Design with the other 90%
Free lecture and book signing by Cynthia Smith. This National Design Museum curator examines the urban landscape of today and tomorrow. Discover how design reveals the meaning of urban change and what designers might do to shape it.
With her recent exhibitions at the Cooper-Hewitt National Design Museum and the United Nations, Smith helped spark international dialogue on the opportunities to utilize technology and design to help poorer communities “leapfrog” into the 21st century.
Traditionally designers had focused on the 10% of the population that could afford their goods and services. Now, a new wave of designers, architects and engineers is working to solve the world’s most critical problems as urban populations in the developing world grow at unprecedented rates.
Join her engaging talk about new ways to think of design for – and with – the 90%.
Book signing following lecture.
Cynthia E. Smith
Tuesday, April 3rd
6:00 pm – 7:30 pm
The University of the Arts
CBS Hall, Hamilton Building, 320 S. Broad Street
Last in the Visibly Invisible Lectures on Design Series.
Free and open to UArts students, alumni and the general public. Event will sell out. Please register in advance.
Register here: corzocenter.ticketleap.com
Brought to you by:
The University of the Arts Design Program: uarts.edu/academics/design
The Corzo Center for the Creative Economy: corzocenter.uarts.edu
The infographic above appeared in the April edition of National Geographic, and it demonstrates that the American addiction to digital images has created a huge surplus of pixels that tell us what most of us already know, people like to take A LOT of photos. Their graphic is pretty telling and the designer has done a great job creating each circle out of shifting boxes that give a kinetic feel and eludes to how precarious the lives of these little units of imagery are as they can be deleted at any moment.
Last year, 37% of the images in the US were captured using camera phones, but by 2015, National Geographic writes, that number is expected to be 50%.
The volume of photos will no doubt change how we will grapple and archive them in the future — though no one has figured out what that exactly means.
It is estimated that 2.5 billion camera phones were in use in 2009, which is an incredible number considering the first camera phone was released in November 2000 by J-Phone, and it had a resolution of 0.1 megapixels or 300 pixels x 300 pixels.
1000 memories, a website that allows users to archive and share old photos, has done some research into the matter and has some amazing statistics (emphasis mine):
“… by 1960 it is estimated that 55% of photos were of babies … Year after year these numbers grew, as more people took more photos — the 20th century was the golden age of analog photography peaking at an amazing 85 billion physical photos in 2000 — an incredible 2,500 photos per second.”
The site goes on to discuss the scale of this growth, and they try to contextualize the numbers using a graph that contrasts various well-known “archives.”
They point out that in 2011 there were 140 billion photographs on Facebook, which is … wait for it … 10,000 times larger than the number of photos in the collections of the Library of Congress. They estimate there were 3.5 trillion photos in existence in 2011. Simply WOW.
If the ease of taking photos has increased, the ability to archive them has not. According to 1000memories, “Every 2 minutes today we snap as many photos as the whole of humanity took in the 1800s.” What will we do with this avalanche of pixels and how will we ever be able to find anything?
Learn How to “Read” Photographs
a Free Event @
Historical Society of Pennsylvania
Wednesday, April 11 2012
Photographs can tell a lot of stories, if you know how to read them. The Historical Society of Pennsylvania (HSP) invites the public to attend a free event April 11, to learn the art of “reading” photographs. The Historical Society’s Photograph Specialist D’Arcy White will discuss how to study photographs and dig deeper than their first impression.
“Photographs raise all sorts of questions,” White said. “Who made this photograph and why? What purpose did it serve? What techniques does it use? Photographs can have incredible research value, if we understand how to examine and interpret them.”
The Historical Society of Pennsylvania has one of the largest and most comprehensive photography collections in the region – everything from early daguerreotypes and crystoleums, as well as modern, digital prints. During her lecture, White will use examples from HSP’s photography collection to discuss “visual literacy” – how to examine photographs’ production techniques, contextual evidence, provenance, physical condition and other characteristics.
Among HSP’s collection are more than 600 cased photographs, one of the earliest forms of photography, dating back to 1839. These photographs are housed in special cases made of wood and covered with leather, decorated with embossing and gilding, with silk and velvet interiors, and sealed behind glass with brass mats and small metal frames called preservers.
