RICM Vol3 Issue6 March Issue

Magazine

R HODE ISLAN D

MARCH 2015

vol. 3 issue 6

art of publishing The Artists Loop

the

with Kimberly Sherman Leon Founder of RI Creative Magazine Kimberly Sherman Leon, a graphic designer, publisher and an honorable mention Woman to Watch Entrepreneur, is truly passionate and committed to the creative industries.

With a mission to educate and promote the artistic community, Kimberly concepted and developed the RI Creative Magazine to promote Rhode Island’s creative arts professionals.

The Artists Loop is a program for artists and art enthusiasts. Participants get together to share work and to talk about art related topics.

FREE and OPEN TO THE PUBLIC Sponsored by: Friends of Rochambeau Library

708 Hope Street, Providence RI

For the Artists Loop, Kimberly will talk about and demonstrate ways to promote creative work in a format that creates attention!

March 12th at 6PM Rochambeau Library www.ricreativemag.com

from the founder

“What began as my passion to share the unique attributes of our state’s creative arts industry, has turned into a thriving business and movement.

Our multiple digital platforms now include business leaders seeking to expand their advertising dollar and opportunities, and have connected freelancers with their next job, while promoting educational events for industry veterans and students. We have reinvented and advanced the knowledge and influence of the creative arts in our community and everyday lives using a combination of digital and traditional media.

In turn, our success has resulted in deepening our market reach and strengthening the appreciation and enjoyment the public receives through the creative arts.”

The year 2015 has already given RICM another promising year in growth of readership and awareness of our amazing creative community! I am very excited to see what the upcoming months as my goals are starting to take place. I hope you will enjoy and benefit from these new additions to the publication. I will continue to share the news with you as they happen.

The launch of the “Inspirational Speaker Series” was a success! It was definitely an inspiring evening for us all. I am looking forward to the next one in April! The date, time and location will be announced towards the end of this month so stay connected!

The March Issue that you are about to dive into was inspired by the industry that I have a deep passion for – print. With print – there is paper and ink. With paper and ink, there are endless opportunities!

As an artist, that is what makes us more creative and to go beyond the four walls.

In this issue, we touch upon the three parts of the industry by sharing amazing content from all kinds of professionals in the business. It goes to show just how much creativity, knowledge and passion there is. Along with our featured businesses, we have provided great tips on paper specs, how to make new traditions, finding the ideal internship and how to attract more website traffic.

I hope you enjoy the sixth issue of volume 3 and to see you at the Artist Loop presentation or Introduction to Publishing Workshop or both this month! I will continue to do my best to help promote and emphasize all the positive creative talent, movements and information here in Rhode Island to pass onto you. Stay connected on all our social networks to know what is going on creatively.

Sincerely,

Kimberly Sherman Leon KS Designs President & CEO Founder & President, Rhode Island Creative Magazine

Vol. 3 Issue 6 |

1

The official publication of KS Designs

March 2015 vol.3 issue 6 Founder and President Kimberly Sherman Leon Assistant to the President Pnina Pressburger Assistant Editor/Writer Rob Mariani Assistant Secretary Regina Hogan Design Manager Lisa Malm Designers Lillian Ferranti Kate Hanley Panhia Lee Michael Ricci Contributing Writers Kim Celona John Prothero Janine Calise Chris Sheehy Jairo Gomez Josephine Eke Richard Austin Patricia Raskin Joseph Shansky Chef Ricardo Costa Jason Robert LeClair Ronald G. Shapiro Ph. D. Jill DiNicolantonio (Guest) David Girard (Guest) Mohawk (Guest)

table of contents From the Founder Contributors Freelancers Creative Calender

articles Every Artistic Expression Starts With A Piece of Paper Print, Paper, Ink A Sense of Print “Hole-Water” Making New Traditions This St. Patrick’s Day Paper Spec Tips Top SEO Trends for 2015 Mail Piece Design Create Your Dreams With Pictures, Paper and Pen The Pigment of Your Imagination Power of Paper “Tussie Mussie” DIY Paper Craft 5 Actionable Tips for Attracting Targeted Website Traffic Spreading Inspiration One Card At A Time The Endless Possibilities of Paper Is Print Dead?

