DOCUMENT RESUME ED 350 460 AUTHOR TITLE INSTITUTION SPONS AGENCY CE 062 145 Brown, Ted; Sappe', Hoyt Commercial Art. Project Report Phase I with Research Findings. Georgia Univ., Athens. Div. of Vocational Education. Georgia State Dept. of Technical and Adult Education, Atlanta. PUB DATE CONTRACT NOTE PUB TYPE 89 EDRS PRICE DESCRIPTORS MF01/PCO2 Plus Postage. *Art Education; Artists; Cartoons; *Commercial Art; Competency Based Education; Curriculum Development; Educational Equipment; Educational Research; *Educational Resources; Graphic Arts; Illustrations; Instructional Materials; Job Analysis; Job Skills; Layout (Publications); Merchandising; Occupational Information; Postsecondary Education; Program Design; Program Development; Secondary Education; Sign Painters; Statewide Planning; *Task Analysis; Trade and Industrial Education Georgia IDENTIFIERS GA-89-110192 42p. Reports Research/Technical (143) ABSTRACT This report provides results of Phase I of a project that researched the occupational area of commercial art, established appropriate committees, and conducted task verification. These results are intended to guide development of a program designed to train commercial artists. Section 1 contains general information: purpose of Phase I; description of the occupation, including nature of work, working conditions, and related occupations; direction of the occupation, including employment, training and other qualifications, advancement, job outlook, and earnings; program development committee; areas of concern; and State Technical Committee developmental recommendations. Section 2 presents research findings: accreditation and certification; list of typical job titles; and appropriate trade resources and sources, including references and textbooks, curriculum materials, audiovisuals, trade and professional association journals, safety manuals, safety equipment, sources for competency-based testing materials, and sources of additional information. A preliminary occupational duty and task list is comprised of 16 duties: safety; basic drawings; basic design; lettering, typography; layout and design; mechanics; airbrushing; printmaking; illustration; interior decorating; photography; sign painting; portfolio; producing a comprehensive layout; producing composition; and preparing mechanicals. Other contents include a preliminary tools and equipment list E'^A staff and facilities recommendations. (YLB) ( ( (. IC) `, GEORGIA DEPARTME:NT OF TECHNICAL AND ADULT EDUCATION FY 89 CONTR.4CT # 89-110192 COMMERCIAL ART PROJECT REPORT PHASE I WITH RESEARCH FINDINGS U.S. DEPARTMENT OF EDUCATION O ffice of Educational Research and Improvement EDU "PERMISSION TO REPRODUCE THIS MATERIAL HAS BEEN GRANTED BY rip_NAL RESOURCES INFORMATION CENTER (ERIC) his doCument has been reproduced as received from the person Or organization originating n O Minor changes have been made to improve A;AWIt reproduction Quality PoinIS of view or opinions Stated in this docu- ment do not necessarily represent official OERI position or policy TO THE EDUCATI lit RESOURCES INFORMATION CE TER (ERIC)." 2 BEST COPY AVAILABLE COMMERCIAL ART CONTRACT PROJECT REPORT PHASE I WITH RESEARCH FINDINGS Developed by Ted Brown and Hoyt Sappe' University of Georgia College of Education Division of Vocational Education Athens, Georgia ,S Table of Contents Section One: GENERAL INFORMATION Purpose of Phase I 2 Description of Occupation 3 Direction of Occupation 5 Program Development Committee 7 Areas of Concern 9 State Technical Committee Developmental Recommendations 10 Section Two: RESEARCH FINDINGS Accreditation and Certification 12 Typical Job Titles 13 Appropriate Trade Resources 14 Preliminary Occupational Duty and Task List 28 Preliminary Tools and Equipment List 35 Staff and Facilities 37 PURPOSE OF PHASE I Phase I focused on researching the occupation, establishing appropriate committees, and conducting task verification. The results of this phase have provided the basic information required to develop the program standards and guide and set up the committee structure to guide the project. The program is designed to address the needs of the commercial art field that to use graduates as commercial artists. 2 t) or plan DESCRIPTION OF OCCUPATION Nature of the Work Visual artists use an almost limitless variety of methods and materials to communicate ideas, thoughts, and feelings. They may use oils, watercolors, acrylics, pastels, silkscreen, plaster, or any of a number of other media, including computers, to create abstract works or images of objects, people, nature, or events. Visual artists generally fall into one of two categories "fine artists" and "graphic artists" - depending not so much on the medium, but on the artist's purpose in creating a work of art. Fine artists such as painters, sculptors, and printmakers create art to satisfy their own inner need for self-expression. They are chiefly motivated by the need to depict a feeling or mood, or by a desire to experiment with new art forms and techniques. Graphic artists, however, put their skills and artistic vision at the service of a client. Graphic artists, whether freelancers or employed by a firm, use a variety of print and film media to create and execute art that meets a client's needs. Graphic designers, for example, may design special packaging and promotional displays for a new product, or a distinctive logo for company