The Historical Society’s collection is quite remarkable in that many photographs were donated by direct descendants who inherited the photographs, so many of the subjects are identified, and sometimes they are even dated, or come with abbreviated family histories, as little notes tucked inside the cases.
For the past year, White has worked to locate and digitize of all the cased photographs in the Historical Society’s collection and repair damaged cases and replace deteriorating cover glass. Many of the Historical Society’s photographs are now available to view online at digitiallibrary.hsp.org.
After the lecture, guests are invited to view a display of HSP’s photography collection, including the earliest surviving daguerreotype in America taken by Joseph Saxton. This photograph, which dates to 1839, shows the Philadelphia Central High School for Boys. Guests will also be welcome to view an exhibit of cased photographs in HSP’s lobby, titled Fashion and Family Photographs: Dating Cased Photographs Using 19th-Century Ladies’ Journals.
Media is invited to attend the event. To reserve your seat, please contact the Society’s Director of Programs and Communications, Lauri Cielo, at 215-732-6200 ext. 233 or email@example.com
About the Historical Society of Pennsylvania
Founded in 1824 in Philadelphia, the Historical Society of Pennsylvania collects and shares the stories of Pennsylvania. It is home to some 600,000 printed items and more than 21 million manuscript and graphic items. Its unparalleled collections encompass more than 300 years of America’s history—from its 17th-century origins to the contributions of its most recent immigrants. The society’s remarkable holdings together with its educational programming make it one of the nation’s most important special collections libraries: a center of historical documentation and study, education and engagement.
reposted from NPR
What makes people creative? What gives some of us the ability to create work that captivates the eyes, minds and hearts of others? Jonah Lehrer, a writer specializing in neuroscience, addresses that question in his new book,Imagine: How Creativity Works.
Lehrer defines creativity broadly, considering everything from the invention of masking tape to breakthroughs in mathematics; from memorable ad campaigns to Shakespearean tragedies. He finds that the conditions that favor creativity — our brains, our times, our buildings, our cities — are equally broad.
Lehrer joins NPR’s Robert Siegel to talk about the creative process — where great ideas come from, how to foster them, and what to do when you inevitably get stuck.
Listen to the full story as a podcast from the NPR website– you will not be disappointed!
The Kennedy Center’s National Seminar for Teaching Artists is designed to strengthen the quality and impact of teaching artists’ work. To do so, this intensive, multi-day Seminar leverages the Kennedy Center’s decades of experience in professional learning for artists.
The National Seminar is open to 30 teaching artists from around the country, who will explore the Kennedy Center’s definition of arts integration and its approach to planning effective residencies for students, as well as designing lesson plans. The experience will be supported by a three-month follow-up coaching engagement with a Kennedy Center Teaching Artist.
Each Seminar was developed through extensive research by master teaching artists and education experts, and then laboratory tested with teaching artist audiences. The Kennedy Center includes current information from the fields of education and arts education and delivers clear and easy to use best practices to Seminar participants. Seminar content is drawn from the research of Jean Piaget, Lev Vygotsky, John Dewey, Benjamin Bloom, Howard Gardner, Daniel Pink, Sir Ken Robinson, and Robert and Michele Root-Bernstein, among others. The Kennedy Center calls on two decades of experience in producing professional development opportunities for teaching artists.
Teaching artists who wish to attend the National Seminar must:
- Have 5+ years practicing their art form regularly;
- Have 3+ years providing instruction in their art form to students; and
- Be able and willing to connect their specific area of the art form to other curriculum areas or school concerns/needs.
When: Sunday, August 12-Wednesday, August 15, 2012
Number of Participants: Up to 30 (register soon)
Faculty: Sean Layne and Lynne Silverstein
Fee: $250.00 per Teaching Artist
For more information and to register, visit http://bit.ly/2012NationalSeminar.
Registration closes on June 1, 2012.
With the season premiere on the horizon, Mad Men has brought advertising design of the 1960’s some popular attention. Although we now live in a digital age, it can be inspiring to check out the aesthetic of the past.