Thermography Printing Tips The Ideal Internship Part 2 Making Your Mark

Rhode Island Creative Magazine Cranston, Rhode Island T: 401.440.3911 E: kim@ksdesignsri.com www.ricreativemag.com Follow @ricreativemag Facebook.com/ricreativemag All contents COPYRIGHT 2015 KS Desgins and Rhode Island Creative Magazine. All rights reserved.

2

| Rhode Island Creative Magazine

Cover photo was taken by RICM staff at Dan Wood Letterpress of Rhode Island (DWRI).

You can read the article of DWRI on page 8.

Visit DWRI online at www.dwriletterpress.net.

contributors

Joseph Shansky

Chris Sheehy

Kim Celona

Patricia Raskin, M. Ed Ronald G. Shapiro Ph. D.

Founder and Creative Director of Shansky Works An advertising veteran for over 35 years, has produced national and regional award-winning work.

Joe is a creative director and all-around problem solver on a wide array of broadcast and print clients. Now as an independent creative director and founder of a network of multidiscipline practitioners, Joe brings his experience to bear for agencies and direct clients with concept development through production.

Founder of the awardwinning Rhode Island search engine optimization/marketing & local internet marketing firm; Sidewalk Branding Company.

Named a “Top Startup Business in New England” by Mass High Tech, internationally published, and a resource partner to Guy Kawasaki’s Alltop news.

Chris gets businesses DISCOVERED! Southeastern New England (AMASNE).

Prolific Artist and Writer for over 20 years. Educated in NYC, NY and Venice, Italy; Parsons School of Design (BFA) and New York University (MA), her life and art experiences are varied and extensive.

She has been active in the fields of illustration, fine art, photography, writing and art education. Presently, Kim is working on a photography and mixed media series entitled, “Purveying Beauty.”

An award winning producer and host of “Patricia Raskin Positive Living” on Saturdays from 3-6PM on WPRO, AM630/99.7FM, beginning it’s eighth year on WPRO. She is also an author, speaker and coach specializing in change and transition.

Independent Consultant and Speaker in Human Factors/Ergonomics (designing products, solutions, and services so that they will be easy for people to use), User Experience, Career Development, Learning, Leadership and Human Resources. Ron has had global or USA responsibility for managing technical learning, technical leadership, employee university education, career coaching, new employee orientation and coordinating human factors/ergonomics for IBM.

Richard Austin

Jason Robert LeClair

Jairo Gomez

John Prothero

Chef Ricardo Costa

Speaker of Success After a career as a corporate trainer and educator, and a lifetime of studying the “art of communication”, Richard founded his company “Speaking of Success”. He now provides individual coaching, workshops, and classes in public speaking, presentation skills, and other communication techniques.

Illustration & Theatrical Design An honors graduate of the Massachusetts College of Art in Boston, MA. His BFA in Media and Performing arts has not deterred his original love for the visual arts.

Mr. LeClair lives life as an illustrator, author, set designer, theatrical director and painter. His love of art, theatre, and education have led to him writing commentary and editorial work on these topics.

Xzito Partner/Account & Creative Director From print ads to logo design to complex package design, Jairo draws from his varied range of experience.

As Creative Director, he understands both print and web design, and the printing process.

He’s currently working on ways to implement new technology like Augmented Reality into clients’ communications strategies.

Business Growth Strategist for Precision Services Group Over 30 years experience in the print industry which started with delivering jobs, bindery, traditional prepress, to account management and digital job production. His skills also run in the area of blog authorship, social media management, and lead generation and qualification of prospective clients.

Personal Chef/ Cooking Show Host Professional Profile Culinary, nutrition working with families towards a healthier lifestyle.

Vol. 3 Issue 6 |

3

Inspirational Speaker Series Rhode Island Creative Magazine Brings You a Series that Leaves You Inspired!

Join us for an evening in April to learn more about our amazing community in a creative light. Date, time and location coming to your inbox and social networks!

Join our mailing list here!

and Tokyo, Paper Connection links paper connoisseurs in the West to beautiful papers from the East. including handmade Colored & Momi Kozo, Kimono patterns, and specialty papers from Aiko’s.