stationery and products. The field of graphic art is not limited to advertising, however. Illustrators, for example, paint or draw pictures for books, magazines, and films. Many do a variety of illustrations, while others specialize in a particular field. For example, editorial artists specialize in illustrations for magazines, record album covers, theater posters, and other publications. This specialty is perhaps the most glamorous graphic art specialty. Medical and scientific illustrators combine an interest in art with knowledge of the biological and physical sciences. They draw illustrations of parts of the human body, or animals and plants. These illustrations are used in medical textbooks and in slide presentations for teaching purposes. Fashion illustrators draw stylish illustrations of the latest fashions in women's and men's clothing. Some illustrators draw "story boards" for TV commercials. Story boards present TV commercials in a series of scenes in much the same way as a newspaper comic strip tells a story, so that the advertising and the client (the company doing the advertising) can evaluate the effectiveness of proposed commercials. Story boards may also serve as guides to placement of actors and cameras and to other details during the production of commercials. Cartoonists form another illustration specialty. They draw political who cartoons, newspaper comic strips, and comic books. Some cartoonists work with others who create the idea or story and write the captions. Most cartoonists, however, must have humorous, critical, or dramatic talents in addition to drawing skills. Animators draw the large series of pictures which, when transferred to film, form the animated cartoons seen in movies and on TV. Animators are employed almost exclusively in the motion picture industry. 3 WaidngConditions Graphic and fine artists generally work in art studios located either in offices or in their own homes. While their general surroundings are usually well lighted and ventilated, odors from glues, paint, ink, or other materials may be present. Graphic artists employed by business and art studios generally work 40 hours a week, 5 days a week. Some graphic artists, especially illustrators, are freelancers who do individual projects for those wishing to use their services. While freelancers can set their own hours, much time and effort must be expended on recruiting potential customers and building a reputation for high quality and dependable work. Related Occupations Many occupations in the advertising industry, such as account executive or creative director, are closely related to commercial and graphic art and design. Workers in other occupations which apply visual art skills are architects, display workers, floral designers, industrial designers, interior designers, landscape architects, and photographers. The various printing occupations are related to graphic art as is the work of art and design teachers. 4 DIRECTION OF THE OCCUPATION employment Visual artists held about 176,000 jobs in 1986. About 3 out of 5 were self-employed. Self- employed artists are either graphic artists who freelance, offering their services to advertising agencies, publishing firms, and businesses, or fine artists who earn income when they sell a painting or art work. Of the artists who were not self-employed, most were graphic artists who worked fir advertising agencies, commercial art and reproduction firms, or publishing firms. Others were employed by manufacturing firms, department stores, the motion picture industry, and government agencies. Visual artists are concentrated in large cities. New York City has by far the largest concentration because it is the center of both advertising and publishing. Boston, Chicago, Los Angeles, and San Francisco also have many artists. Training. Other Oualifications. and Advancement In the graphic arts field, demonstrated ability and appropriate training or other qualifications are needed for success. The device used by almost all in the graphic arts field to gain employment or freelance work is the "portfolio," a collection of examples of the artist's best work. Evidence of appropriate talent and flair shown in the portfolio is the most important factor used by art directors and others in deciding whether to hire or contract out work to an artist. In theory, a person with good portfolio but no training or experience could succeed in graphic arts. In reality, assembling a successful portfolio requires skills generally developed in a postsecondary art school - usually in a 4-year program. Generally, an artist is better prepared for a successful career if he or she has such specialized training. For some fields such as scientific and medical illustration, highly specialized training is absolutely essential. A bachelor's degree in fine arts is less useful because it is focused more on art for its own sake than on art for marketing and other purposes. There are many kinds of art schools, some with 2-year associate degree programs, as well as vocational education programs. Some of these provide the technical skills necessary to get an entry level job but may not give the background necessary for advancement. Persons hired in advertising agencies or graphic arts studios often start with relatively routine work. While doing this work, however, they may observe and practice their skills on the side. Those with