Today’s Newsweek issue includes a cover story on the series and a feature on the role of advertising in U.S. culture — and the full magazine is adopting the magazine’s 1960s design throughout. Check out Ad Age’s article to read more.
For the first time, ASMPNY is excited to announce we will host a Student Portfolio Review for students studying in the field of photography. This event will be an opportunity for young photographers to meet one on one with leading industry professionals to receive valuable feedback on their work while also helping students to prepare for entering the working world of photography and start developing their professional networks . For our reviewers, this is a first look at emerging, fresh talent paving the way for the future of the industry.
WHEN: Saturday March 31st, 2012
WHERE: Fashion Institute of Technology – John E. Reeves Great Hall
28th Street and 7th Avenue,
New York, New York 10011
TIME: 1:00 PM Registration
1:30 PM Introduction of reviewers
1:45 – 4:00 PM Reviews
COST: FREE Just bring student ID
RSVP Online HERE
NOTE: ASMP Makes joining easy .
Deadline: March 16, 2012
Entries submitted after that date require a $10 per entry late fee. No entries will be accepted after March 30, 2012.
Enter the most prestigious competition for creativity in photography, the Communication Arts Photography Competition. Any photograph first printed or produced from March 2011 through March 2012 is eligible. Selected by a nationally representative jury of distinguished designers, art directors and photographers, the winning entries will be distributed worldwide in the Communication Arts Photography Annual and on commarts.com, assuring important exposure to the creators of this outstanding work. As a service to art directors, designers and art buyers, a comprehensive index will carry contact information of the photographers represented.
CA’s Award of Excellence is one of the most-coveted awards in the industry. If chosen, winning places you in the highest ranks of your profession. Ask any creative director which competitions rank as the most influential and they’ll place Communication Arts at the top of the list.
David Allan Brandt, photographer, David Allan Brandt Photography, Los Angeles, CA
Shana Darnell, photo editor, Turner Broadcasting/CNN, Atlanta, GA
James Genell, associate creative director, Leo Burnett USA, Chicago, IL
Sarah Leen, senior photo editor, National Geographic, Washington, DC
David Meredith, principal, Pilot NY, New York, NY
What to Enter: Information on eligibility, categories and fees.
How to Enter: Information on preparation of entries and forms.
Photography Competition FAQs: Frequently Asked Questions about applications and file formats.
What to Enter
Any photograph first printed or produced between March 2011 and March 2012 is eligible. Explanation of the function in English is very important to the judges. Submission of entries acknowledges the right of Communication Arts to use them for publication and exhibition.
Photography Competition Categories/Fees
These categories are judged by the Photography jury and will appear in the Photography Annual:
Advertising: (ads, posters, CDs, packaging, etc.) $35 single entry/$70 series
Books: (cover/jacket and/or interior, must be published) $35 single entry/$70 series
Editorial: (consumer or trade magazine, newspaper) $35 single entry/$70 series
For Sale: (poster, print, note paper, greeting card, licensing/stock, gallery sale, etc.) $35 single entry/$70 series
Institutional: (company/association publication, brochures, collateral, etc.) $35 single entry/$70 series
Multimedia: (time-based media for film, television, video or web) $80 single entry/$160 series
Self-Promotion: (promotion for photographers, creative firms and vendors) $35 single entry/$70 series
Unpublished: (commissioned but not published, personal or student work, etc.) $35 single entry/$70 series
Entries must be registered no later than Midnight (Pacific Time Zone), March 16, 2012. Entries registered after that date require a late fee of $10 per entry. No entries will be accepted after March 30, 2012.
Each photograph is a single entry. A printed piece with several photographs must have a dot or some other mark indicating which specific single photograph is to be judged. If a single photograph isn’t indicated, the entry will be disqualified.
Campaigns or series are limited to five photographs. If the entry has more than five photographs, indicate which five are to be judged. If this isn’t indicated, the entry will be disqualified.
All competition entries are processed through our online entry system. Printed Call-for-Entry forms are no longer used.
Before you begin the process of entering a competition, please have the following information and materials ready. This will make the process go quickly.
- – Your contact information for registration and notification.
- – Title and brief description of each project.