Various weights & sizes available used for hinges, linings, pages, repair, spines and backing your own cloth.

Learn more about Paper Connection on page 28.

Take 10% off your next order when you mention this ad. Applies to one order only.

Please call or e-mail us for more information.

Tel: 401.454.1436 www.paperconnection.com 4 | Rhode Island Creative Magazine

by Richard Austin Speaking of Success

If you were to ask an engineer what was the most important invention of all time, he may very well say, “the wheel.” If you put the same question to a scientist, she may say, “the microscope,” while an astronomer might name “the telescope,” and a physician undoubtedly would point to “antibiotics.”

If I were asked this question, I would reply, “paper.”

For tens of thousands of years, mankind relied on oral tradition to pass on knowledge, stories and ideas. The difficulty with oral tradition is that each subsequent generation may introduce subtle modifications and nuances as a result of societal changes.

The invention of paper changed all of that by providing a means of recording unalterable testimony. Musical compositions could be written, artists’ drawings could be studied by future generations, astronomers recorded observations of the heavens, and the Magna Carta was put down on paper to serve as the foundation of democratic aspirations for the modern world. Cartography was created to record trade routes, political and national boundaries, and to establish treaties between rival nations. Prior to GPS, every traveler carried maps to help them find their way.

One of the more intriguing things about paper, is that it can be a creative art form in and of itself.

Since it was first invented in China around 105 AD, it has continued to evolve and transform as a creative expression. Artisans today create handmade, exotic and beautiful paper. Origami is an entire art form that uses only paper. Lithography wouldn’t be possible without paper.

What I like most about paper is that what is written or drawn on it can preserve memories, such as lovers note, war-time letters or children’s drawings. Did you know that there is a children’s museum in Chicago where all the artwork is hung on dozens of refrigerator doors secured to the walls? Every American home with children has their own art gallery in the kitchen.

I haven’t even mentioned the most obvious use of paper: books. Important works such as Moby Dick, Great Expectations, Heart of Darkness, Anna Karenina, Don Quixote, Ulysses, Hamlet and literally countless others have been recorded for generations to enjoy.

It is amazing that something as simple and fragile as paper has served as the bedrock of the advancement of mankind.

As Gilbert Highet, Scottish-born American critic and classical scholar said, “These are not books, lumps of lifeless paper, but minds alive on the shelves.”

8

| Rhode Island Creative Magazine

Layout Design by Panhia Lee

Vol. 3 Issue 6 |

5

Print, paper, INK

by John Prothero Prothero Press

For designers, to see their work as a final, completed printed piece is very rewarding. Many hours of hard work, comps, and countless PDF proofs culminate in that “midnight press check” at the printers, or those high quality samples that the account executive is proud to present.

A designer who appreciates and takes time to understand the print process can provide their clients with the kind of value-added knowledge and design capabilities to print and finish successfully.

So, let’s take a look at print as it applies to ink on paper, focusing on the process known as “offset” or” litho printing.”

A brief history of Print “Modern” print is attributed to Johannes Gutenberg,

who used print to publish the German Bible, which was a contributing factor in the Reformation of the Church in Europe. Gutenberg’s technique of pressing a sheet of paper to ink-covered type forged the basis of terms we still use in print today. “The press”, “typesetting,” and various other terms associated with typesetting, have their origins in Gutenberg’s work.

Print continued to evolve, using

photographic techniques to “shoot” art boards that were created by graphic artists. This high-contrast “litho” film was then assembled in pre-press.

Today, graphic artists work in the “desktop environment,” using InDesign, in conjunction with Illustrator and Photoshop, to create complex files that could never have been done 30 years ago.

Paper

Paper is a crucial variable in print, giving the option of coated or non-coated surfaces. It can be smooth, or super smooth, with a light texture, or a heavy, mill-applied texture. Paper has a tremendous impact on print, particularly if you pick a sheet that has texture on it, or has a color or shade.

Paper also comes as recycled sheets, or as “virgin sheets. “ Recycled sheets can have varying degrees of post-consumer waste features.

Virgin paper is made directly from tree pulp. However, recycled paper can be more expensive than virgin paper due to the process of turning the recycled material into paper pulp. TIP: paper mills such as Neenah and Mohawk (both US-based mills) have wonderful samples and swatch books, so don’t hesitate to ask for them when designing a piece for a client.

