SPRING 2008 NEWS FOR ALUMNI AND FRIENDS OF THE

Transcription

LinkSPRING 2008Founded in 1882, The Cleveland Institute of Art is an independentcollege of art and design committed to leadership and vision inall forms of visual arts education. For the past 125 years, theInstitute has made enduring contributions to art and educationand connects to the community through gallery exhibitions,talks and lectures, an extended studies program, Craft Council andThe Cleveland Institute of Art Cinematheque.NEWS FOR ALUMNI AND FRIENDS OF THE CLEVELAND INSTITUTE OF ARTILLUSTRATORS DRAW ONCLASSICAL SKILLS FORCONTEMPORARY APPLICATIONSSpend a little time in The Cleveland Institute of Art’s IllustrationDepartment and a picture starts to emerge. It’s a picture of agroup of motivated students developing classical drawing skills;learning to apply those skills to client-focused work in a modern,multi-media field; and having a lot of fun in the process.Diverse Interests and TalentsA walk through the Illustration studio provides evidence ofstudents’ diverse interests and talents. Work posted in theirspaces ranges from Japanese anime-style illustrations, to the fantasyfigures of modern video games, to still life, humorous caricaturesand lush imagery meant to spark children’s imaginations.Cheryl Andrey ’08, for example, freelances for an independentrecording company illustrating posters and CD covers for alternative rock bands; has an internship at American Greetings Corp.planning layouts, fonts, colors and finishing touches for greetingcards; and is illustrating a children’s book for her BFA thesis project.For her children’s book, she combines traditional and contemporary techniques, drawing the outlines of her whimsical seacreatures by hand, scanning these outlines into a computer, andfinishing the work — layering in colors, textures and shadows —with specialized software. “I definitely feel like I’m prepared forwhatever I might run into in my career,” she said.Broad Preparation for a Diverse FieldDepartment Co-Chairs and Professors Dominic Scibilia ’72 andJohn Chuldenko want all of their students to have that confidence. “Through different assignments and projects, we try to letstudents get an understanding of many different areas of illustration,” Scibilia said. By the time they’re preparing their Bachelorof Fine Arts thesis project, most illustration students have gravitated toward a specialty they want to pursue, but they graduatewith a broad enough background to tackle many different typesof work, both professors said.Recent graduates are working in children’s books, graphicnovels, advertising art, editorial illustration, animation, greetingcards or some combination of those areas. High-profile employers of these grads include Disney, American Greetings, videogameproducer Midway Home Entertainment, and Image Comics.His broad background has helped Illustration alumnusArnel Reynon ’93 take on many different responsibilities.As director of publishing for Sport Graphics inIndianapolis, he provides art direction for magazinesand websites, directs photo shoots of athletes, andcreates illustrations for every magazine he works on.“What makes me so versatile in my professional fieldis that strong drawing ability and the ability to visuallydirect things,” Reynon said. “The way traditional illustration was taught at CIA, the drawing foundation and thedesign foundation helped me out a lot.”In short, core skills count, Scibilia and Chuldenkostress. “In order to be prepared for a successful career,you’ve got to have the basic tools, the fundamentals; fromthat point, you can go wherever you want with it,”Chuldenko said. “We teach concepts and execution at avery high level. We stress drawing, design, compositionand lighting.”Continued on page 2TOP: “OUT OF LUCK,” MIXED MEDIAILLUSTRATION BY CHRISTINE WIERZBICKI ’06ABOVE LEFT: LORI CATANZARITE ’08 PRODUCEDTHIS MIXED MEDIA ILLUSTRATION FOR AWALL CALENDAR PRODUCED BY AGSCUSTOM GRAPHICS.ABOVE RIGHT: DAVID KEGG ’10 CREATEDTHIS FANTASY ILLUSTRATION FOR THEAGS CALENDAR.BELOW LEFT: ILLUSTRATION PROFESSORDOMINIC SCIBILIA ’72 CRITIQUES STUDENTARTWORK ALONG WITH PROFESSOR JOHNCHULDENKO, CENTER, AND VISITING ARTISTLARRY O’NEAL, FAR RIGHT.