talent may advance to assistant art director and then to art director. Others may gain enough skill to succeed as a freelancer or may prefer to specialize in an area such as calligraphy. Many freelancers get started by working part time as a freelancer while continuing to hold a full-time job . Others have enough talent and confidence in their ability to start out as a freelancer immediately after they graduate from art school. Many freelance part time while still in school, an excellent way to develop experience and a portfolio of published work. 5 Training Other Oualifications. and Advancement, (continued) The freelancer develops a set of clients who regularly contract for work at good rates. Some successful freelancers are widely recognized for their skill in specialties such as children's book illustration or editorial illustration. These freelancers earn high incomes and can pick and choose the type of work they do. Fine artists and illustrators advance as their work circulates and as they establish a reputation for a particular style. The best artists and illustrators continue to grow in ideas, and their work constantly evolves over time. Job Outlook The graphic and fine arts fields have a glamorous and exciting image. Because formal entry qualifications are few, many people with love for drawing and creative ability qualify for entry. As a result, competition for both salaried :;;,bs and freelance work is keen. Freelance work may be hard to come by, especially at first, and many freelancers earn very little until they acquire experience and establish a good reputation. Employment of visual artist:, overall, is expected to grow faster than the average for all occupations through the year 2000. Demand for graphic artists will be strong as producers of information, goods, and services put even more emphasis on visual appeal in product design, advertising, and marketing. Many new jobs will be created in advertising agencies and graphic art studios. Opportunities for fine artists are expected to increase as well, reflecting population growth, rising incomes, and support for the arts on the part of a small but highly educated and affluent segment of the populations. Competition in both areas is fierce, however. The supply of those seeking entry to this field will continue to exceed requirements in both the graphic and fine arts fields. Nonetheless, graphic arts studios and clients alike are always or the lookout for artists who display outstanding talent, creativity, and style. Talented artists who have developed a mastery of artistic techniques and skills should continue to be in great demand. Earnings Median earnings for salaried graphic artists who usually work full time were about $20,000 a year in 1986. The middle 50 percent earned between $15,200 and $26,000 a year. earnings for self-employed visual artists vary widely. Those struggling to gain experience and a reputation may be forced to charge what amounts to less than the minimum wage for their work. Well-established freelancers and fine artists are able to make a very comfortable living. Self-employed artists do not receive fringe benefits such as paid holidays, sick leave, health insurance, or pension benefits. The information presented in Description of the Occupation and Direction of the Occupation is adapted from public domain material, originally published in the Occupational Outlook Handbook, Bulletin 2300, by the Bureau of Labor Statistics, U.S. Department of Labor, Washington, D. C. 20212. 6 Iu COMMERCIAL ART PROGRAM DEVELOPMENT COMMITTEE Ms. Sunny Aasgaard Owner-Director The American Adworks 2328 La Vista Woods Drive Tucker, GA 30084 Mr. Cary Morgan Art Director J. Walter Thompson Advertising 950 East Paces Ferry Road NE Atlanta, GA 30326 Mr. Maxey Andress EM2 Design 1708 Peachtree St. N.W. Suite 201 Atlanta, GA 30309 Ms. Sheryl Nelson Designer-Artist Nelson Designs 2839 Galahad Drive NE Atlanta, GA 30345 Mr. Andy Di Martino President, Graphics Group 6111 Peachtree Dunwoody Road Building G Suite 101 Atlanta, GA 30328 Mr. Girish Patel 2106 Silversmith Lane Stone Mountain, GA 30087 Mr. Trevor Irvin Irvin Productions 380 Elizabeth Street Suite Be 101 Atlanta, GA 30307 Mr. Tom Johnson Art Director, Associate Creative Director Cascino & Purcell, Inc. Suite 1220 East Tower 3333 Peachtree Road NE Atlanta, GA 30326 Mr. Mark Jones Illustrator 1815 Haygood Drive Aticnta, GA 30307 Mr. Norman Kohn Norman Kohn and Associates 1770 - B Central Blvd. Atlanta, GA 30345 Mr. Wayland Moore Artist-Designer 2124 Azalea Circle Decatur, GA 30033 Mr. Tom Sapp Creative Director Reynolds & Associates 3490 Peachtree Road NE, Suite 424 Atlanta, GA 30305 Mr. Ron Seichrist Seichrist and Seichrist 12 Piedmont Center, Suite 402 Atlanta, GA 30305 Mr. John Shipley Art Director Tucker-Wayne/Luckie Advertising 230 Peachtree Street N.W., Suite 2700 Atlanta, GA 30303 Mr. Bill Tomassi Vice-President, Executive Art Director J.Walter Thompson Advertising 950 East Paces Ferry Road NE Atlanta, GA 30326 The Commercial Arts Program Development Committee. (continued) Educators Mr. Don M. Ballentine Atlanta Technical Institute 1560 Stewart Ave, SW Atlanta, GA 30310 Mr. Ray S. Shead Deka lb Technical Institute 495 North Indian Creek Dr. Clarkston, GA 30021 AREAS OF CONCERN The State Technical Committee reached consensus on the following items concerning employees: a. Employees need to develop interpersonal relations skills in the areas of customer sales and service. b. Workers should possess basic skills in math, reading, spelling, safety, computers, and physical dexterity. c. Employees should understand and practice the team approach in the production of Commercial Art products. d. Employees must be prepared to practice planning, scheduling, and quality control in all phases of commercial art production. e. Employees should posses the ability to create images by drawing. f. Employees should be able to create graphic images through the use of electronic media. g. Employees should be familiar with the printing industry and able to produce reproducible art work. STATE TECHNICAL COMMITTEE DEVELOPMENTAL RECOMMENDATIONS 1. Diploma degree program to be 6 to 8 quarters in length. 