in Vietnam, Laos, and Cambodia...We are gooks in the eyes of White Americans."

For Murase and other young Asian-Americans, Vietnam became ammunition for their war against racism. Gidra reflected their anti-war sentiments, including one cover illustration where an Asian-American soldier stands between his white sergeant and a Vietnamese woman holding a rifle and is ordered to, "Kill that gook, you gook!" They reported on Asian-American soldiers killed or wounded in the line of fire by white American soldiers who mistook them for the enemy. "A former member of the 29th Brigade who had been in Vietnam less than a month was killed there May 11," one Gidra story . "He was 20-year-old Specialist Fourth Clifford Taira. The Army said he was killed when hit by gunfire aimed at the yellow-skinned enemy below from an American helicopter...He was the 192nd Hawaii soldier to die in the war."

Evelyn Yoshimura, one of Gidra's longstanding editors, remembers her Asian-American military friends coming back and recounting stories from the war. Drill sergeants made them stand before fellow recruits while explaining this is "what a gook looks like." As Vietnam veteran Mike Nakayama recalled in one Gidra essay, "Name-calling by drill instructors presented one form of racism, used to single out Third World brothers from the rest of the company...The Asian brothers found themselves being called gook, charlie chan, slant-eyes, etc., which continued after training. " After getting wounded during combat, Nakayama, who had a Bronze Star, testified that he watched medics ignore him while treating others. When he finally got their attention, a medic said, "Oh, you can speak English. We thought you were a gook."

"We had come of age during the Vietnam War," Ishizuka wrote in her book about the emergence of an Asian-American identity in the 1960s. "An unholy alliance of racism and imperialism, like nothing before or since, the war united Asians in America who, regardless of our various ethnicities, looked more enemy than American."

Because the war had such a unique and galvanizing effect on Asian-Americans, Ishizuka wrote, its end in 1975 "had a correspondingly deflating impact" on their fight against US racism at home and abroad. Gradually, the anti-Vietnam War marches came to an end. Much of the solidarity that once brought disparate groups together during the war started to give way to internal power struggles and disagreements that included ostracizing LGBT activists.

The 200-plus volunteers who cycled through Gidra's office over its five-year run experienced their own growing pains at the same time they were trying to keep up with demanding monthly production cycles. "We struggled through a lot of things in our collective-sexism, chauvinism, how we talked to each other," Murase told me. Gidra prided itself on running on a non-hierarchy where each member theoretically had equal authority, but the flat structure also meant meetings ran long and disagreements festered without resolution. And many of those who came to Gidra eventually left, moving to another city or taking a full-time job in pursuit of their next chapter. "We shared in adversity and in joy," Murase wrote in his final essay in Gidra. "That's what kept the group together for so long."

Murase graduated from UCLA a year into Gidra's run-he continued enrolling in classes to avoid the draft until he had so many units that the university asked him to leave. He continued working on Gidra while going to film school at UCLA and then law school at USC, living at home and working odd jobs in between-as a gardener, at gas stations, and in the library stacks. Starting in 1969, he began teaching some of the first classes on Asian-American studies at UCLA and later at Cal State Long Beach.

In Gidra's 60th and final issue, published in April 1974, Murase reflected back on the evolution of the paper and the people behind it: "We have learned slowly, and sometimes painfully, to do things that had been totally alien to us before, to become aware of ourselves and others, and to look at the conditions around us in ways very different from the traditional view. We were called upon to do things that made us feel uncomfortable at first: participating in marches and demonstrations, speaking before large audiences, appearing on radio and television programs, selling the paper, and sharing with each other some of our deepest feelings and most private thoughts...what needs remembering now is the richness and vitality of this total experience called Gidra, which is much more than just a newspaper."

Over the decades, Gidra largely faded into obscurity, as did the sense of belonging it gave to Murase and his peers. Inevitably, new generations of Asian-Americans grew up and new waves of Asian immigrants arrived. Today Asian-Americans make up the fastest-growing group of the country's population, more diverse than ever in the countries they descend from and the languages they speak.

And yet Asian-Americans remain among the country's most underrepresented and misunderstood: they are still mocked on national television; directors still cast white faces in films portraying their stories; the "model minority" myth still haunts and hurts them. As sociologist Adia Harvey Wingfield , research shows that the stereotype can deter Asian-American high school students from seeking help when they're struggling in school, pressure Asian-Americans to downplay incidents of racial harassment, and reinforce the misperception that Asian-Americans are too weak or passive to work in high-ranking jobs. So many Asian-Americans today still feel what Murase and his peers felt when they were young and searching: like foreigners in their homeland.

"Asians are the loneliest Americans," writer Jay Caspian Kang wrote last summer in about a death and the search for identity in an Asian-American college fraternity. There is no solidarity, in Kang's opinion, just a "cartoonish and blurry" sense of racial belonging. "Asian pride is a laughable concept to most Americans... A common past can be accessed only through dusty, dug-up things: the murder of Vincent Chin, Korematsu v. United States, the Bataan Death March and the illusion that we are going through all these things together."

Kang's story struck a chord. "Am fucking eviscerated," NPR journalist Kat Chow . Many Asian-Americans shared similar reactions, while others found Kang's characterization of modern Asian-American identity to be unfair. "I disagree," Jenn Fang, who runs the blog Reappropriate.co, . "For nearly 150 years, the strength and meaningfulness of Asian American identity has served as a central theme of our activism...Of course, I think that many young Asian Americans aren't aware of our long and storied Movement history, and so they feel disconnected. But that is an issue of lack of access to resources to teach our political history, not a sign that As Am identity innately lacks meaning." Fang added: "Asian American identity and history is much more than the trope-ish E Asian 1980's immigrant narrative presented. That is the story of the young men in the essay, but that is not the story of all or even most Asian Americans. We are a diverse bunch."

Murase is now in his 70s, and he still lives and works in Los Angeles, where he oversees community programs at the Little Tokyo Service Center-a local organization devoted to helping elderly and low-income immigrant families. He and others who made up Gidra 's core staff still get together at dinners and demonstrations. They most recently joined hundreds of thousands of others in last month's Women's March in Los Angeles. "We're like 50 years older now," he says. "The conditions are very different for young people to get involved in the same way we did." Young Americans today-Asian or otherwise-face tougher competition in college admissions and job placement than his generation did, for example. And while they have tools that didn't exist in his day-cell phones, email, social media-Murase senses that young activists today also face a more conservative political climate. "You're bucking a much stronger opposition."

Still, Murase remains optimistic. He sees glimpses in pop culture of the irreverence and raw emotions that once defined Gidra. They're in Twitter hashtags like #NotYourAsianSidekick and #Asians4BlackLives, in blogs like Angry Asian Man, in magazines like , , and . Between 1999 and 2001, there was even a short-lived attempt to revive Gidra by UCLA students, until they, too, moved on. Murase has noticed a renewed interest in Gidra in recent years, from journalists and museum curators and professors across the country who have asked him to speak about the paper and the era that shaped it. "Each generation steps up in their own way," Murase says. "But they also have to figure out, what is their path?"

For Asian-Americans past and present, the path often begins with what Ishizuka calls "historical recovery." Without an understanding of what came before us, she writes, "every generation of activists thinks it is the first. We did." Even as they fought to forge their identity in the '60s, she adds, "we did not realize that early Asians in America had already put our thoughts into words." Ishizuka came to understand this when she learned of the Chinese immigrants who were held at Angel Island between the 1910s and 1940s upon arriving in the San Francisco Bay-at least three decades before she would march in the streets against the Vietnam War and pick up her first copy of Gidra. "Confined there for months, our soon-to-be grandparents and great-grandparents carved and ink-brushed more than 135 poems on the walls that bear witness to their plight." One of them read:

Dare to conquer America and avenge past wrongs.
This article was originally published as part of our Off Topic newsletter, where you get an original story delivered to your inbox each and every week.