IllustratorsContinued from page 1The two professors both began teaching in the department in 1980. “We’veworked in tandem all these years and wehold up the Society of Illustrators as thestandard to which we wish our studentsto aspire,” Scibilia said.Applying Themselvesto Applied Art“Illustration is an applied art, whichmeans an illustrator’s work is seen in itsapplied form — in a book, magazine, ona website, in animation. To be a goodapplied artist, you have to know howthe art is going to be reproduced; youhave to be conscious of its application,”Chuldenko said.“The passion is the same as you’llfind with fine artists; the commitment isthe same. But the nature of the work isdifferent in that illustrators are givenproblems to solve and they work collaboratively with editors, publishers, artdirectors, designers, ad writers andothers,” Scibilia said.Learning how to work effectivelywith clients, employers and colleagues isbuilt into the curriculum, Chuldenkosaid. “We teach students a strong business sense because they will need that intheir careers. Business is a very important part of this program.” Last spring,roughly a dozen prospective employerscame to the department to review portfolios and interview graduating students.Practical Experience Pays OffLast semester, Illustration studentsgained valuable business skills whenthey worked with a new client, AGSCustom Graphics of Macedonia, Ohio.The company produces a calendar everyyear to showcase its graphic and printing capabilities. For 2008, art directorLarry O’Neal chose to work with CIAIllustration majors and a professionalwriter to create a lavishly illustratedmystery calendar in the style of theEnglish artist Kit Williams.Thomas Schoofs, senior account manager at AGS, was pleased with the result.“This is one of the best responses we'vehad on our calendars over the years.People love it,” he said. “We enjoyedworking with the school a great deal.We also recognize the students graduating from (CIA) represent the future ofour industry. It’s really fun to work withthem. Their excitement is infectious.”Eileen Saffran agrees. As executivedirector of The Gathering Place, aBeachwood, Ohio resource center forpeople touched by cancer, she has askedIllustration majors to create artwork forher agency’s last six annual reports.“It’s just been a great experience.We’ve had wonderful art and it’s clearthat the students put their hearts into it.We look forward every year to havingthe opportunity to meet the students,tell them about what we do and let theircreativity go,” Saffran said.As in other majors, Illustrationstudents also gain valuable experiencethrough internships. Freelance illustrator Dennis Balogh spent 22 years at theAkron Beacon Journal where he was manager of illustration and design. In his lastfour years at the Journal — from 2003through 2006 — he and his colleagueshired summer interns from CIA exclusively in a competitive process thatdrew applicants from colleges in andoutside of Ohio.“I’m going with the strongest talentand The Cleveland Institute of Art kidsbeat out the other students each ofthose years,” Balogh said. “I wantedsomeone with drawing skills and a goodeye for professional illustration. TheCIA kids each had a technique that wasof a strong caliber and they had the computer skills they needed. The studentscarried themselves well and, to me, theywere ready for the real world.”Digital DimensionsReadiness for the real world includescomputer literacy for this and every CIAmajor. Most students leave high schoolwell familiar with software such asPhotoShop; adjunct faculty memberIgal Hurvitz builds on that by teachinga digital illustration course.“This is a digital age with respect toprint,” Scibilia said. That means artworkhas to be broken into a digital formatfor the end user; but that doesn’t necessarily mean it has to be created digitally.Many illustrators still draw and paint byhand and then scan their work into acomputer so it can be reproduced digitally.2