2. The program should include practicum for the development of portfolio work. 3. The program adopt the name Commercial Art. O4 z E3 MI VIII SIM SIM NMI IIIIII MN IIIIII NM IMO EMI ACCREDITATION AND CER i IFICATION The commercial art program must conform to the institutional accreditation requirements of the Southern Association of Colleges and Schools by meeting Commission on Colleges (COC) or Commission on Occupational Education Institutions (COEI) accreditation requirements and must not conflict with the accreditation criteria established by COC or COEI. TYPICAL JOB TITLES PhaF_-_. I research has included an examination of the occupational areas for the Commercial Art field and has revealed 12 job titles for which training may be required. The Dictionary of Occupational Titles code and title are as follows: 141.031-010 ART DIRECTOR (profess. & kin.) 141.061-010 CARTOONIST (print. & pub.) 141.061.010 FASHION ARTIST (ret. tr.) 141.061-018 GRAPHIC DESIGNER (profes. & kin.) layout artist 141.061-022 ILLUSTRATOR (profess. & kin.) artist; commercial artist; graphic artist 141.061-026 ILLUSTRATOR, MEDICAL AND SCIENTIFIC (profess. & kin.) artist, scientific 141.061-030 ILLUSTRATOR, SET (motion pic.; radio & tv broad.) sketch maker 141.081-014 COMMERCIAL DESIGNER (profess. & kin.) 970.381-026 PAINTER, SIGN (any Md.) letterer 970.661-014 LET1ERER (profess. & kin.) commercial artist, lettering 970.664-010 PAINTER HELPER, SIGN (any ind.) 970.681-014 COLORER (print& pub.) 13 1 td APPROPRIATE TRADE RESOURCES References and Textbooks Adams, J. M., Faux, D. D., & Riebex, L V. (1988). Printing technology (3rd. ed.). Albany, NY: Delmar. Asher-Gallant. (1987). Ready-art portfolio - Humor in the workplace. Westbury, NY: Author. Asher-Gallant (1987). Ready-art portfolio - Motivation and achievement headings and illustrations. Westbury, NY: Author. Bockus, W. H. (1986). Advertising graphics (4th ed.). New York: Macmillan. Broekhuizen, R. J. (1988). Graphic communications (3rd ed.). Mission Hills, CA: Glencoe. Cardamone, T. (1981). Advertising agency and studio skills: A guide to the preparation of art and mechanicals for production. (3rd ed.). New York: Watson-Guptill. Davis, E. G. (1984). Customer relations for technicians. New York: McGraw-Hill. Davis, S. P. (1987). The graphic artist's guide to marketing and self-promotion. Cincinnati, OH: North Light Books. Dennis, E. A. (1985). Applied photography. Albany, NY: Delmar. Dennis, E. A. & Jenkins, J. D. (1983). Comprehensive graphic arts (2nd ed.). Mission Hills, CA: Glencoe. Gluck, F. (1979). Modern publicity, Vol. 48. New York: Macmillan. Hageney, W. (1987). Computergraphic I. New York: Robert Silver. Hageney, W. (1987). Design and light. New York: Robert Silver. Hageney, W. (1987). Ethno-Graphic, Vol.2 New York: Robert Silver. Hageney, W. (1987). Ethno-Graphic, Vol.4 New York: Robert Silver. Hageney, W. (1987). Japan designs. New York: Robert Silver. Halstead, J. N. (1985). Modern ornament and design. Cincinnati, OH: Signs of Times. Haskett, M. S. (1984). Design your own logo: A step-by-step guide for businesses, organizations, and individuals. Blue Ridge Summit, PA: Tab Books. References and Textbooks. Continued Heller, S. & Chwast, S. (1987). Design career: A handbook for illustrators and graphic designers. New York: Van Nos Reinhold. Hird, K. F. (1982). Understanding graphic arts. Albany, NY: Delmar. Hird, K. (1981). Introduction to photo - offset lithography. Mission Hills, CA: Glencoe. Hornung, C. P. (1956). Handbook of early advertising art, VoL 1 and 2. New York: Dover. Jones, S. R. (1978). Art and publicity: Fine printing and design. Denver, CO: Arden. Kagy, F. D., & Adams, M. (1983). Graphic arts photography. Albany, NY: Delmar. Karshitz, J. R. (1984). Graphic arts technology. Albany, NY: Delmar. Lovell, R. P., Zwahlen, F. C. Jr., & Folts, J. A. (1987). Handbook of photography (2nd ed.). Albany, NY: Delmar. Ludlow, N. H. (1981). Clip book number fourteen: Disabled people at work and play. Rochesfer, NY: Author. Ludlow, N. H. (1981). Clip book number thirteen: The people and things we live with. Rochesfer, NY: Author. Marquand, E. (1981). How to prepare your portfolio: A guide for students and professionals. New York: Art Direction. Menten, T. (1975). Advertising art in the art deco style. New York: Dover. Mori, T. (1984). Perspective rendering for commercial design: exterior. New York: Van Nos Reinhold. Morris, J. (1984). Guide to photography. Mission Hills, CA: Glencoe. Roth, L. (1983). Display design: An introduction to the art of window display. Englewood Cliffs, NJ: Prentice-Hall. Ruggles, P. K. (1985). Printing estimating: Principles and practice (2nd ed.). Albany, NY: Delmar. Schad, T. 8, Shapiro, I. (1983). Corporate showcase, Vol. 2. New York: American showcase. Schlemmer, R. M. (1984). Handbook of advertising art production (3rd ed.). Englewood Cliffs, NJ: Prentice-Hall. 15 I References and Textbooks. Continued Silver, G. A. (1981). Graphic layout and design. Albany, NY: Delmar. Snyder, J. (1986). The new commercial artist's handbook New York: Watson-Guptill. Spence, W. P., and Vequist, D. G. (1980). Graphic reproduction. Glencoe. Mission Hills, CA: V-TECS. (1982). Still photographer:A catalog of tasks, performance objectives, performance guides, tools, and equipment. Consortium of States. Atlanta, GA: Vocational-Technical Education V-TECS. (1979). Advertising artist. Consortium of States. Atlanta, GA: Vocational-Technical Education V-TECS. (1982). Photo laboratory: A catalog of tasks, performance objectives, performance guides, tools, and equipment. Atlanta, GA: Consortium of States. Vocational-Technical Education Vexmeersch, M .L. F., & Southwick, C. E. (1983). Practical problems in mathematics for graphic arts. Albany, NY: Delmar. Walker, J. R. (1986). Graphic arts fundamentals. South Holland, IL: Goodheart-Wilcox. Walker R. J., & Walker R. E. (1987). Exploring photography. South Holland, IL: Goodheart-Wilcox. 16 2u Curriculum Materials Source: Mid-America Vocational Curriculum Consortium 1500 West Seventh Ave. Stillwater, OK 74074-4364 Format: Teacher's Guide and Student Manual Title: Graphic Arts, Book One: Orientation, Composition, and Paste-up (1981) 17 21 APPROPRIATE TRADE RESOURCES Audiovisuals The Following materials are available from: Mid-American Vocational Curriculum Consortium 1500 West Seventh Avenue Stillwater, OK 74074-4364 Format: Slice/tape (Supports instructional materials from same source) Graphic Arts, Book I Shop Safety Photo - Offset Theory Typography Design Principles Paste - up Principles and Procedures Composition - Overview and Format Typesetting Procedures Proofs, Proof Reading, and Corrections APPROPRIATE TRADE RESOURCES Audiovisuals The following materials are available from: Glencoe Publishing Company 15319 Chatsworth Street Mission Hills, CA 91345 1-800-257-5755 Format: Filmstrip with audio cassette (supplements Text: Graphic Communication). Overview of Graphic Communications Graphic Arts Design Photocomposition Developing a Mechanical Line Photography Halftone Photography Screen Process Printing Screen Process Printing: Photographic techniques 19 APPROPRIATE TRADE RESOURCES Audiovisuals The following materials are available from: Vocational Media Associates Box 1050 Mount Kisco, NY 10549-0050 1-800-431-1242 Format: Filmstrip-on-Video, or Sound Slides Titles: How to Develop Film How to Print and Enlarge Effective Darkroom Techniques Format: Filmstrip (number) Titles: History of Type (2) The Language of Type (2) Principles of Graphic Design (4) Basic Commercial Art Skills (6) Careers in Graphic Arts (2) People Who Create Art (4) Format: Sound Slides Titles: The Beginnings of Photographic Composition Basic Picture-Taking Techniques Film: How it Works Color Printing from Color Negatives 20 24 APPROPRIATE TRADE RESOURCES Audiovisuals The following materials are available from: American Association for Vocational Instructional Materials 120 Driftmeir Engineering Center Athens, GA 30602 1-800-228-4689 Format: Video Titles: DESKTOP DESIGN: An introduction to basic electronics PASTE-UP: Pre-press fundamentals for professional production CALLIGRAPHY: Learning the art of beautiful writing 1 APPROPRIATE TRADE RESOURCES Journals The following trade and/or professional associations produce publications of interest to this occupational area: Title: Source: QP Outlook National Association of Guide Printers 111 E. Wacker Dr., Suite 600 Chicago, IL 60601 (312)6446610 Title: Source: News line National Composition Association 1730 N. Lynn St. Arlington, VA 22209 (703)841-8165 Title: Source: The Capital letter (and others) Printing Industries of America 1730 N. Lynn St. Arlington, VA 22209 Title: Source: The Tabloid Screen Printing Association International 10015 Main St. Fairfax,VA (703)385-13335 Title: Source: Review of the Graphic Arts International Association of Printing House Craftsmen 7599 Kenwood Rd. Cincinnati, OH 45236 (513)891-0611 Title: Source: Views Master Printers of America 1730 N. Lynn St. Arlington, VA 22209 (703)841-8130 Title: Source: Tips National Association of Litho Clubs Box 1258 Clifton, NJ 07012 (201)777-67 22 Journals. continued Title: Source: The Printing Manager National Association of Printers and Lithographers 780 Palisade Ave. Teaneck, NJ 07666 (201)342-0700 Title: Source: AIGA Journal of Graphic Design America Institute of Graphic Arts 1059 Third Ave. New York, NY 10021 Title: Source: Flexographic Technical Journal Flexographic Technical Association 900 Marcoui Ave. Ron Kon Koma, NY 11779 (516)737-6020 Title: Source: Graphic Arts Abstracts Graphic Arts Technical Foundation 4615 Forbes Ave. Pittsburgh, PA 15213 (412)621-6941 Title: Source: Bulletin Society of Typographic Arts 23 E. Ontario, Suite 500 Chicago, IL 60611 (312)787-2018 2'1 23 APPROPRIATE TRADE RESOURCES Safety Manuals Bartsch, J.H. (1987). School materials safety manual. Schenectady, NY: Genium Publishing Co. NIOSH, (1981). Work practices guide for manual bfting. Cincinnati, OH: National Institute for Occupational Safety and Health, Safety