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The Forgotten Zine of 1960s Asian-American Radicals

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He had never seen so many African-American students on UCLA's mostly-white campus before, not together, not like this. They appeared to be demonstrating, their expressions filled with anger and sorrow. Murase recognized a few of his friends in the crowd and walked over. What were they all doing standing around?

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Two of my main goals for 2011 included revamping my web and print portfolios. I'd done so many projects since my last version that I felt like my portfolios were no longer an accurate representation of my skill level. So, I got to work, first redeveloping the print version and then basing my web version off of that.

When I'm having a face-to-face meeting, I always present a print-based portfolio. Why, especially in this digital-crazy age? First and foremost, I feel like it's more formal to present a book of work. Designers are always going to be drawn to the tactile no matter how much digital creeps in. Secondly, remember that your interviewer is not necessarily as young as you; they most likely created a print portfolio of their own at one point. If you're still set on digital, bring in both; a print portfolio with the best of the best and then an iPad or laptop with even more projects and details if you are requested to show more.

I think of print and web portfolios in completely different ways. Here's my personal strategy:
My print portfolio is the equivalent of a tightly edited short story. Measuring 11 x 17 inches and sandwiched between custom hardcovers, it is carefully curated to highlight a very select group of projects that flow from beginning to end. Additionally, it features a few projects that are too client-sensitive to share online and allows me to explain the process of these particular pieces in person. In comparison, my web portfolio is a much deeper archive with three times as many projects arranged in chronological order.

Why the difference in scope? When interviewing with a potential client or employer, you have a very short amount of time to share your work and the accompanying backstory, sometimes as little as twenty minutes. Because of this, what you choose to showcase has to be limited to what you consider your absolute best.

Often, this tightly edited body of work opens the door and leaves the interviewer hungry for more. What else do you have? What other clients have you worked with? This is your opportunity to lead them to your online portfolio where they can dig through a treasure trove of projects on their own time, at their own pace. This is your chance to go big and to even share more.

Excerpts from my 11 x 17 print portfolio. All layouts are designed in spreads.

When putting together your print portfolio, here are some tips that can help you along the way:

1. Edit, edit, edit.

Limit the projects that you choose to showcase to the absolute best. A combination of projects completed for top clients mixed with those that you feel most confident about should round out the mix. A good number to keep in mind is 10 to 12 projects max (only if each project is not longer than 1 to 2 pages each â€"Â otherwise, include even less). As you gain more clients and a wider variety of work, it becomes harder to narrow down the amount of pieces that you feel are worthy of inclusion. I always try to get a second opinion (or two) before finalizing the mix. Remember that the people reviewing your portfolio usually have very tight time constraints so keep your book short, sweet and on-topic. The last thing you want to do is annoy the people in charge of hiring you!

2. Showcase as much professional work as possible.

While there's nothing wrong with showcasing some school work (especially if the project is absolutely amazing), including client work in your portfolio projects a level of expertise and professionalism. It demonstrates that you are able to work in the real world with companies who have actual deadlines and budgets. Client work implies that you can handle feedback on your work while delivering solid results. Also, when working with clients outside of school, the deadlines tend to be tighter, the guidelines are often more firm and the the expectations for professionalism are higher. Interviewers want to know that you can handle the intensity, stress and demands while still delivering a quality outcome.

I interned at an ad agency my entire second year of school and worked as hard as I could to replace as many school projects in my book as possible. Within a year of graduating, I had maybe one still lurking. Now, I have none. It takes some time but work as hard as you can and as fast as you can to get real world projects in your book!

3. A portfolio is never truly finished.

You just printed your brand new portfolio; think you're done? You might be for the moment but set a goal of revising your portfolio at least once per year. The reason I say this is because the longer you wait, the more overwhelming the process of revamping your portfolio becomes. For instance, I'd completed between 20 and 30 new projects since my last portfolio overhaul. The process of collecting assets and writing the descriptions was too much; I didn't know where to start. If I'd kept a list of new projects I'd completed and took an hour to gather assets once each project was wrapped up, the process would have gone much faster. Now that I'm finished, every time I complete a new project that I can share publicly, I upload it to my web portfolio (along with a description) since it's in chronological order so I can see what I've completed.

You never want to find yourself in the position of having a job suddenly end and get stuck revamping your portfolio before you can start looking for a new one. Always be prepared and ready to go!

4. Invest in a format that you're passionate about.

Some designers present their portfolios as handmade books or even create specially made cards but I prefer to keep my presentation as clean and unfussy as possible. Since my work changes so often, I want the ease of reprinting and assembling the pages without too much time investment. For three years, I had been using a white glossy acrylic 11 x 17 portfolio cover by Pina Zangaro and I absolutely loved it. The simplicity, durability and expandability all played prominently into my decision to go with this format. As time went on and I did more student portfolio reviews, I realized that we often had the same portfolio covers. My business was growing a lot and I wanted to stand apart from the competition so I recently had covers custom made with my brand name embossed with silver foil. Everyone has different budget constraints and preferences so do some research to find the best fit for your brand.

5. Embrace simple layouts.

Remember, the focus should remain on your work, not your portfolio. For this reason, I recommend sticking with white backgrounds, clean layouts and developing a grid and margins that carry through from beginning to end. White space is your friend! Think of your portfolio like a design book â€"Â the pieces that youâ€™ve chosen to showcase should speak for themselves; keep flourishes, gradients, drop shadows, patterned backgrounds and textures to a minimum.

6. Develop an order that works for you.

This is another area where everyone has a differing opinion but you really have to weigh whatâ€™s right for your needs and also consider who you're meeting with. Creating an order usually begins with selecting two of your strongest pieces to begin and end with. The middle should be assembled in a way that creates an interesting mix through varying color schemes, styles and formats. I usually begin with a page of logos (since branding is one of my primary focuses) and then move back and forth between larger corporate clients and smaller, more creative clients to show variety and that I can handle jobs both big and small.

Though, when building a portfolio, donâ€™t be afraid to break the rules. Last year, I had a meeting with a designer that I really admire. She had some interesting advice about how a portfolio should create a vision. Her idea revolved around beginning with flat, 2-D based work (such as print design and logos) building to interactive, web-based work and ending with 3-D based work (packaging design, retail displays, etc.) Though this advice wonâ€™t necessarily work for everyone, itâ€™s always interesting to hear a new perspective.

In Closing.

Remember that everyone is going to have an opinion about your portfolio. What matters the most is that you're proud and confident about your book since you're the one that will be presenting it. Feedback is great and often, it will address details that you've overlooked but it's important to filter it and to do what suits your work best. Your portfolio is your vision as a designer, not anyone else's. A portfolio is never truly done but as designers, we need to learn to let go and to accept that we've done our best for that moment. As you grow as a designer, your portfolio has the potential to grow with you. Each project, each internship and each job should be viewed as a stepping stone to an even better portfolio.

One of my favorite portfolio projects, branding for Kristin Cofer.

Designers, what format do you prefer to present your portfolio in? Any tips or advice that you'd like to share?

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Tips And Tricks For Developing A Print Portfolio

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Two of my main goals for 2011 included revamping my web and print portfolios. I'd done so many projects since my last version that I felt like my portfolios were no longer an accurate representation of my skill level. So, I got to work, first redeveloping the print version and then basing my web version off of that.

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Introduction to Designing Print Portfolios: Choosing the Size

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by Nicki Hart

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Course Overview

Want to showcase your print design talents? Then you need a portfolio, and a good one at that. Fortunately, we have print designer extraordinaire Nicki Hart on the case.