Others start with a hand rendered drawing and finish the work digitally, asAndrey is doing with her thesis project.Still others, like Reynon, work exclusively on a computer or with a digitalWACOM drawing tablet.On the flip side, an increasing numberof students focusing on animation in theT.I.M.E.-Digital Arts (for Technologyand Integrated Media Environment) andBiomedical Art departments are takingillustration courses.David Houry ’07 and AnthonyScalmato ’07 both majored in T.I.M.E.Digital Arts, both took the storyboarding course taught by Scibilia andChuldenko, and both got jobs aftergraduation creating animated e-cardsfor American Greetings’ website,www.AG.com.Scalmato, who minored inIllustration, said the storyboardingcourse he took was among the bestcourses he took at CIA. “Especially ifyou go into animation, you need to planout your shots and consider differentcamera angles. Coming from such astrong illustration background, John(Chuldenko) and Dom (Scibilia) wereable to teach us how to see all the wayaround the figure, to show it from allangles. If I wanted to get a point across,they would suggest different cameraangles or moves that would work.”Said Houry, “The whole point of anillustration is to be able to communicateto people. People need to be able totake a glance and get it right away.Dom and John really cared about meas an artist and about what I was tryingto communicate.”CLOCKWISE FROM OPPOSITE LEFTWOODPECKER BYDEANNA PIOTROWSKI ’07.CHILDREN’S BOOK ILLUSTRATIONBY JACLYN GENTILE ’07THE LAST SIX GATHERING PLACEANNUAL REPORTS, DESIGNED BYNESNADNY SCHWARTZ,“In order to be prepared for a successful career, you’ve got to have thebasic tools, the fundamentals; from that point, you can go whereverFEATURED ARTWORK BY CIAILLUSTRATION MAJORS.ILLUSTRATIONS FOR A GRAPHICNOVEL BY TYLER WILLIAMS ’07.you want with it. We teach concepts and execution at a very high level.We stress drawing, design, composition and lighting.”THESE ILLUSTRATION GRADUATESREPRESENT 12 OF THE 40 CIAALUMNI WORKING IN THE CREATIVEDEPARTMENT AT AMERICANGREETINGS CORP. PICTURED INTHE COMPANY’S CLEVELANDHEADQUARTERS ARE, LEFT TORIGHT, SARA HOOVER ’04,DANIELLE LADOVICH ’04,MATTHEW BENKNER ’02,JONATHAN COOPER ’06, DAVIDHOURY ’07*, LYNN GAINES ’84,JAMES GROMAN ’86, PROFESSORJOHN CHULDENKO, PROFESSORDOMINIC SCIBILIA ’72, DAVIDFEDAN ’95, MICHAEL BURNETT ’90,DAVID SOMERS ’99, THOMAS PAGE ’92AND ANTHONY SCALMATO ’07*.* HOURY AND SCALMATO MAJOREDIN T.I.M.E.-DIGITAL ARTS.3

T.I.M.E. FOR A SUCCESSFUL CAREERAs The Cleveland Institute of Art’s newest major,Digital Arts has the shortest track record of graduatesestablishing successful careers. Yet almost eight yearsafter the program was launched in the fall of 2000, itsfirst few classes of graduates are already making theirmark in web design, interactive e-commerce, digital artinstallations and the burgeoning videogame industry.The full name of the major is T.I.M.E.-Digital Arts, forTechnology Integrated Media Environment, and its fourareas of emphasis are animation, game design, interactivemedia and video.LEFT: SCREENSHOT FROM ANIMATIONCALLED “THE PAPER SHEPHERD” BYDAVID HOURY ’07BELOW: SCREENSHOT OF VIDEO/STOP-MOTIONANIMATION CALLED “THE POISONED APPLE”BY ASHLEY GERST ’07BELOW LEFT: MATT NEFF ’04 AND TONY SOLARY’04A Non-Traditional ApplicationAlthough the major was not old enough to have strongtraditions yet, Jason Van Pierce ’05 took a non-traditionalapproach to T.I.M.E.-Digital Arts in that he wanted topursue a career in advertising.“Even though CIA is a traditional art school, I wantedto do commercial work,” Pierce said. “The faculty reallydrilled conceptual thinking; it was all about the thoughtprocess; and that approach paid off for me. We alwaysheard it’s not about the software; it’s about learninghow to communicate an idea through the media.”Pierce took that message to heart, especially in hisBFA thesis presentation, which featured promotionalvideo, print advertisements and a website he created forthree different rock bands. “The room was packed;people loved it. The amount of support I got from thefaculty and students doesn’t compare to anything else.”Pierce left the Institute on a high and brought hisconfidence to his first job as art director for Detroitbased Global Hue, the largest multicultural ad agency inNorth America. From there, he was hired by JWT, amajor advertising agency that got even bigger shortlyafter he started when it merged with five other firms toform Team Detroit. There, he creates interactive digitaladvertisements for websites, but his concepts often haveto work also in web banner ads, television commercialsand print ads.