Ink Put simply, ink is what you see when you look at a printed piece. For color work, presses run a sequence of the colors cyan, yellow, magenta and black. The acronym used for that is CMYK: Cyan, Yellow, Magenta and blacK. Black was called the “key” color, which is why it keeps the “K” for its designation. Ink can also be run in spot or PMS (Pantone Matching System) colors. PMS colors use very specific formulas so that they can be standardized across all platforms throughout the world.

PUTTING IT ALL TOGETHER ON THE PRESS You, the designer, create a wonderful piece to run on a nice 100# smooth, uncoated cover, with solid PMS colors, and images in CMYK. You teamed up with the print services provider for paper selection, and are viewing the final proofs. Now the print process can begin. Each CMYK color has its own printing plate, and the really nice, solid PMS has its own plate as well. The press has five printing units, one for each color. The pressman takes each plate and mounts it into the print unit, each plate corresponding to the color in the print unit. The pressman then loads up the paper in the feeder end of the press, loads the ink into the ink fountain, and begins to run a few sheets through. He then examines the press sheets, making sure that the colors line up correctly (called “registration”), and that the ink for each color is at the correct, standardized density. The pressman then checks the proof to the sheet, makes adjustments to the ink colors as needed, runs a few more sheets until he is satisfied, then he starts to run the job. That whole process is called “make-ready,” and can take 30-60 minutes to complete.

Clients will often be at the press at the end of this process, and ask for adjustments to color to get to what they want. Once approved, the pressman continues to monitor the density of the ink, and can adjust it on the fly as the job runs. This process is repeated for each side of the press sheet over all press forms until the job is complete.

As you can see, there are many elements in the printing process, with paper and ink being the primary ones that affect how the piece will be printed. Seek out a printer who has a good reputation for quality, and provides you with information to help better educate you in the process.

That way, both you and your printer can successfully produce wonderful and exciting printed materials.

6

| Rhode Island Creative Magazine

Layout Design by Lisa Malm

Vol. 3 Issue 5 |

7

A

Senseof Print

by Kimberly Sherman Leon Founder and President

As I am led into the area of mass production, my sense of smell reaches an area of passion I have for print, an area that reminds me of the many years I spent working--in a shop, ink. For me, the smell of ink and paper is just a bonus to the finished printed piece. But the ink is not the only thing that grabbed my attention; the printing equipment was something you would see in a museum or in a history book. I was amazed!

While feeling like a kid in a candy store, I’m introduced to the leading man of the shop, Dan Wood of Dan Wood Rhode Island Letterpress (DWRI), by one of his two other employees. My question to all business owners is, “Why did you get involved in this line of business, what inspired you, what is your story?” This always gives me a clear picture of who they are and what drives them. “I’ve always been interested in multiples and began working as a press operator in commercial offset lithographic printing for ten years after art school,” Dan explains. “I was also printing my own work on letterpress presses at the same time and founded Garbaszawa Press in 1994 to print a mix of letterpress and offset books and print for myself and other artists. I reestablished the business in 2002 as DWRI Letterpress focusing solely on commercial letterpress printing.” What inspired Dan to be get involved in this profession? “There are so many printers and printmakers who have inspired me along the way, but particularly artists like Saul Steinberg who worked on that line between fine art and world and the world off mass production.”

As Dan shows me around the shop, I witness one of his employee’s hand-stitching some books that they just produced. He hands me some samples of the latest projects they have just printed while explaining to me the type of paper and process it entailed to produce. I can sense when someone is proud of what they have produced and the quality they provide. I take the samples from him and start to explore the texture of paper and print. It’s nothing like you get off your digital printer, that’s for sure!

Letterpress printing is one of the main printing types DWRI provides. What is Letterpress printing you wonder? “It is a mechanized version of relief printing (printing from a raised surface). Established by Johannes Gutenberg in 1455 using moveable type and a converted wine or olive press, it was THE commercial printing medium for the next 500 years,” Dan replies. It lost much of its popularity sometime

8

| Rhode Island Creative Magazine

back in the 1970’s when letterpress was widely replaced by offset printing. “With digital communication now being the norm, clients today are seeking out the unique tactility and elegance of letterpress printing over straightforward offset or digital inkjet printing.”