Nicki is Owner/Creative Director of Multi-Designs. She works with clients on web, print, photography and new media projects specializing in complete marketing campaigns for authors. She currently works with clients all over the world. She shares design tips and tutorials through Digital Hart Studios's latest venture, Design Like a Pro, on Youtube and Tuts+ .

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Introduction to Designing Print Portfolios

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by Nicki Hart Cancel Course Overview Want to showcase your print design talents? Then you need a portfolio, and a good one at that. Fortunately, we have print designer extraordinaire Nicki Hart on the case. Nicki is Owner/Creative Director of Multi-Designs.

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Curriculum Vitae (CV) is Latin for "course of life." In contrast, resume is French for "summary." Both CVs & Resumes:

Are tailored for the specific job/company you are applying to

Should represent you as the best qualified candidate

Are used to get you an interview

Do not usually include personal interests

If you are applying for both academic as well as industry (private or public sector) positions, you will need to prepare both a resume and a CV.

Curriculum Vitae vs. Resume: Format and Content

The CV presents a full history of your academic credentials, so the length of the document is variable. In contrast, a resume presents a concise picture of your skills and qualifications for a specific position, so length tends to be shorter and dictated by years of experience (generally 1-2 pages).

CVs are used by individuals seeking fellowships, grants, postdoctoral positions, and teaching/research positions in postsecondary institutions or high-level research positions in industry. Graduate school applications typically request a CV, but in general are looking for a resume that includes any publications and descriptions of research projects.

In many European countries, CV is used to describe all job application documents, including a resume. In the United States and Canada, CV and resume are sometimes used interchangeably. If you are not sure which kind of document to submit, it is best to ask for clarification.

Emphasize skills

Used when applying for a position in industry, non-profit, and public sector

Is no longer than 2 pages, with an additional page for publications and/or poster presentations if highly relevant to the job

After 1 year of industry experience, lead with work experience and place education section at the or near the end, depending upon qualifications

Emphasizes academic accomplishments

used when applying for positions in academia, fellowships and grants

Length depends upon experience and includes a complete list of publications, posters, and presentations

Always begins with education and can include name of advisor and dissertation title or summary (see examples). Also used for merit/tenure review and sabbatical leave

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Resume vs. Curriculum Vitae: What's the Difference?

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Curriculum Vitae (CV) is Latin for "course of life." In contrast, resume is French for "summary." Both CVs & Resumes: Are tailored for the specific job/company you are applying to Should represent you as the best qualified candidate Are used to get you an interview Do not usually include personal interests If you are applying for both academic as well as industry (private or public sector) positions, you will need to prepare both a resume and a CV.

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This section includes the College Art Association Guidelines (USA) for:

artist (professional)

visual artist (academic)

art historians

museum professionals

PLUS other guidelines from people based in the USA
I look for specific information in a CV, such as experience, and an understanding of personal goals and achievements. I look for CVs that communicate quickly, that include something interesting about the applicant, and a CV that stands out. It is important to communicate both visually and with the written word in a professional presentation.
Karen Millen
Guidelines from the University for the Creative Arts
This section includes the University for the Creative Arts Guidelines (UK) for:

artist (professional) - CV - Artist - UCA - The Artist CV is primarily used by fine artists, though can be used by creative practitioners from other disciplines. Artist CVs are sent to galleries and exhibitions for the purpose of showing your work, and are designed accordingly.

designer - CV - Designer - Designers customarily produce CVs that reflect their particular skills. They are mostly sent out electronically to agencies and prospective employers and therefore need to be designed both for email and for print.

multi-media artist - CV - Multimedia - The multimedia CV is an increasingly important promotional tool for any creative, no matter the discipline. They can range from fully functioning websites to interactive presentations such as DVD based animation showreel / CV.

It also provides ​ CV - Standard Text - THERE IS NO SUCH THING AS A PERFECT CV. Different individuals, companies and industries look for different criteria, so it's crucial you do your research and tailor your CV accordingly.
CVs can involve lists - and there are different ways of formatting lists for a CV.
If you're an artist, there's an argument that your resume should reflect it! There's also another argument that if your design makes your information difficult to scan read then you need to think again!
​

How to create a CV | Visual Artists Ireland - Having an accurate, up-to-date, relevant CV is vitally important for visual artists and craftspeople, especially when applying for residencies, workshops, commissions or other opportunities.

Artist Business: Artist CV - Writing the Artist CV. Tips and advice for artists.

Art CV | CV Template - Art CV present factual information about you to the world and as such they should comprise anything like solo/group exhibitions, productions, collections, publications, commissions, residencies, published works, etc.

How to write a CV for the arts | Guardian careers | guardian.co.uk - In the arts, where 'mosaic-style' careers paths are common, it's best to write a CV that paints a picture of your overall career path, rather than documenting every single job or project

10 tips on writing a successful CV | Culture professionals network | Guardian Professional - Katy Cowan gives her top tips on creating a memorable and readable CV - anything missed?

Arty Crafty Studio: How to write an Artist CV - As I am arts worker I have seen many different types of Artist CV's. And what sticks out in a negative way is Artists not submitting what has been asked for!

Careers In The Arts - A CV Centre Guide - A guide to careers in the arts.

Illustrations of what a CV should look like

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This section includes the College Art Association Guidelines (USA) for: artist (professional) visual artist (academic) art historians museum professionals PLUS other guidelines from people based in the USA I look for specific information in a CV, such as experience, and an understanding of personal goals and achievements.

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Showcase your achievements

Display your work experience in reverse-chronological order, beginning with your most recent position at the top of the section. Describe for each job your title, responsibilities, and accomplishments, with a focus on performance and results rather than duties. Use action words like 'developed, 'produced', and 'delivered' when describing your work history to create compelling and impactful descriptions of your experience. Highlighting quantifiable information, like performance metrics and revenue, is a great way to demonstrate your abilities.

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Artist Resume Samples and Templates | VisualCV

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Display your work experience in reverse-chronological order, beginning with your most recent position at the top of the section. Describe for each job your title, responsibilities, and accomplishments, with a focus on performance and results rather than duties. Use action words like 'developed, 'produced', and 'delivered' when describing your work history to create compelling and impactful descriptions of your experience.

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An artist resume is different from an artist's statement and an artist's CV. What is an artist resume about, and how does one write it?

Where an artist's statement is meant to be read by viewers of the art, often at a gallery, the artist's resume is typically what is used when submitting art to a gallery as part of an exhibition proposal. Its intended audience is the curator for that exhibit. Its purpose is to convince that curator that the artist is worthy of and solid enough to be showcased in the gallery. So where an artist's statement should use simple words that anyone can understand, the artist's resume is where the artist should pull out their full artistic vocabulary to prove they are experienced in the world of art and a peer of the other competitors who are vying for this gallery space.

Just like any other business resume, an artist's resume should be updated yearly or so to contain the latest information. It should be a living document which is regularly updated to stay fresh.

A resume contains a selection of the artist's experiences and works - it is not meant to be a CV, which is a complete life listing. So rather than list every single show an artist has ever participated in, a resume should cull it down to the important highlights.

A traditional artist resume has several sections. Each has a bold heading so that the entire list can be easily scanned. In each category, the items should be listed in reverse chronological order. That is, the most recent (and to the reviewer generally the most important) items should be on top.

These sections are:

Name (address etc.)