- – Any digital files you might want to submit saved as RGB (not CMYK) JPG format (maximum 1024 pixels wide X 768 pixels high @72dpi).
Entries can be submitted in the following formats:
Unmounted printed samples: ad tear sheets, pages or spreads, brochures, annual reports, posters, books, etc. (pieces over 18″ x 24″ must be submitted as digital files).
Digital files: RGB (not CMYK) JPG format with a maximum width of 1024 pixels and a maximum height of 768 pixels (72dpi). Digital files will be projected for the judges.
Multimedia entries: Submit multimedia entries on DVD NTSC (viewable on a standard DVD player) or mpeg files on CD-ROM. Include 4 seconds of black, no slates or bars. Single entries must be on individual disks. Series should be edited together on one disk with 2 seconds of black between each entry. Computer-based formats such as QuickTime or Flash should have a maximum screen size of 1024 x 768.
Please do not send any pieces of art you want returned. NO ENTRIES WILL BE RETURNED. No exceptions. CA is not responsible for damage or loss of any entry. All entrants grant Communication Arts the right to reproduce work selected in the Photography Competition on the Communication Arts Web site and in materials used to promote the magazine and/or future related promotions.
Preparation of Packages
Send entries, unmounted, in flat packages only, no mailing tubes (they frequently arrive damaged). Address packages to Communication Arts Photography Competition. Non-United States contestants should mark each package “Materials for Contest Entry. No Commercial Value.” No provision will be made by CA for U.S. Customs or airport pickup. International entries should be sent by international courier. All entries must be received by the deadline date.
Forms and Entry Fees
After choosing a form of payment you will have access to PDF reports summarizing what you entered. If you chose to pay by check, you will have an invoice available for printing. If you chose to deliver entries via mail/courier, you will also have entry forms in PDF format that you will need to print, trim and attach to your entries. Tape an entry form to the back of each entry. If the entry is a print-based campaign, you will tape an entry form to each part of the campaign. Tape an entry form to the outside of each disk/video case. Multiple digital files may be placed on a single disk. Please tape all applicable entry forms one on top of the other so we can flip through them to verify the contents of the disk.
Make checks payable to Communication Arts. Non-United States contestants must send an International Money Order or a check in U.S. funds drafted on a U.S. bank. Please include the check with your entries if you are delivering them via mail/courier. If your payment is being sent under a separate cover, please send your entries now, with a note saying that the check is coming under separate cover. If you submit all of your entries online please write the Communication Arts invoice number on the check. The invoice number can be found in the Entry Forms PDF file. We accept Visa, MasterCard, American Express and Discover. Charges for your entry fees will appear on your statement as “(Commarts)”. Credit card charges can be done online. We do accept wire transfers, however there is a fee of $25 (U.S.) to cover fees charged by the banks to process the transfer. Please contact our office at (650) 326-6040 (9-5 PST) for instructions.
Mail entries to:
Communication Arts Photography Competition
110 Constitution Drive
Menlo Park, CA 94025-1107 U.S.A.
(Via United States Mail, FedEx, UPS, etc. Entrants submitting from outside the U.S. please use an international courier)
Notification of Acceptance
Only accepted entries will be notified two months after the deadline date. Complete credits and any additional material necessary for reproduction will be requested at that time. No additional fees are required. Award of Excellence certificates for the photographer, client and art director of each accepted photograph will be mailed in one month after the publication date.
If you have any other questions or want to request a call for entries, you can reach us at:
(650) 326-1648 fax
Can I get an extension on the deadline?
We will accept entries up to two weeks after the March 16, 2012 deadline date, but a late entry fee of $10 per submission is required. No entrires will be accepted after March 30, 2012
Do you offer a cash prize?
We do not offer a cash prize. The winners are featured in one of our annuals distributed worldwide and on commarts.com, assuring important exposure to the creators of this outstanding work distributed worldwide.
Can I submit my work via e-mail and just include a credit card number with it?
No, we do not accept entries via e-mail. All entries must be registered using our online competition system.
Will you confirm receipt of my package(s)?
The best way for you to track your package(s) is to contact your carrier. We are unable to acknowledge receipt of your package(s) until your submission(s) has/have been processed. At that time you will receive an e-mail confirming that your package(s) has/have been received, along with your assigned entry number(s). This process can take up to two weeks.