Equipment Michigan First Aid and Safety Co. 22900 E. Industrial Dr. St. Clair Shores, MI 48080 1-800-221-9222 FAX (313)774-60 24 2 APPROPRIATE TRADE RESOURCES Sources for Competency-Based Testing Materials Test Materials References Lewis, M. V., & Martin, S. C. (1986). Measures of occupationally specific and nonoccupational specific knowledge and skills: a compendium. Columbus, OH: The National Center for Research in Vocational Education, The Ohio State University. Norton, R. E., & Others, (1988). Competency-based testing for occupational students: A resource guide. Athens, GA American Association for Vocational Instructional Materials. Competency-Based Testing Materials Area: Commercial Art Source: National Occupational Competency Testing Institute (NOCTI), Ferris State College 318 Johnson Hall Big Rapids, Michigan 49307 (616)796-4695 Area: Commercial Art Source: The Instructional Materials Laboratory The Ohio State University 842 West Goodale Boulevard Columbus, Ohio 43212 Area: Commercial and Advertising Art Source: National Learning 212 Michael Dr. Soysset 1-800-645-6337 25 2's APPROPRIATE TRADE RESOURCES National Network for Curriculum Coordination in Vocational & Technical Education For information on postsecondary materials contact: Ms. Patt Stonehouse Acting Director of Instructional Services Georgia Department of Technical and Adult Education Suite 660 South Tower One CNN Center Atlanta, GA 30303-2705 (404) 656-6714 26 30 APPROPRIATE TRADE RESOURCES Sources of Additional Information For additional information on careers in the graphic arts, write to: The Graphic Artists Guild 11 West 20th Street New York, NY 10011. For information on careers in illustration, contact: The society of Illustration 128 East 63rd Street New York, NY 10021 PRELIMINARY OCCUPATIONAL DUTY AND TASK LIST DUTY A: A01 A02 A03 A04 A05 A06 A07 Apply shop safety rules. Apply personal safety rules. Apply fire safety rules. Apply electrical safety rules and procedures. DUTY B: B01 B02 B03 B04 B05 B06 B07 B08 B09 B10 B11 B12 B13 B14 B15 B16 B17 B18 B19 B20 C04 C05 C06 C07 C08 BASIC DRAWINGS - BLACK and WHITE TECHNIQUES Draw three cubes showing a different perspective for each. Draw three basic forms using perspective fundamentals (e.g. TV, table, pencil, filing cabinet). Prepare two drawings using negative space. Draw these objects (e.g. human hand, a tool, paper sack, pine cone, a flower using contour lines). Draw a still life using light and shade. Draw a still life using charcoal. Draw a landscape in black and white. Draw the human body in two natural positions. Draw the human figure in motion. Draw the human figure in proportion using contour lines. Draw and shade the human figure. Prepare a pen and ink drawing (student's discretion as to subject). Draw with wash using half tones. Prepare three drawings illustrating ancient and classical architecture. Illustrate the three orders of Roman Columns by pen and ink drawings. Prepare pencil drawings illustrating modern architecture (use Roman classicism, Style of 1800, and Modern). Design and illustrate the exterior of a house. DUTY C: CO1 CO2 CO3 SAFETY BASIC DESIGN Identify and use the elements of design in creating art designs. Identify and use the principles of design in creating art design. Create art designs by applying compositional proportions of the Golden Mean. Identify and use value in creating art designs. Do several exercises in color using Munsell Color Wheel. Identify and use value-chords in creating art design. Identify and use color-chords in creating art design. Create a comprehensive advertising layout for a common food product using the design theme of repetition, formal balance and unity. 28 :34 I I I I I I C09 Create a comprehensive layout for a poster to advertise an entertainment or public service function using the design theme of contrast, dominance, informal balance and unity. C10 C11 Create a modern heraldic design for (1) a personal logo or trademark or (2) other company/corporation logo or trademark or (3) a public service (i.e. zoo, symphony orchestra). Create a comprehensive layout of a record cover using the design theme of harmony, graduation, formal balance and unity. C12 C13 C14 IDUTY D: I I I I I I I I I I I I I LETTERING, TYPOGRAPHY DOl Hand letter letters in proportion and size from Roman, Gothic and Decorative type face styles. D02 Hand letter letters in condensed, expanded or Italic form D03 Letter-space and work space letters. D04 Construct Roman type face styles. D05 Construct Gothic type face styles. D06 Construct Decorative type face styles. D07 Sketch variations of letters. D08 Type a manuscript for copy fitting. D09 Proofread and "spec" (specify) manuscript. D10 "Spec" (specify) copy to fit allotted span. Dll D12 D13 DUTY E: E01 E02 E03 E04 E05 E06 E07 E08 E09 ElO Eli E12 LAYOUT AND DESIGN Create improved advertising layouts by analyzing layouts from current periodicals. Create a trademark or logotype (logo) for a real company (student's discretion). Design a direct mail and handout advertising brochure, two-fold in full color. Design a full-page travel ad for a national magazine in full color. Design an outdoor billboard, in proportion, using dull color and mixed media. Design a black and white newspaper advertisement for a food condiment. Create a silk screen design suitable for printing on T-shirts and/or sweat shirts. Silk screen a decorative car tag