Education (art related only)

Awards

Exhibitions

Commissions (if any)

Collections (if any, and only notable locations)

Bibliography (external publications which mention / feature you)

Publications (things you have written)

Teaching / Lectures you've done

References (if needed)

If a given section is empty, it should be left off. The purpose of the resume is to showcase the artist's talents and experience. If the information isn't art related, leave that off. An artist shouldn't list that they got a degree in journalism. They should list that they took art classes at the local museum.

When an artist is just getting started they might need to list minor items to fill the resume out to be a page long. As they get more established in the world of art they might need to trim down their listings to only the key ones to stay within one or two pages. The resume as a whole - at 10 point type minimum - should remain at one or two pages. The person receiving this list needs a sense of the artist's worth - not detail into every single thing the artist has ever done.

Just as with business resumes, the key is to be expressive while also being wholly accurate. In our modern internet world a person who stretches the truth is easily found out - and that deception can have ripple effects far beyond this one application. Always be honest.

Also, readability is far more important than style. The curator probably has a mound of these to go through, to figure out which one to accept. An artist should use 12 point font if at all possible and keep the layout simple. The information's meaning should shine off the page. The curator shouldn't get a headache trying to read it.

Note that sometimes an art gallery says they want a CV when actually what they mean is they want a resume. An artist should use some common sense here. If it's a local gallery, they probably want a highlight of the artist's activities rather than a massive tome listing every single place the artist has ever been shown in. However, if it's a featured exhibition at the Metropolitan Museum of Art in New York City, the artist should go ahead and send them the full CV. In gold ink :).

Here is an example resume. Note that personal information such as the year and location of birth have been removed. In an actual resume the artist would want to include that information.
Lisa Shea Artist's Resume (PDF)
Be sure to read about all of the:
Six Essential Artist Documents

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An artist resume is different from an artist's statement and an artist's CV. What is an artist resume about, and how does one write it? Where an artist's statement is meant to be read by viewers of the art, often at a gallery, the artist's resume is typically what is used when submitting art to a gallery as part of an exhibition proposal.

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ORGANIZATIONS ARE LISTED IN ALPHABETICAL ORDER

Provides artists and arts organizations in Southwestern Pennsylvania Business Volunteers for the Arts,
Greater Pittsburgh Arts Council

with legal and accounting assistance
www.pittsburghartscouncil.org/bva

Kansas City Volunteer Lawyers and Accountants for the Arts
Provides accounting and legal services to qualified artists and
arts organizations. www.kcvlaa.org

Provides direct legal and business services to and ongoing educationalServes artists and arts organizations in the greater St. Louis area,and Madison and St. Clair counties in Illinois. St. Louis Volunteer Lawyers and Accountants for the Arts

programs for artists at every career level and across all arts disciplines.

which includes St. Louis City, St. Charles, St. Louis, and Jefferson
Also serves Columbia and eastern Missouri. www.vlaa.org
counties in Missouri

Provides Texas artists and arts organizations with legal and accounting Texas Accountants and Lawyers for the Arts

assistance.
www.talarts.org

PUBLICATIONS ARE IN ALPHABETICAL ORDER
(As an Amazon Associate, the Artist Help Network earns from qualifying purchases.)

Written by a retired tax consultant with a talent for making Annual Tax Mess Organizer for Writers, Artists,
Self-Publishers & Craftspeople: Help for
self-employed individuals who did not keep
itemized income & expense records during the business year
Author: KiKi Canniff.

taxes easy to understand.
Publisher: One More Press
Publication date: Revised 2016

Provides an overview of record keeping and tax matters frequently Artist as Bookkeeper
Author: Sue Greenberg

encountered by artists. A downloadable free publication.
Publisher: St. Louis Volunteer Lawyers and Accounts for the Arts
Publication Date: Revised 2015
http://vlaa.org/get-smart/publications

An accessible guide that covers a variety of topics, including budgeting,experiences.Publisher: Agate B2 Arts and Numbers: A Financial Guide for Artists, Writers,
Performers, and Other Members of the Creative Class
Author: Elaine Grogan Luttrull

cash management, visual charting, taxes, employment, and business
etiquette. Provides examples of common issues within the art world
and anecdotes from author's own

Publication date: 2013

The IRS classifies creative activities as a hobby, claiming that twhen a person participates in creative activities part-time,avoid the hobby classification, Creativity Is My Business: A Financial Organizer for
Freelance Artists, Musicians, Photographers, Writers
& Other Talented Individuals
Author: Kiki Canniff.

hose who create art do it for fun, and it is not as a business. And,

this is a hard label to dodge, unless you keep proper records.
This book focuses on how to
with guidelines on how to keep business-like records,
and help you survive a tax audit.
Publisher: One More Press
Publication Date: 2012

Legal Guide for the Visual Artist
Author/Editor: Tad Crawford
Revised edition. See four chapters on taxes.
Publisher: Allworth Press
Publication Date: 2010

New Tax Guide for Writers, Artists, Performers and
Other Creative People
Author/Editor: Peter Jason Riley
Revised edition. Written with the non-accountant, creative
individual in mind, this guide provides a clear outline of taxes,
responsibilities, income, deductions, I.R.S. audit guidance,
timelines and tax and accounting issues.
Publisher: Focus Publishing/R. Pullins Company
Publication Date: Revised 2016

T ax Smarts for Artists: Accounting Secrets, Surprises
& Essentials
Author: Jessie M Parker
Designed to help artists of all disciplines and expands
on the author's first book for visual artists.. Covers
tax and estate issues that are relevant to artists.
The material is written in plain English, not
account-ese, or legalese. "This book is useful for
both professionals and artists who are currently
hobbyists but are considering making the leap to pro."
Published: CreateSpace Independent Publishing Platform
Publication date: 2016

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Artist Accounting & Bookkeeping - Artist Help Network

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ORGANIZATIONS ARE LISTED IN ALPHABETICAL ORDER Provides artists and arts organizations in Southwestern Pennsylvania Business Volunteers for the Arts, Greater Pittsburgh Arts Council with legal and accounting assistance www.pittsburghartscouncil.org/bva Kansas City Volunteer Lawyers and Accountants for the Arts Provides accounting and legal services to qualified artists and arts organizations.

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Kansas Department of Revenue Business Tax Home Page

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Official Website of the Kansas Department of Revenue

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Get Organized

Have your critical art information right at your fingertips. Artwork Archive helps you track your inventory, contacts, galleries, sales and more. All in one place.

Track Your Work

Tools to look professional and impress clients. Stay on top of key deadlines, track pricing and sales, and generate polished reports with ease.

Save Time

Free up hundreds of hours by creating invoices, inventory lists and labels with a click of a button. Successfully manage your business or collection in half the time.

A suite of tools to manage your artwork

With Artwork Archive, you have all the tools
to manage, preserve, and showcase your artwork.

A plan for all artworks and collections

Artwork Archive supports artists at all points in their careers, collections
of all sizes and all types of organizations.

You're in good company

... plus thousands of other professional artists, collectors, and organizations from around the world.

Cookies help us deliver our services. By using our services, you agree to our use of cookies.

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Art Inventory Software - Easy Art Management

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Easily catalog & manage your work or collection with Artwork Archive's easy-to-use software. Gain useful business insights. Start a free trial today!

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kansas city volunteer lawywers

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Welcome to KCVLAA

KCVLAA is a nonprofit, 501(c)(3) organization that provides legal and accounting assistance to qualifying artists and arts organizations from all creative disciplines. Our ArtSmarts program provides seminars in arts law to help artists avoid common pitfalls in their professional arts careers.

"Kansas City Americana"- Lee Knox

ArtSmarts

ArtSmarts is an ongoing series of workshops focused on helping artists, arts organizations, and creative businesses learn how to better navigate potential legal issues. KCVLAA services enable arts clients to get their organizational "house in order" so that they can more effectively create and present their art. See our ArtSmarts Calendar for upcoming workshops.