Will my entries be returned?
Because of the number of entries we receive, it is not possible for us to return any of them.
If we submit digital files, do we also need to mail a copy of our entries?
No, we only need one version of the work.
What is the best way to submit my entries, digital or print?
The method of entry you select will not impact the judges’ decision. Any entries over one cubic foot or posters larger than 18″x24″ need to be submitted as digital files.
Can I enter one project into multiple separate categories?
Yes, just make sure to submit a duplicate entry for each of the categories you are entering and attach a separate entry form on each printed submission.
Can I enter my work as a series?
Yes, but all work in a series must be part of the same campaign. When works are submitted as a series they are judged together as a group. The overall strength of the series depends on each individual piece and its function within the campaign.
If my entry is accepted, what will you use for reproduction?
If your work is accepted we will request necessary reproduction materials at that time.
What do you mean by “unmounted”?
We get thousands of entries and they would get very heavy if every entry was mounted on a board. If your entry is very flimsy and you feel it must be mounted on something, please back it with lightweight paper.
The entry instructions state, “Do not send original pieces of art you want returned.”
What does that mean?
It simply means that you should not send original photographs or artwork because they will not be returned.
I have a single brochure/poster/self-promo piece that has several photographs on it. Why is it a series and not a single entry?
The judges of the Photography Competition are only judging the images, not the typography, design or art direction. (Entrants who want the design or art direction of their pieces to be considered should enter them in the CA Advertising and Design competitions.) Each photograph is a single entry. Therefore, a piece with several images must be considered a series. There is a maximum of five images in each series; if a piece is entered and there are more than five images on it, the five that are to be judged must be marked in some way.
Where do we put creative credits?
All we need is the contact information of the person submitting the work along with the name of the firm or agency entering the project. Creative credits will be requested if your work is chosen for inclusion in the Annual.
I don’t know which category to put my piece in?
Choose the category that you feel best fits your submission. If we feel another category is more appropriate, we will move it; your work will not be penalized or disqualified.
We’re waiting on the check from our accounting department. Can we have an extension?
Please send your entries now, with a note saying that the check is coming under separate cover. If you submit all of your entries online, please write the Communication Arts invoice number on the check. The invoice number can be found in the Entry Forms PDF file.
Do you accept work on disk?
Yes, entries can be submitted on disk. Please review the information under How to Enter for size and formatting requirements.
Can I submit multiple entries on one CD?
Yes. Please name the files as instructed on the entry forms generated for you and attach all the entry forms (one for each entry) on the CD case. Please enclose each series in its own folder on the CD.
Can I put more than one single multimedia entry on each tape/disk?
No, each single multimedia entry must be submitted on its own tape/disk. Video-based series must have 4 seconds between each spot.
Is there a category for student work?
The Photography Competition has an Unpublished category, which can include student work. However the work must be completely original and not utilize content owned by another copyright holder unless the entrant has been granted specific usage rights. If a student project is selected and documentation of specific usage rights cannot be supplied, the project will be disqualified. Communication Arts is not liable for any copyright infringement on the part of the entrant and will not become involved in copyright disputes.
What rights do I retain if my work is chosen?
You retain all rights to your images. If selected, you will need to grant us the right to reproduce the image or images for both our online and print-based publication.
How does the judging take place?
The judging process is a two-part system: screening and finals. In screening, the jurors are divided into multiple groups and each category is distributed equally amongst them. Judges are not permitted to vote on work in which they were directly involved. Each juror views the entries independently. Print entries are spread out on rows of tables and digital entries are projected on a large screen. Any juror can put a print entry into the final voting by picking it up from the table. Digital entries are selected by checking an “in” or “out” column on prepared scoring sheets. For the final round the judges are brought back together as one group. Each judge votes “in” or “out” on each entry. After the judges make their selections, their votes are tallied. A simple majority is usually required for a finalist to be selected a winner.
When will we know if our entry was chosen?
If your entry is chosen we will notify two months after the final deadline date. Because of the number of entries we receive, we can only notify people whose work is accepted.