Dan demonstrates how each of his machines works. As I said earlier, the printing equipment was something you would see in a museum or in a history book. I actually was able to see them first hand and working! What type of equipment does he have you wonder? “We have a mix of commercial letterpress equipment with presses from the 1920’s to 1950’s, cylinder and platen press. We have hot foil stamping machines and what Thomas Edison called the Eighth Wonder of the World, the Linotype typecasting machine, which was invented in the 1890’s. We also have a Ludlow typecasting machine for large type as well as in-house polymer plate making for digital files.” Impressive or what?

At the end of my visit, Dan showed me how he creates content on his Linotype typecasting machine. He has multiple uses with this machine but one of them is for foil stamping. This is where he created the stamp for my souvenir from DWRI, a RI Creative Magazine gold foil stamped pencil! A new service they provide.

DWRI provides a variety of printed pieces from invitations and announcements, business cards and stationery, fine art “editioning,” posters and music packaging. The techniques they employ include letterpress printing, foil stamping, die cutting, scoring and perforating, small runs, book production and binding, hot metal typesetting, design services, envelope addressing and mail prep for invitations.

And now, they also have the capacity to do foil stamping on three-dimensional items like pencils!

As a print designer myself, I encourage all artists to visit DWRI (www.dwriletterpress.net), explore your senses, witness the quality of simplicity and elegance, get inspiration and learn how the type of print and the paper you choose can make a world of difference in your design.

Layout Design by Kimberly Sherman Leon

“We love the variety of work that we do, whether it’s large, commercially oriented job or small projects for artists and writers. We are all artists in the shop here, and we value the chance to collaborate on all types of projects.” - Dan Wood

Photos taken by RICM staff.

Vol. 3 Issue 6 |

9

10

| Rhode Island Creative Magazine

Slightly disorientated disenchanted she wakes.

Kim Celona

Surveying her surroundings with a lingering longing belonging eye.

Comfort is here though. no. not really.

Awareness rises as does she.

by Kim Celona Profilic Artist & Writer

“Hole-water�

Divine Providence explores the concept of finding oneself and where you belong, in the sense of physical, spiritual and emotional spaces. The female form is juxtaposed within an urban setting of abandoned or construction sites. The female is being guided by Divine Providence; searching, discovering and learning how to manifest her own place within this very opposing space.

The construction of this series is mixed media, beginning with photographic images, which I took around construction and abandoned urban sites in Providence, RI. The photographs were layered with drawing and painting materials, then finally, encased in a layer of resin. This method contains both additive and subtractive processes.

Vol. 3 Issue 6 |

11

M a ki ng

new Traditions this

It’s that time again, St. Paddy’s Day, or as it used to be called, “The Feast of Saint Patrick.” Many different countries celebrate this holy day with parades, green outfits, and lots of food and drink.

But there’s always room for some new and creative ways to honor this sacred holiday.

Layout Design by Michael Ricci

by Chef Ricardo Costa Personal Chef

N o t a Green Beer Fa n ?

Here are two alternatives that even underage drinkers can enjoy: Blend some vanilla ice cream with some low fat milk, and some mint or mint extract, and green food coloring. Or go the healthier route and blend in some green leafy veggies (kale or spinach) with some fruit almond or soy milk. Serve it up in hefty mason jars or beer mugs.

Ta b l e Se tting: Have S o m e A r t i s t s i n t h e Family?

If you’re good at graphic design or can draw, design your own place mats with some shamrocks and print them at a local print shop. Napkin rings can be made out of paper towel rolls and colored green.

S h e p herd’s Pie Break a bit with tradition and add some “Old Bay” to it. Instead of mash potato topping, try using some mashed rutabaga, turnips or even carrots. Serve them up in individual servings.

H a p p y Endings Dessert is a must, so here is an easy version of an old recipe for brownies. Mix chocolate brownie mix per directions. In a muffin tin, pour batter a quarter to the top. Fill the middle with gold sprinkles (yes the ones you can eat), then fill the rest with batter. Bake per box directions. Let cool. While cooling, blend one 1⁄2 stick of butter with 4 cups powdered sugar and a tablespoon of milk (if too thick add more milk a spoon at a time), and green food coloring. Use a piping bag to frost tops. Now you have a cup cake “pot of gold” and everyone will think you spent all day on it.