Formation Assistance

Many new arts related business think that a non-profit Corporation is the best business entity for them. Often, this is NOT the case. Let us provide you with a non-profit workbook & worksheets to review. After that, attend our non-profit formation workshop. If forming a non-profit is still right for you, KCVLAA can help you get started. Contact us for a non-profit workbook and worksheets.

KCVLAA Promotional Video

Pro Bono Legal & Accounting

If you or your organization meets our financial qualifications we will refer your arts related case on to a qualified accountant or attorney. Apply now.

Referrals

If you do not meet the financial criteria for free services you can get a list of our volunteers who specialize in arts-related areas of the law. Contact us for a list.

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KCVLAA is a nonprofit, 501(c)(3) organization that provides legal and accounting assistance to qualifying artists and arts organizations from all creative disciplines. Our ArtSmarts program provides seminars in arts law to help artists avoid common pitfalls in their professional arts careers.

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An explanation of copyright law—and what to do if your copyrights have been infringed upon—by Volunteer Lawyers for the Arts.

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The Copyright Law Explained section of the website is intended to provide an easy to understand explanation of the major elements of U.S. copyright law. The intended audience is individual creators, small business owners, and members of

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15 Minutes on Copyright for Visual Artists

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Ann Rea: Sell your art without feeling like a sell-out [Your Creative Push Ep 201]

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Choose a Business Structure

Choosing the legal structure for a business is one of the most important steps to starting a business. The type of business structure chosen will determine who owns the company, influence day-to-day operations, determine tax filing requirements, and determine what assets will cover business liabilities. Do not rely solely on this overview; consult an attorney, accountant, or business counselor for additional guidance about choosing a business structure. Also, regardless of the entity type selected, be sure to read and follow the requirements in state law carefully.
Types of business structures
Corporation
A corporation is a legal entity, separate from an individual, that is comprised of three groups of people: shareholders, directors and officers. As a separate legal entity, a corporation can shield owners from personal liability. A corporation is managed and controlled by a board of directors that is elected by the corporation's shareholders. The following are key features of a corporate structure.

Shareholders generally are shielded from claims/liability against the corporation.

A corporation generally is responsible for the debts and obligations of the business.

A corporation pays taxes on profits, and shareholders may pay taxes on any dividends paid by the corporation.

A corporation is required to register with the Secretary of State, maintain a resident agent/registered office, and file an annual report.

Filings with other state agencies may be required depending on the type of activity of the business.

Limited Liability Company (LLC)
A limited liability company provides the limited liability benefits of a corporation with the tax and flexible management benefits of a general partnership.

Members (owners) of an LLC are not personally liable for the company's debts or other liabilities.

An LLC may receive pass-through income tax treatment similar to a partnership, depending on the structure of the LLC.

Members of an LLC may be involved in the management of the business without incurring personal liability.

An LLC is required to register with the Secretary of State, maintain a resident agent/registered office, and file an annual report.

Filings with other state agencies may be required depending on the type of activity of the business.

Limited Liability Partnership (LLP)
A limited liability partnership is a partnership in which the personal assets of each partner may be provided protection from claims against the partnership itself or against the actions of other partners.

An LLP is required to register with the Secretary of State, maintain a resident agent/registered office, and file an annual report.

Filings with other state agencies may be required depending on the type of activity of the business.

Limited Partnership
A limited partnership is a partnership with one or more general partners with generally the same liability as that of partners in a general partnership, and one or more limited partners that generally have limited liability.

A limited partnership must be formed in writing between one or more general partners and one or more limited partners.

General partner(s) generally manage(s) the partnership.

An LP is required to register with the Secretary of State, maintain a resident agent/registered office, and file an annual report.

Filings with other state agencies may be required depending on the type of activity of the business.

General Partnership
A general partnership is an association of two or more persons to carry on as co-owners of a business for profit. Partnerships have specific attributes, which are defined by Kansas law or by a partnership agreement.

Partners share in the rights and responsibilities to manage the business.

Partners are responsible for the debts and obligations of the business.

Distribution of profits and losses, allocation of management responsibilities, and other issues affecting the partnership can be defined in a written partnership agreement.

The partnership may, but is not required to, register with the Secretary of State.

Filings with other state agencies may be required depending on the type of activity of the business.

Sole Proprietorship
A sole proprietorship is a business owned and run by one individual with no distinction between the business and the owner. The owner is entitled to all profits and is responsible for the business' debts, losses, and liabilities.

Business assets and liabilities are not separate from the owner's personal assets and liabilities.

The owner receives the profits and takes the losses from the business.

The owner is responsible for the debts and obligations of the business.

Income and expenses of the business are reported on the owner's/proprietor's individual income tax return and profits are taxed at the owner's individual income tax rate.

Sole proprietors do not register with the Secretary of State.

Filings with other state agencies may be required depending on the type of activity of the business.

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Choosing the legal structure for a business is one of the most important steps to starting a business. The type of business structure chosen will determine who owns the company, influence day-to-day operations, determine tax filing requirements, and determine what assets will cover business liabilities.

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Services & Training for Every Phase of your Business

(7 day a week Live Assistance)

Funded in part through a Cooperative Agreement with the U.S. Small Business Administration. Reasonable accommodations for persons with disabilities will be made if requested at least two weeks in advance.

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Advising | Kansas Small Business Development Center | United States

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Services & Training for Every Phase of your Business (7 day a week Live Assistance) Funded in part through a Cooperative Agreement with the U.S. Small Business Administration. Reasonable accommodations for persons with disabilities will be made if requested at least two weeks in advance.

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This is a collection of links and resources that you can use in order to better understand the complex world of Illustration prices.

Links
The Dark Art of Pricing

Awesome video about pricing by children's book illustrator Will Terry

Illustration age

How to price illustrations

Illustration tools

How I Became a Full-time Freelance Illustrator and Artist

Guides & Tutorials For Creatives

Books
Graphic Artist's Guild Handbook of Pricing and Ethical Guidelines

Main things to take in consideration when quoting:
-size of the job
-size of the client
-complexity of the job
-use of the artwork
-geographic regions it will be used
-amount of time it will be used
-deadline

Also, these are general prices based on my own experience and general industry standard.
However, please be aware every artwork should be priced on a job to job basis.
Prices are in Australian dollars.

Picture books
from $4000 to $7000 advance plus 3-5% royalties.

NOTE: Royalties should be calculated on the retail price (the price of the book on the shelves). If calculated on Net receipts then it should be higher, about 12-15%

Editorial illustrations
Spot $250 - 350
Quarter page $300 - 350
Half page $400 - 700
Full page $600 - 900
Double page $800 - 1000
Cover $1300 - 1500

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Pricing resources - Laura Wood Illustration

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This is a collection of links and resources that you can use in order to better understand the complex world of Illustration prices.

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In this article I provide advice about how to price your art. There are specific rules for pricing art according to ethical standards in art business.

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Pricing artwork is one of the most complex tasks that emerging artists face, especially when they first begin to work with galleries and start to establish their art business. It's easy to see by reading art business articles and books on art marketing that the opinions of the experts vary.

To make it even more complicated, we artists sometimes price with our emotions. Some artists overprice their work in order to impress viewers, hoping to make the artwork look more valuable. Sometimes this works, but usually only when the collector is naive or when the artwork is spectacular and gets the attention of serious collectors.