with a pleasing composition. Create an illustration of a classic automobile in full color of a piece of machinery using an airbrush (for rendering). Create a technical illustration in full color of a piece of machinery using an airbrush (for rendering). Create a package design for a preselect product including construction of the actual package (box). Create a suitable design for office/stationery items (e.g. letterhead, forms, business cards, envelopes, etc.). E13 E14 29 3.i E15 DUTY F: F01 F02 F03 F04 MECHANICS Make a simple paste-up according to instructor's specifications. Proofread a galley proof using a proofreader's marks. Make a rough layout and demonstrate point systems (to instructor's specifications). Make a simple past-up and "mount" several type specimens to determine typeface legibility. F05 Make a rough layout and "mount" several type specimens for identification of F06 common type sizes. Make a rough layout to demonstrate factors in selecting typefaces (e.g. legibility, color, and weight). F07 Prepare a color separation (overlay) to be used on a simulated color plate F08 (specifications from instructor). Prepare a market display advertisement using a head portrait to adopt a meaningful ad for a facial product (e.g. after shave, perfume, mouthwash, toothpaste, curlers). F09 F10 Fll DUTY G: GOl G02 G03 G04 G05 G06 G07 G08 G09 G10 AIRBRUSHING Clean the airbrush (after use with water base paints) following recommended cleaning procedures. Prepare a frisket using handmade (unprepared) frisket paper. Cut and place frisket paper (mask) over drawing. Using an airbrush produce a flat and graded wash that matches the drawing. Using an airbrush (and by following penciled in patterns) airpaint various width lines and various sized dots. Airpaint a graduated tone chart consisting of eight tomes ranging from (1) white to (2) black. Airpaint two pyramidal forms; one subtle metal finish, the other high metallic gloss. Airpaint a cube form using three graduated tones from tone chart. Using a pencil drawing of a cylinder, airpaint cylinder form according to graduated tone chart. Using a pencil drawing of a cube, airpaint conical form according to graduated tone chart. G11 012 G13 DUTY H: H01 H02 H03 H04 H05 PRINTMAKING Convert a linear design to a relief block suitable for printing. Prepare a relief block to a state of printing readiness. Make a fine print run from a relief block. Clean a recently used relief block and ready it for storage. Prepare a silkscreen frame ready to accept a stencil. 30 34 H06 H07 H08 H09 H10 H11 H12 H13 Prepare a glue stencil for serigraphy ready for printing. Prepare a cut film stencil for one-color design. Prepare a silkscreen ink mixture for printing. Make a five print run of a one-color design. Clean a recently used silscreen and ready it for storage. DUTY I: I01 102 103 104 105 106 107 108 109 110 112 113 ILLUSTRATION - COLOR TECHNIQUES Create a geometric shaped dill-colored illustration, using opaque paint or cut out construction paper glue downs. Create a realistic abstract form (ambiguous design) by drawing, coloring and cutting out the carious shapes; then mounting them in their new locations. Create a collage composition from a compilation of assorted cut outs in a collage. Illustrate a 500 word story from a compilation of assorted cut outs in a collage. Illustrate a child's storybook from a 150 word story (Complete into a Book Publishing Firm). Illustrate jacket cover for a book, record jacket, or stereo tape cover (student's discretion). Construct a color wheel, distinctly separating the various hues. Construct color chart depicting color theory and harmony. Paint with transparent water color (e.g. moist cakes, casein tubes, or acrylic) a drawer illustration. Paint a permanent opaque painting on a wooden board using egg tempera (original drawing should be selected from Renaissance "style"). Paint a permanent oil painting from an original sketch. Depict an appropriate ninth century style illustration using hot wax technique (encaustic painting). Execute the likeness of various faces in carious mediums depicting sex, ethnic and age. 114 115 116 117 118 119 120 121 Create a proportional likeness portrait using charcoal and white chalk. Draw a true likeness using a variety of pencils. Draw a true proportioned near life size portrait of a small child using pastel chalk and pastel paper. Draw a true proportioned elderly person texturing the shadow areas with India ink. Draw an ink line portrait of an adult (either sex) age 20-60 (wash-line technique). DUTY J: J01 J02 J03 INTERIOR DECORATING - FASHION DESIGN and DISPLAY Create fabric sampler using labeled grids for a variety of mediums to complement specific fabrics. Draw the six (6) basic folds of clothing and fabric in relationship to the drapery. Create, design and execute a colored wardrobe. 