Food and drink is important but spending time with family and making new traditions is a lot more important. Never loose sight of spending time with family, and for more tips and recipes, contact the chef at www.ChefRicardoCosta.com

12

| Rhode Island Creative Magazine

PAPER

SPEC TIPS

Layout Design by Kate Hanley

by John Prothero Prothero Press

Paper is a crucial variable in print, giving the option of coated or non-coated surfaces. It can be smooth, or super smooth, with a light texture, or a heavy, mill-applied texture. Other options include color or shade.

As you can see, paper can be confusing, so here’s some vocabulary to help the designer understand how to specify paper:

COATED Coated paper – as paper is manufactured, it can be subjected to a process called “calendaring,” which is basically polishing the surface of the paper until it reaches a specific smoothness. There are different types of coatings such as gloss, matte, silk, dull, or cast-coated (highly polished, and usually only on specific types of sheets).

UNCOATED Uncoated paper – is sometimes referred to as “text” paper, since a book cover might be coated and on a thicker paper, while the text is on a thinner and less smooth paper. Uncoated papers are called “text,” “offsets,” or “opaque offsets.” Smooth or super smooth are other options. Ink sits on uncoated papers differently, so the appearance is different.

COVER Cover – this term comes from the publishing business and basically means anything that is thick and used as the cover on a book or catalog. Cover’s thickness makes it an excellent choice for books, business cards, presentation folders, brochures, posters, or anything that requires heavier duty protection. Cover paper can be coated or uncoated, and has the same properties as the counterpart text or book papers. For example, you may wish to order a booklet that uses a 100# matte cover, from the same manufacturer of the text paper, but in 80# book.

TEXT/BOOK Text or book – for the longest time, printers would say “book” if it was a coated text sheet, and “text” or offset for a non-coated sheet. Lately, printers and designers refer to book as “coated text” or “uncoated text” when specifying a job. This is much more precise than simply referring to it as “book”, but you’ll still hear printers refer to it as “book” when they mean a coated, non-cover sheet.

Brochures, flyers, and the text of a book or magazine are printed on text or book paper. # is not a hashtag – we printers are a funny bunch of fools who use “#” as the abbreviation for “pound.” The term has an interesting history and you can learn more about its development on Google.

Vol. 3 Issue 6 |

13

Top seo Trends for 2015

by Chris Sheehy Sidewalk Branding

Quite often, the small talk we have with the businesses we meet as well as with our industry colleagues revolves around the current state of SEO best practices.

From SEO experts to DIY SEO dabblers, everyone seems focused on making 2015 the year of discovery for small business.

For us, January has always been a time to reassess our client strategies for the upcoming year. This is when we take both a retrospective assessment of what has worked in 2014 as well as a futures look of what we think will impact small business visibility on search engines in 2015.

The following SEO tips are what we predict we will be prescribing to our clients for the upcoming year (or at least until the next algorithm change). We didn’t list them in any particular order, so while you read along try to envision how your business stacks up against these objectives.

Here’s hoping you discover yourself in 2015!

Citation Building A citation is any mention of a business’s (complete) contact information, and for local businesses it’s one of the most important elements for local discovery. Citation building (think Yelp, Google Plus, YP.com) not only offers a direct link to your business, but it plays a vital role in quantifying your business contact information building online brand recognition and authority.

Content Marketing Creating and sharing stories that drive purposeful action or provides intentful branding shouldn’t happen by chance or

out of your control. The notion that social media would be the marketing bullhorn for business is so 2007. Content marketing in 2015 will need to have the end solution planned in advance of publishing. Shares and likes are too easy to game and haven’t been all that successful in driving significant monetary ROI. Effective content marketing in 15 will drive quantifiable lead generation, sales or branding.

Image & Video Optimization Image and video sharing sites like Pinterest, Instagram, YouTube, Vimeo and the increasing importance in organic image/video search will continue to drive the demand for filename and property optimization. DYK: the filename of images and videos is the most important element impacting online discovery?