When I price with my emotion, I tend to lower my prices because I feel sorry that the collector has to spend so much. Now, don't get on me for this ... it's the truth. I'm an empathetic type, but I need to be careful to not price my work based on how I feel about it or collectors. In other words, I need to look at pricing and how to sell artwork objectively.
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Putting emotions aside, let me share a simple formula that many of my professional artist friends have used when first starting to sell their work. I still use this formula. Remember that pricing reflects your position and reputation in the art-selling world more than what your art looks like. If you're relatively unknown to collectors and don't have many credentials-such as having placed in competitions, shown with a well-known gallery, or had your work published-you really can't get the same prices as artists who do have those credentials.

When you're first starting out selling art, it's a good idea to make your work as affordable as you can while being able to cover your costs and make a small profit. Don't charge so little that you don't break even. Remember that galleries often take a 50 percent commission from sales, so you'll have to take that into consideration.

Here's the formula that I recommend:

1. Multiply the painting's width by its length to arrive at the total size, in square inches. Then multiply that number by a set dollar amount that's appropriate for your reputation. I currently use $6 per square inch for oil paintings. Then calculate your cost of canvas and framing, and then double that number. For example: A 16"-x-20" oil-on-linen landscape painting: 16" x 20" = 320 square inches. I price my oil paintings at $6 per square inch. 320 x 6 = $1,920.00, and I round this down to $1,900.

2. My frame, canvas and materials cost me $150.00 (I buy framing wholesale). I double this cost so that I'll get it all back when the painting sells at the gallery. Otherwise, I'm subsidizing the collector by giving him or her the frame for free. $150 x 2 = $300.

3. Then I put it all together: $1,900 + $300 = $2,200 (the retail price). When the painting sells from a gallery, my cut after the 50 percent commission is paid comes to $950 for the painting and $150 for the framing, for a total of $1,100.

For much larger pieces, I'll bring the price per square inch down a notch ... maybe a dollar or two lower so that I don't price my work beyond what my reputation can sustain. Alternately, for smaller works, I'll increase the dollar per square inch because small works take almost as much effort as larger works, and I need to be compensated for my expertise, even when the work is miniature.

This is not the only way to price artwork, but it's one that keeps my selling art prices consistent. Keep in mind that my prices were much lower 10 years ago when my artwork was relatively unknown to collectors. It's important to note here that when I have a great selling year, I raise my prices by 10 percent. When the economy is poor or my sales are slow, I don't raise prices at all.

I hope this give you a place to start. If you're just selling at local outdoor shows and are entering the art market, I would suggest that you keep your dollar amount much lower than mine. I've been selling my work for 14 years. There are ways that I could increase the worth and therefore the price of my art, but I'll talk about that in a later blog post.

-Lori

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How to Price Your Artwork: This Formula Makes it Easy

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Pricing artwork is one of the most complex tasks that emerging artists face, especially when they first begin to work with galleries and start to establish their art business. It's easy to see by reading art business articles and books on art marketing that the opinions of the experts vary.

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Art Price Calculator mobile app

Art Price Calculator mobile app

Art Price Calculator mobile app

Estimate the price of your work using millions of real-world examples.

Ever wonder "What's my art worth?" Download our free art pricing app for Android or iOS, or try it through the web now! Just use the buttons at the top of the page.

Copyright 2021. All rights reserved.

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Art Price Calculator - Get your art's value easy and free

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Art Price Calculator mobile app Art Price Calculator mobile app Art Price Calculator mobile app Estimate the price of your work using millions of real-world examples. Copyright 2021. All rights reserved.

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Pricing art can be a challenge when you are first starting to sell your art. In the beginning, you do not have anything to reference back to and you do not know what people are willing to pay for the art you create. In this post, I am going to share with you 7 art pricing rules to stick with so you can make better decisions and eventually enhance your profit margin.

By the end of this post, you will know...

Art Pricing Formula

Consistent Pricing

Maintain Consistent Prices On All Platforms

How To Price Art Prints

Market Value

When Should You Increase Your Prices

Do Not Negotiate Art Prices

Art Pricing Guide

Art Pricing Rules To Stick With

One of the biggest struggles I faced when I started selling my art online over 16 years ago was deciding what I should charge for my artwork.

I had a marketing background but it was not involving artwork.

So when I decided to start selling my artwork online I did not know what the best pricing strategy would be.

I lived in a small town where there were no art galleries and I was not familiar with any craft shows.

Trying to decide what I should charge for my art seemed to be impossible.

So I took a few days and started doing some research online.

Most of my competition at that time was selling their artwork on eBay and that is where I got my start.

As I started coming across other artists who were creating similar art, I took note of their asking prices.

I also took into consideration how long they have been selling art online and the quality of their work, the size of their artwork and what medium they used to create the artwork.

After I had a general idea of what people were willing to spend I began to create a pricing strategy.

I encourage you to do the same thing.

Take the time to look for other artists who are selling similar artwork.

Visit eBay, Etsy, Pinterest and do a search on Google to find other artists selling online.

Another great way to find artists is by visiting Facebook groups for artists.

For more information on Facebook groups for artists visit Visit Facebook Groups for Artists - Increase Brand Visibility.

Take note of how long they have been selling their art online and what their asking prices are.

Find out where they are promoting their art and record how large their following is on social media platforms.

Gather as much information as you can.

I recommend creating a spreadsheet so it will be easier for you to review.

7 Art Pricing Rules

Now that you have started following your fellow artists and have an idea of what people are willing to spend for art that is similar to your work let's go over some art pricing rules you will want to stick with throughout your online art business career.

Art Pricing Formula

There are several different pricing formulas you can decide to use when you are developing a pricing strategy.

Some artists price by square inch while other artists price their artwork based off of how long it takes them to complete a project.

There is no right or wrong way to go about it.

The only thing you will want to do is pick an art pricing formula that will compliment your goals and stick with it across every piece of art you create throughout your art career.

For more detailed information on art pricing formulas download Art Pricing Guide - How to Price Art to Sell eBook today.

If you are still having a difficult time finding the best prices for your artwork you might want to consider trying the Art Pricing Calculator App.

The art Pricing Calculator is a free app that will estimate the price of your artwork. Use this as a guide, not a magic formula.

Consistent Pricing

A common mistake I see many artists do when they start selling their art online is constantly changing their prices.

This strategy does not only hurt the artist but it also affects other artists selling online.

There is nothing that can tarnish your artist brand faster than changing your prices every month.

You might not believe this but people will take notice and when they do they will start to question your business morals or the quality of your work.
How frustrated would you be if you spent $100 on something to only find that the same item is being sold for $45 the next day?
Retail stores understand how frustrating price fluctuations are for the shopper.

That is why most retail stores will honor sale prices for a couple of days after a sale ends.

I understand why an artist might change their prices frequently in the beginning.

They become impatient.

They expect their art will sell the same day they publish it.

When their art does not sell immediately they start to question their prices, the quality of their artwork and the subject they are creating.

For more information on this topic visit Art That Sells - What Artists Need to Know.

More often than not, the pricing or the quality of the art does not have an impact on sales (as long as you are pricing your art according to the market value) it has to do with how you are marketing and promoting your art.

Instead of lowering your prices for a quick sale, take the time to learn how to build brand awareness.
Related Posts:
After you have learned how to market your artwork and people are purchasing faster than you can create it you will want to start contemplating when you should start increasing your prices.

For tips on how to increase your art prices visit How You Can Increase Art Selling Prices.

Maintain Consistent Prices On All Platforms

Another mistake I see artists make is that their prices are not the same on different platforms.

They will promote a piece of art on Facebook for a specific price and on their website, they will be selling the same piece for a different price.

This can happen easily if you are selling prints on multiple POD (print on demand) services.

This strategy does not work and it will only confuse your audience.

Create a price chart for all of your prices so you can easily reference what your prices are.

This will allow you to be accurate promoting your artwork on all platforms.