“I love it,” he said of his job. “A lot of the people Inow work with are people we actually heard lecturesabout in school. There we were idolizing their work andnow I hire them as freelancers.”Like many of his classmates, Pierce says the T.I.M.E.experience was “phenomenal,” but he adds, his successdidn’t come easy. “It’s a lot of hard work.”IN THEIR CLEVELAND-BASED FLIPLINE STUDIOS.Play is Work for Game DesignersLike several of their classmates, Tony Solary ’04 andMatt Neff ’04 were working on commercial projectsduring their student years, in their case creating interactive CD Roms and educational video games for clients asdiverse as Donley’s, a prominent Cleveland constructioncompany, and the Cleveland Museum of Art. After graduation, they formed their own digital design company,Flipline Studios, to continue and expand that work.Since then, Neff and Solary have sharpened their focuson the very thing that drew them to computers fromchildhood: videogames.“Because of all the new software available today, wewere able to get into game design right out of college.We probably couldn’t have done that 10 years ago,”Neff said. In addition to new software, websites likewww.kongregate.com post games that users can play forfree. Neff and Solary have four games on Kongregateand a major contract to develop another game for thisweb portal dubbed the YouTube of the gaming world.“Some portals pay us a flat fee or license to post ourgame, others will do a revenue sharing from advertisingrevenue,” Solary explained. Either way, the future looksbright for these entrepreneurs and they are grateful fortheir CIA experiences.“When we were going through the T.I.M.E. program,the faculty left all the doors open for us to explore,”Solary said. “The program gave us well-roundedness. Wehave the skills we need to tackle lots of different things,navigational design, programming, animation, sounddesign, pretty much all the aspects we need in this field.”Neff agrees. “As students, we could try our hand ateverything that was available to us; that’s how we endedup doing game design.”It’s hard work, both say, but it’s also a dream cometrue. “As a kid, I always sketched sequels to the gamesI played; but the thought never crossed my mind that Icould grow up to create games,” Neff said. “It seemedlike an unattainable goal,” Solary agreed.A Pilgrimage to an Art CareerLike Neff and Solary, Sarah Lohman ’05 had freelancedall through CIA. Not afraid of adventure, she used theHelen Greene Perry Traveling Scholarship awarded toher at graduation to travel to Spain and hike the entire500-mile pilgrimage of Santiago de Compostela aftergraduation. “I learned about this pilgrimage in a classwith (Liberal Arts Associate Professor) CharlieBergengren and I knew I had to do it.” Back stateside,Lohman’s next adventure began when she became yetanother of many CIA graduates living in and aroundNew York City. She was hired as a general assistant inthe art department of New York magazine’s website.“The reason they hired me was because I had a background in a little bit of everything and they needed ajack of all trades; but my focus in T.I.M.E. was in digitalphotography and video.” She was promoted to videoproducer, and worked with reporters on features including a weekly “Video Look Book,” for which Lohmanfilmed and edited interviews with fashionable NewYorkers on the street talking about their personal style.In February, Lohman took another leap of faith, leaving New York magazine to freelance full time. “I have the“To make it in this business you have to have a lot of get-upand-go, because there’s so much competition for your job.T.I.M.E. gave us that competitive edge you need.”ability to make far more money freelancing.Opportunities opened up right away, so I’m fairlyconfident about this move.”If she needs moral support in this new phase of hercareer, she knows she can turn to her CIA classmates.“Kristen Baumlier really stressed that we needed to stayin touch and support each other,” Lohman said of thedepartment head and associate professor. “Our class wasextremely motivated. I think that extremely motivatedpeople are drawn to T.I.M.E. To make it in this businessyou have to have a lot of get-up-and-go, because there’sso much competition for your job. T.I.M.E. gave us thatcompetitive edge you need. I really feel like I got a greateducation at CIA.”Work Ethic Fuels Visual Effects ArtistTim Elek ’04 started his education at CIA with an abundance of motivation. After high school, he had workedas an artist’s apprentice for six years and then on hisown for two more years painting murals and faux finishes in people’s homes. He knew he could do morewith his artistic abilities.