31 3 :5 J04 J05 J06 J07 J08 J09 J10 J11 J12 J13 J14 J15 J16 J17 Create a miniature fashion display executed in a box to depict a store display (diorama). Design a fashion layout ad using a shoe as a subject. Create an ink/chalk rendering of an elongated female subject. Create a wash/line rendering of a male subject. Create an ambiguous composition for a layout ad for a fashion figure (either sex). Develope an action-collage-type layout tracing with pencils and ink. Create a split unit poster depicting action. Create an ad for a local department store depicting TEEN SCHOOL CLOTHES for "Back to School". Execute several drawings in anatomical proportion depicting different poses, actions, sexes, ages, etc. Sketch five (5) minute Quickie Watercolor Sketches to illustrate sports action figures or unique poses. Complete an opaque color rendering of exaggerated chroma and values to compensate for photo loss in color reproduction. Construct in ink to architectural specifications a floor plan. Draw a room in one and in two point perspective. Draw, to perspective, a chosen series of 15 well known furniture pieces. J18 J19 J20 DUTY K: KO1 K02 K03 K04 K05 K06 K07 K08 K09 K10 PHOTOGRAPHY Find the correct exposure settings for an average studio set up. Load 35mm film into a daylight developing tank. Set up chemicals for processing black and white film. Process film to produce standard negatives. Set up chemical trays for print processing. Process exposed printing paper. Print a proof sheet for a roll of 35mm black and white film. Make a test print and determine correct exposure time for an enlargement print. Compose and print an enlargement print. Kll K12 DUTY L: 1.01 L02 L03 L04 L05 L06 SIGN PAINTING Construct squares and rectangles on large surface having no parallel reference lines. Layout and print a banner, using show card colors and casual script. Layout and print cards using show card colors and casual script. Layout and letter a trunk using a ounce pattern. Layout and letter a window with gold bronze. L07 L08 32 36 DUTY M: PORTFOLIO M01 Write a resume' using personal information. M02 Letter freehand both letters and numerals. M03 Draw two (2) black and white drawings (student's discretion of subject and medium). M04 Produce a color design (student's discretion of medium and idea of execution). M05 Produce a brochure for the current commercial art program. M06 Construct a package in color using type lifts. M07 M08 M09 DUTY N: PRODUCING A COMPREHENSIVE LAYOUT NO1 NO2 NO3 NO4 Design a logo. Design a rough format. Design artwork and placement of poster elements (2-color). Estimate job costs. N05 Make dummy layout of multipage printed product for signature specifications NO6 N07 N08 N09 N10 Nil (imposition). Mark color or colors to be used. Mark percentage of enlargements or reductions required on photographs. Mark copy for typesetting. Prepare purchase requisitions for needed supplies. Revise layout to customer specifications. N12 N13 DUTY 0: 001 002 003 004 005 006 Make headlines with display phototypositor. Strip changes and corrections into flat. Mark composition for corrections. DUTY P: P01 P02 P03 PO4 P05 P06 P07 P08 P09 PRODUCING COMPOSITION PREPARING MECHANICALS Add registration marks and trim marks. Apply border tapes. Apply dry-transfer letters (press type). Apply dry-transfer screen tints and shading film. Attach artwork to mechanical. Crop and size photographs. Cut outlines of artwork in masking film (Rubylith). Cut panels for halftones and reverses. Draw reference and centering lines on masking sheets. 33 3 P10 P11 P12 P13 P14 P15 P16 P17 P18 P19 P20 P21 P22 P23 Draw final artwork and any hand lettering (calligraphy). Draw up base sheet (flat) for final paste up. Expose photographs using contact halftone screens. Locate and paste up clip art. Make line enlargements/reductions using graphic arts camera and processor. Prepare tissue overlays. Opaque photostat imperfections. Paste up type matter in position on base sheet (Flat). Position and secure protective tissue. Position and secure overlay. Proof all proportions and sizes with job specifications. Proof camera-ready copy for photo reproduction quality. Proof mechanical flat against copy and dummy layout. Retouch existing photographs (black and white). PRELIMINARY TOOLS AND EQUIPMENT LIST Acetate, Frosted Acetate, Clear Air Brush Burnisher for "Press Type" Camera Lucy Compass (Dividers) Composer, Electronic or Computer Type Desk Lamp Drafting Triangles Drawing Pencils Drawing Board flexible Ruler Fluro Ink Fluro Lamp French Curves Haberule (Type Gauge) Headliner Machine Illustration Board Ink, India Ink, Colored Kneaded Eraser Light Table Linotype Machine Loop (Printers Magnifying Glass) Markers, Color Markers, Shades of Gray Mylar Non-photo Blue Pen/Pencil Paint Brushes Paint, Disigners Colors Paint, Acrylic Paper Cutter Paper, Tissue Paper, Layout Format Paper, Board Paper, Visual Paper Samples Paper, Vellum Paper, Bond Paper Clips Parallel Bar Pica Ruler PMS Book (Pantone Matching System) PMT Processor PMT Camera Press Type Proportion Wheel (Circular Proportional Wheel) 35 Tools and Equipment continued Reducing Glass Technical Pens 36 4U STAFF It is anticipated that the program standards and the program guide developed as a result of this project will not change present staffing levels and certification requirements. FACILITIES The State Technical Committee members recommended that facilities be maintained in accordance with or exceed industry standards for the commercial artist field and those established in the Institutional Standards and General Program Standards. 37 41 This is an educational research report which contains copyrighted material. The inclusion of this material is in accordance with the statutory factors of "Fair Use" and is intended solely as a research finding. Further duplication or dissemination of this material is prohibited without written permission of the author/agency retaining said copyright. 38 4 ',,i,