The prices of your art should also be the same online and offline.

If you sell your art at craft shows or in art galleries make sure the prices are consistent with your website's prices.

Grab your Competitor Price Check List Printable Planner today and start logging your prices.

This art pricing chart printable will make it easy for you to keep track of your art prices os you can be consistent on all platforms you art selling on.

Documenting and organizing your pricing strategy will help you to stay consistent with your prices which will increase your profit margin.

Pricing Giclee Art Prints

Selling prints of your original artwork is a great way for you to supplement your income.

Develop a pricing strategy for your prints and stick with it.

The prices of your prints should be a percentage lower than your original artwork.

However, you do not want to underprice your prints. Selling your prints at a low price will only lower the value of your artwork.

If you are selling prints on multiple POD sites make sure that the prices are consistent.

Your art pricing printable will help you stay on target with your pricing strategy.

Related Post - How To Price Art Prints

Market Value

It is essential for your art business, not to price your artwork to low.

If you price your art too low will lower the value of your brand.

Once you are known for selling original art at low prices it will become very difficult to raise your prices in the future.

People will be expecting a bargain.

This concept is often difficult for artists who are just starting their careers.

Your time and skills have value, price your work accordingly.

Creating art is not cheap. You have to include the costs of your art supplies, studio space and include an hourly wage.

The average hourly wage for fine artists according to the US Dept. of labor is around $25.

Use this as a guide when you are pricing your artwork and keep accurate records on how long it takes you to complete each project.

Research the market and see what other artists with a similar skill level and style are charging.

Take note of how long they have been selling art online and how large their audience is.

The market will show you what people are willing to spend for your style of artwork.

Your price range should compliment the market value.

When Should You Increase Your Prices

Most jobs increase a person's salary as their skills improve.

As an artist, you should also be able to increase your prices when your artistic skills improve and the value of your brand increases.

Here are a couple of common ways established artists increase their prices.

Some artists increase their prices if their art is selling very quickly.

If you notice that you are selling your art just days after the paint has dried it might be a good time to increase your prices.

Other artists including me have found success in increasing prices yearly.

Decide on what will work best for your goals and stay consistent.

Related Post - How You Can Increase Art Selling Prices

Do Not Negotiate Art Prices

There will be times when people will ask for a special price or offer to pay you less than what you are asking for.

For some reason, people think that purchasing artwork is like going to a car dealer.

They feel like they have the right to talk the artist down with their prices.

I guess they do have the right to ask for a lower price, but you also have the right to decline it.

The more times you reduce your prices for a sale the harder it will become to sell your art for the asking price.

Stay firm with your prices, do not negotiate. If someone really wants to purchase your art they will pay what you are asking.

A business's main objective is to make a profit not to lose money. Your time is valuable so stay firm with your prices.

If you want to promote a sale that is your prerogative. Just make sure that it is on your terms, not the buyer's terms.

Art Pricing Guide

There is so much to think about when it comes to pricing your art. The bottom line is that you want to sell your art and you want to make a profit.

The first couple of years will be a learning experience for you and you will probably be making less than what you deserve until you start making a name for yourself.

Building an online presence takes time and a lot of hard work.

Stay patent, work hard and continue to learn how to become an expert at selling your artwork.

Follow these art pricing rules and in time you will be able to charge more for your work.
Related Resources:
Final Thoughts On Art Pricing Rules

It is a very exciting time for you. I can still remember the first piece of art I should. I think I was doing the happy dance for days.

There is a lot of learning you will be doing throughout your journey so be patient and open-minded.

Believe in yourself and your artwork and do not stop trying.

Refer to these art pricing rules every time you price your artwork.
7 Art Pricing Rules To Stick With Overview:

Art Pricing Formula

Consistent Pricing

Maintain Consistent Prices On All Platforms

How To Price Art Prints

Market Value

When Should You Increase Your Prices

Do Not Negotiate Art Prices

Art Pricing Guide

You Might Also Be Interested In: How You Can Increase Art Selling Prices Popular Art Marketing And Sales Tutorials
Below are some of the most famous art marketing courses that will grow your online art business:

Most Popular - How to Make a Living Selling What You Make by Megan Auman

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Did you enjoy this article? Don't forget to sign up for my free weekly newsletter. You can also join me on: Learn how to start, grow and monetize your online art business. Art Business eBooks Art Business Workbooks Art Marketing Video Courses Art Marketing Resource

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Pricing art can be a challenge when you are first starting to sell your art. In the beginning, you do not have anything to reference back to and you do not know what people are willing to pay for the art you create.

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Houston Printing | Direct Mail | EDDM & Postcard Printing

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What Is Print Media Advertising?

Print media advertising is a form of mass communication strategy that uses hard copy printed mediums like newspapers, billboards, and magazines to reach consumers. The advertising industry identifies print media as one of the oldest mediums used to promote products.

By advertising services and brands, businesses target to attract and influence consumer buying habits. More so, marketers use print media advertising to reach out to prospects, businesses, and the general public.

What Is Print Media?

It is a written or pictorial form of mass communication. Print media is mechanically or electronically generated by impression or photocopying. Printers can produce multiple forms of communication using automated digital methods.

Print media is a kind of mass communication that creates and disseminates news and information through printed publications.

The general public receives this data and pictures or graphics in printed form, also known as hard copy. The printed means of communication produced on tangible copies in color or black and white.

Examples of Print Media

It is typical for printers to display print media on paper. However, printing firms may also use various substrates such as canvas, fabric, vinyl, and more. The majority of readers, advertisers, and other media users are familiar with the following examples of print media.

Newspapers and Weeklies

Newspapers are good examples of print media where advertisers have a wide variety of options available. The various types of newspapers include weekly, local, regional, evening, or Sunday editions.

Who are the top consumers of newspapers? This print media attracts a wide range of readers. They include individuals with different interests such as sports, business, entertainment, fashion, politics, local and international news.

Furthermore, newspapers sell space to advertisers who need help displaying ads in text, graphics, photographs, and other illustrations. Some advertising agencies spend a fortune to buy double-page spreads, while others pay smaller amounts for classified ads that contain text only.

Magazines

There are various types of magazines advertisers can use for publicizing services and brands. Trade magazines promote specific industries such as electronics, manufacturing finance, and more. Consumer magazines publicize numerous interests, including fashion, health, sport, hobbies, and current affairs.

Other magazines focus on publications for managers and careers such as marketing professionals, engineers, human resource executives, and more.

A majority of magazines are published weekly, monthly or quarterly. Even so, advertisers can still buy space to place adverts either in black and white or color.

Billboards

Billboards and posters are types of print media that allow promoters to reach consumers on the go. They are are typically large prints and graphics and are placed on the outdoors. Placing these banners in strategic positions such as near malls helps advertisers influence consumers close to the selling counters.

Advertising agents place billboards in public places such as airports and train stations to reach larger groups of patrons. The size of these gigantic boards makes it almost impossible for anyone to miss the advert.

Furthermore, promoters can combine digital and print to alter messages, slogans, or pictures on billboards at their set times.

Is Print Media Still Effective?

News, fashion, manufacturing, and other industries still use traditional print media despite the rise of electronic media usage in the advertising industry. However, there is a slight reduction in advertising expenditure, but print media isn't dead.

Promoters still use print media to influence consumer habits on selected brands and services because it offers longevity. Consumers will likely read a good brochure more than once, but readers of electronic media discard or reject ads quickly once read.

More so, print media largely contributes to shopper commitment. A majority of consumers still use this medium to search for product sales. According to NielsenIQ, almost 68% of retail stores admit that print media is their ideal strategy for advertising.