“I looked at CIA like it was my job; I was there toaccomplish very specific goals. I viewed the cost of myeducation as an investment and I had a plan,” he recalls.Elek made the most of his time at the Institute, thriving in his foundation courses and squeezing in as manypainting and drawing electives as he could once he wasin the T.I.M.E.-Digital Arts major.“For the digital artist, your tools are your software,digital tablet and your computer. But I think there’s beena resurgence of drawing and painting; you need to beable to convey ideas through drawing, painting, use ofcolor, composition; those are key. Anybody can learn apiece of software, but if you can’t draw or paint, if youdon’t follow the fundamentals of composition andcolor, then the software’s not going to do that for you,”Elek said.With these tools and skills, his own work ethic, anda productive internship at Kaleidoscope, Inc. under hisbelt, Elek joined the creative staff of the behemothvideogame producer, Electronic Arts, after graduation.Earlier this year, he took a position at one of EA’sbiggest competitors, Activision, where he is senior visualeffects artist in the Raven Software division, creatingvideogames for an enormous audience.“I’m passionate about this work,” Elek said. “An artistwilling to do commercial work can make a really goodliving. There’s a severe talent shortage in the videogameindustry. A motivated artist can gain experience andmove upward at a studio quickly, starting from eventhe most junior position.” That certainly describes Elek’strajectory.For more information about CIA’s T.I.M.E.-Digital Artsprogram, see www.cia.edu/time.

Feed Your Inner ArtistDraw, paint, design, animate, create and feed your inner artist!kkkThis summer, CIA’s office of Extended Studies CommunityOutreach offers its most ambitious schedule of continuingeducation classes in recent memory.For children in grades 1–2, classes range from art exploration,to painting, printing, enameling, jewelry making, animation,web design, automotive design and hands-on-nature art.For high school students who want a taste of the life of an artschool student, we offer four, week-long, residential pre-collegeworkshops.Adults may dabble in life drawing by dropping in to pay-as-you-go classes during June and July; or taking any one of the 24 different eight-week classes that explore fine arts, craft disciplines, communication design and digital art; or, for a more focused experience, planning your vacation around one of eight National Summer Workshops. Nationally known artists come to Cleveland toteach these one- and two-week workshops. This year’s topics are wet plate colloidon photography, portrait painting, image journaling, mechanical concepts, computer-aided jewelry design, plein air watercolor, drawing and dimensional work with paper.If you have not received a catalog or flier, call the Extended Studies office at 216-421-7461. For more information, go to www.cia.edu andclick on Extended Studies from the Popular Links listed on the homepage.CIAIdeas AreAre WovenWovenCIA IdeasInto Whitney BiennialStudents,faculty and staff membersadded their hopes, fears, values and priorities to an interactive art installation onview at the Whitney Museum ofAmerican Art through June 1. MK Guth,chair of the MFA program in VisualStudies at Pacific Northwest College ofArt in Portland, Oregon, crisscrossed thecountry earlier this year asking people inBoise, Atlanta, Houston and finallyCleveland to answer the question, “Whatis worth protecting?” Participants wrotetheir answers on strips of fabric thatGuth wove into and tied onto a giant,Rapunzel-like braid of synthetic red hairfor the installation, “Ties of Protectionand Safe Keeping,” featured at the2008 Whitney Biennial. “I loved beingat the college,” Guth said after hertwo days in residence in January.