Print Versus Electronic Media - 7 Differences

1. Print media is the older channel of mass communication as compared to the electronic version, which is current and more advanced.

2. It results through publications, while electronic media produces via a computerized medium.

3. The traditional media requires the reader to be literate to read the information. However, literacy is not a priority to go through electronic media because consumers can watch the video or listen to the audio version.

4. Readers pay more for print media than for electronic media subscriptions. With print media, you only buy what you need when you need it. You can also refer to your print at a later time. Electronic subscriptions expire after a specific duration, and you need to renew even when you may only read it once.

5. It is easy to fully pay more attention to a print article than to an electronic medium. Reading an online publication can be distracted by live chat pop-ups, social account messages, or even power outages.

6. Print media is not instant or available 24/7. For example, printers produce newspapers daily, weekly, or monthly. However, electronic media is readily available "live." You can receive news or commercial updates as they happen through your smartphone, television, or news channel.

7. Unlike electronic media that offer large to limitless space, newspapers, magazines, billboards, and other print mediums have a limited area of coverage.

What Is an Advertisement in Print Media?

It is an announcement, notice, or form of communication printed in a newspaper, magazine, billboard, flyer, or any other type of print media. Advertisements contain four elements which include headline, copy, illustrations, and signature.

Headline

A good headline draws the readers to a service or brand. It should attract readers to view the advert's illustration and prompt them to read the copy. Effective headlines must promote a product and also remain brief.

Copy

Copy is the selling communication of a printed/written advertisement that shows how the service meets the user's needs. The copy message must appeal to the senses, be simple, direct, friendly, and personal. A copy addresses questions about the service and calls the prospect to action, nor or soon.

Illustrations

These are photographs, drawings, or graphic designs used in an advertisement. A good illustration must be captivating, irresistible, and promote action.

It must entice the reader to pay closer attention. This section can include clip art, photographs, images, and stock drawing.

Signature

A signature is a unique identification symbol or logo for a business. Promoters know that a perfect logo gives your business instant recognition. An effective signature uses rhyming words with more than one meaning.

Which Print Media Is Best for Advertising?

You can decide which print media is best for promoting your brand depending on your target audience and your advertising budget. Even so, newspapers and brochures are the most preferred channels of print media. More so, these print mediums have a high rate of consumer confidence.

Newspaper

This print media is considered one of the best mediums of print advertising. Furthermore, newspaper ads are the oldest campaign tools recorded in the history of the industry. In 1704, Boston News-Letter published a newspaper advertisement selling real estate on Oyster Bay Long Island.

Since then, advertisers have continued to use print media to promote brands and services globally. More so, print is favored across all generations by the seniors and millennials.

For example, a report by NielsenIQ shows that in the U.S, 71% of those aged 18-24 have subscribed to electronic newspaper content. However, 65% of those aged 35 and above in the same demographic read print newspapers from Sunday to Monday.

Regardless of the statistics, this type of print media is the oldest medium for advertising. The newspapers have been a means of advertising for over a century. Businesses find daily journals less costly when compared to other alternatives like billboards, magazines, and postcards.

Brochures

Some promoters prefer to use brochures as the best print media for advertising. Besides the simplicity in design, brochures are informative and tell your customers about your brand or services.

Printing brochures is less costly than other print media like magazines. More so, they cost nothing to disseminate. This print media is the best reminder you can give to your customers after a meeting.

Brochures continue to influence your prospects long after physical contact. Some clients find it faster to read print media than it is to visit a website.

Benefits of Print Media

Before stepping out to source for the best print media, promoters and businesses must scrutinize the advantages and disadvantages of using this medium.

Listed below are some of the benefits to consider when deciding on this medium for your advertising campaign.

According to research, the older generation of the U.S population has confidence in printed ads. They consider handheld advertisements more credible than their electronic counterparts. More so, millennials also trust print media even though they frequently interact with digital advertising.

Consumer and market research indicates that 60% of interviewed respondents showed confidence in newspapers while 58% preferred magazines. Consumers trust print media more than electronic media because the internet contains high levels of misleading information.

The public tends to believe that print media originates from a reputable source or company. More so, effective print media marketing can help drive traffic to your website to create conversions and brand awareness.

Findings from Nielson IQ indicate that the top 5 most trusted mediums by the public include TV ads, newspaper ads, magazine ads, billboards, and radio ads.

High Conversion Rates

As indicated in a report by the Chief Marketing Officer (CMO) council, about 80% of consumers respond to direct mail ads. This rate is higher than that of shoppers who react to email ads.

The high response rate experienced in direct mail is why print marketing is more costly than digital marketing. Other print media types such as banners, newspaper ads, brochures, and business cards trigger the same consumer response as direct mail.

Print Helps You Reach Your Ideal Audience

Marketers know that placing ads in print media such as magazines, newspapers, and brochures can help reach your target market or the general public.

Promoters take advantage of the population tally to strategically place adverts in the right place in front of the ideal audience.

Take the example of a physical fitness service provider. A marketer will reach out to sportspeople and individuals who need to stay physically fit by placing an advert on the sports page.

Flexibility

It is the best advertising medium to use when you need to target a specific audience. Print media allows you to choose which section of magazine or newspaper your intended group is likely to read.

This channel of mass communication is not only strategic. But have digital copies, which give marketers more opportunity to reach a wider audience.

Establishes Your Brand

You can reach your target audience by promoting your brand in print media such as magazines, publications, newspapers, and brochures. Printed substrates allow marketers to bring the aesthetic attributes of color, font, texture, and images that help form brand recognition.

Durability

Magazines, brochures, publications, and other print mediums are tangible or hard copy. These items last longer in workplaces and residences, unlike the electronic versions that readers can delete, ignore, or skip with ease.

Readers are likely to keep magazines for a long time and possibly revisit ads more than once or twice.

Substantial Attention Span

Reading from a mobile phone screen is often distracted by pop-up messages or incoming calls. However, consumers consider magazines and newspapers a better medium to read ads because one can focus without being distracted by notifications.

Disadvantages of Print Media

Pay for your target market

High-caliber magazines have glossy covers, top-not writers, photographers, and designers. Promoters pay high charges for quality productions and professional services. Even so, you have the assurance of reaching your high-level target market.

Timing

Print advertising is slow when compared to the digital version. Promoters need to plan ahead of time and ensure that the message remains applicable for the duration it goes to print. This organizing can take weeks or even months.

Decreased Popularity

The rise of digital media has led to numerous consumers opting to subscribe to their mailing lists to receive news and other information.

Conclusion

Print media advertising is the oldest means of marketing that businesses have used to promote their brands. Newspaper ads date back to 1708 and are still here today, but better, bolder, colorful, and on point. Today, with state-of-the-art technology, the print industry is more advanced and vibrant.

More so, printers print media ads on a variety of substrates such as photo paper, fabric, canvas, vinyl, and more. Today, advertisers display adverts on numerous mediums such as billboards, flyers, brochures, business cards, postcards, door hangers, letterheads, envelopes, wrappers, and more.

Print media influences consumer habits in more ways than compared to electronic media. Finally, print is still the best way to grow your brand awareness. And you can trust that by advertising through this industry, your brand or service can move to the next level.

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What Is Print Media Advertising? - www.catdi.com

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Print media advertising is a form of mass communication strategy that uses hard copy printed mediums like newspapers, billboards, and magazines to reach consumers. The advertising industry identifies print media as one of the oldest mediums used to promote products. By advertising services and brands, businesses target to attract and influence consumer buying habits.

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What Artists Should Know About Running Print Ads | Artsy Shark

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Is print advertising right for you? It can be expensive and a commitment is needed, but it places your art in front of a dedicated audience.