“One of the things that will setthis portion of the braid apart isthat many CIA people drew onthe ribbon; others wrote intypography. They were putting out more than astatement; they’re putting out a part ofthemselves. Maybewhat they want toprotect is theirc r e a t i v i t y. ”Guth’s connection toCIA —t h eonlyMK GUTH (SECOND FROM LEFT)WITH STUDENTS WHO STOPPEDIN TO WEAVE THEIR IDEAS INTOHER INSTALLATIONartschoolon hertour — wasSaul Ostrow,chair of theInstitute’s VisualArts and TechnologiesEnvironment, whoserved as her graduatethesis advisor at NewYork University. “Havingan artist come to CIA on theway to one of the most prestigious exhibitions in the U.S., theWhitney Biennial, ties our students to the larger world,” saidOstrow. “Our students gain not onlyinsight from the exposure, but alsothe first-hand knowledge of thatartist’s work. Nothing can replace thetype of experience provided by a visitingartist, and the ability to draw artists ofMK's background, stature and quality is ahighly prized aspect of the Visual Arts andTechnologies program as well as CIA ingeneral.”For more information on the WhitneyBiennial, see www.whitney.org.5

BUSINESS AND PROFESSIONAL PRACTICES COURSE HELPS ASPIRING ARTISTS AND DESIGNERSSculpture graduate Mark Reigelman ’06is definitely “making art work.” A sculptural pillow he designed has gone intolimited production for sale in high-endNew York boutiques and galleries, hisinterior design of a Manhattan boutique was recently accepted, and hewas commissioned by the DowntownCleveland Alliance and ClevelandPublic Art to design planters that willbe installed this summer along EuclidAvenue as part of the huge revitalization of this corridor between downtown and University Circle.Reigelman, who moved to New YorkCity after graduation, works hard on hisart and design projects and at least ashard at branding and marketing himself.“It’s incredibly essential for art students to learn good business practices,”said Reigelman, who has produced alogo, an extensive website and pressreleases about his accomplishments.“I think students should have to take abusiness and professional practicescourse every year.”The Business and Professional Practices course Reigelman did take has grown and evolved since he graduatedtwo years ago. Now mandatory for graduation, the course covers an ambitious range of topics, from philosophical questions about what constitutes ethical business practice, to bread-and-butter considerations like resumewriting, contracts, taxes, health insurance and nailing an interview.“This is a distinctive program at The Cleveland Institute of Art,” said President David L. Deming ’67. “The daysof honing their creative talents and production skills alone are long gone for our students. In order to be successful as artists and designers, they must also develop a set of business and professional skills. That’s why wemade this program rigorous and mandatory.”“In order to besuccessful as artistsand designers,[our students] mustOutside Support CriticalThanks to generous lead funding from brothers Jack, Joseph and Morton Mandel, and welcome additional support provided by National City Bank and the Sears-Swetland Foundation, CIA has been able to sustain the existing program and augment it by bringing in a broader array of outside speakers and expanding opportunities forfield experiences.“For many years, the Mandel brothers have been leaders in supporting efforts to promote greater businessacumen among those in the non-profit sector,” said Deming. “We are very grateful for this funding that allows usto greatly enrich student learning in business and professional practices.”also develop a setof business andprofessional skills.”Business Course EvolvesABOVE: MARK REIGELMAN ’ 06 DESIGNEDPLANTERS REMINISCENT OF WRAPPED BOUQUETSFOR THE EUCLID AVENUE CORRIDOR PROJECTIN DOWNTOWN CLEVELAND. THEY ARE TO BEINSTALLED THIS SUMMER.TOP: BARRY UNDERWOOD, DEPARTMENT HEADAND ASSISTANT PROFESSOR, FILM, VIDEO ANDThe Business and Professional Practices course was first offered at CIA in the mid-1980s and taught by Carla Blackman, anadjunct faculty member who continues to teach a marketing class to Industrial Design students. She focused on five areas:artist’s statements, resumes, cover letters, informational interviews and slide presentations.In 1992, current Dean of Faculty Matthew Hollern assumed responsibility for teaching the course and emphasized three P’s:presentation, participation and planning.“Presentation is an essential set of skills that requires speaking, writing and visual elements. We emphasize participation andthe importance of all forms of engagement, service, competitions, exhibitions and awareness of current activity in art anddesign. Planning is the design of your future, in the big picture and the details, including personal and business budgets, financeand record keeping, investments and mortgages, and a five-year business and career plan.”Under all three categories, Hollern talked to students about resume building. “How does a person establish himself or herself as a significant figure in their field? I always stress it’s a cumulative activity; no one thing makes you wildly successful. Thecumulative effect of recognition by your peers, by jurors, over the course of a career, is the best indication of a significant artistor designer,” he said.In 2003, Hollern passed the baton to Steven M. Cencula ’91 to teach the Business and Professional Practices course. Amember of the Institute’s Board of Directors, Cencula has established two creative businesses, first Kaleidoscope Inc. and thenhis current company, FORM, which uses digital art — in the form of websites, digital games and other applications — to helpcompanies build their brands.“I learned so much after leaving the school. There are just a lot of things about business that you were not prepared for whenI went to art school,” Cencula said. As an adjunct faculty member, he made a point of inviting various business people to addresshis class. “It’s important to connect students with business leaders and entrepreneurs so they have lots of different perspectives.”Current Structure Covers Multiple AnglesPHOTOGRAPHIC ARTS, BROUGHT A CLASS TOThat tradition continues. Recent guest speakers have included Connie Dieken of onPoint Communications on public speaking;VISIT THE PHOTOGRAPHY DEPARTMENT AT THELaura Gorshe of National City Bank on personal finance; Greg Thomas and Pat Pujolas of the Brokaw advertising agency onCLEVELAND MUSEUM OF ART, WHERE HOWARDworking with and for agencies; Sally Winter of Ohio Arts Council on public funding for the arts; and Abigail Maier ofAGRIESTI (RIGHT), CHIEF PHOTOGRAPHER ANDCleveland’s Council of Smaller Enterprises, better known as COSE, on small-business start-up, health coverage options andHEAD OF THE MUSEUM’S DEPARTMENT OF PHO-the importance of networking.TOGRAPHIC AND DIGITAL IMAGING, DISCUSSEDAssistant Professor and Printmaking Department Head Maggie Denk-Leigh is anxious for students to learn about COSE. “Weneed to show students that there is an infrastructure here in Cleveland for small business start-ups so they know they can besuccessful here. They need to know there is a support system here that even includes a health insurance pool,” she said.The current design of the course emphasizes three important avenues for students: studio and exhibitions, entrepreneurshipTHE EFFORT TO BUILD A DIGITAL ARCHIVE OFTHE MUSEUM’S COLLECTION.6

BELOW: U.S. SENATOR SHERROD BROWNLEARN TO THRIVE IN MARKET ECONOMY(D-OHIO), ON A VISIT TO CIA IN JANUARY,TOURED THE INDUSTRIAL DESIGNDEPARTMENT WITH DESIGNENVIRONMENT CHAIR DAN CUFFARO ’91(LEFT) AND CIA PRESIDENT DAVID L.and industry.Denk-Leigh co-teaches the Business and Professional Practices course this year withBarry Underwood, assistant professor and department head, Film, Video PhotographicArts, and Martin Reuben, president of TRG Studios, a high-end photography, video andcomputer graphics facility. In its current structure, the core Business and ProfessionalPractices course is taught on Tuesdays to roughly 70 students from all majors. OnThursdays, each faculty member teaches a smaller break-out seminar related to thelarger Tuesday lecture.“After operating our studio for nearly 25 years, I’ve learned about the necessity of balancing art and business,” said Reuben, who employs 22 people. “You have to be able tocreate great art and it has to balance against the needs of the business. Hopefully thisclass will give students some of the tools they need to practice their art and let it beenjoyable throughout their lives. In order to do that, they need to hav

illustrators draw on classical skills for contemporary applications s . this fantasy illustration for the ags calendar. below left: illustration professor dominic scibilia ’72 critiques student artwork along w