(You’re not alone if you didn’t)

Keyword Research As long as search engines answer search queries based on text or voice input (interpreted as text) using the right words to market your business will remain the most powerful attribute of any online marketing activity, on any channel, through any source. The axiom that “Content is king” is nearly correct for it is the (key)words of the content that truly rule the marketing world – online and in print.

Map Marketing For brick and mortar businesses, online discovery is only half the job, driving that traffic to your door is the second part, and being listed on the most popular map and GPS services will be vital as personal-mobile and in-vehicle connectivity usage continues to skyrocket.

Meaningful Interaction Receiving social engagement through keyword focused intentful wording will trump likes, shares, and RTs by chance in the upcoming years. And it’s about time too – we love caturday as much as you do, but social signals are just far too easy to game, so the value of their signal potential has so far been underrealized. Social interaction needs to focus on providing customer service and driving sales, leads and branding. Meaningful marketing with calculated interaction continues to add value to social marketing in 15.

Mobile Optimization Having viewers squint to view your website in the tiny screen of a cellphone or tablet isn’t going to work in 2015. Having a website that serves appropriately for each device (responsive) is nearly mandatory today, and Google is recognizing sites who are responsive by marking them as being “Mobile-friendly” within mobile searches. How quickly websites load is also an increasing (ranking) SEO element to focus on – especially for mobile

viewing. Check your mobile stats on Google Analytic to decide how eminent a mobile conversion is for your business.

NAP In our experience, we find nearly every business has errors in their business citation (above) data. The data that matters most for local businesses is their Name, Address, and (local) Phone number – aka: NAP. Typical errors include business listing with old addresses and old phone numbers, call tracking numbers or inconsistent use of unit/suite numbers. Variations of a business name will also cause discrepancies in NAP. Like citation building – this is a foundational element of local marketing.

Old School is New School (again) The basic elements of SEO never go out of style – META Title (ranking factor) and META Description (conversion element) optimization, keyword targeting, having a correctly formatted contact page, using the footer for your global address, images with unique filenames and alternate attributes, META robot usage – these (and more) need to be addressed for each primary page of a website. There are 200+ elements on each page of a website that Google uses as a ranking factor. We see hundreds of businesses each year with great looking websites and vibrant social media channels who struggle with online visibility because these 200 elements of website SEO were overlooked. Nail the basics before digging deeper into more advanced SEO techniques or digging deep into social and content marketing.

PPC & SEO Combined Strategies Pay-per-click (PPC) advertising like Google AdWords, Bing Ads, and Facebook Ads was one of our most requested service offerings last year, and we were not alone – 2014 was a banner year for the whole PPC industry. The success of PPC is largely dependent on three factors: 1. Keyword selection 2. Compelling copywriting 3. Synergy on the website landing page between 1&2. Managing PPC campaigns with knowledge of website SEO will continue to be a winning combination for business advertising in the upcoming year(s).

Schema A relative newcomer and nearly unknown tool for nonprofessionals is structured markup code most commonly referred to as its standards name of “Schema”. This universal code works for the major search engines and adds additional data (in search engine language) for things such as contact information, products, services, product reviews, and business review ratings (think Zagat reviews). This simple code was a powerhouse for local businesses in 2014 and will continue in importance in 15.

Layout Design by Kate Hanley

Vol. 3 Issue 6 |

15

When people ask me about Mailpiece Design, the main question is always, what will the Postal Service allow?

I always say that the Postal Service wants a white #10 envelope with the return address high in the upper left corner, the postage in the upper right corner, and the delivery address right in the middle of the envelope.

by David Girard Mail Piece Design Analyst

The rest of the envelope is yours. Our machines are looking for that address in the blink of an eye so it needs to be clear to whom you want the mailpiece delivered. Don’t have any other complete addresses on the piece that could be read as the delivery address.

But pictures, taglines, graphics and logos are all okay. They simply appear as “noise” to our equipment because they are not addresses.

I’m sure everyone notices the ubiquitous barcode that’s in the lower right corner of most mail. It is how the Postal Service sorts your mail. We read the address and apply a barcode that reflects that address. To be able to read that address, I did say that black print on a white background is best but dark print on a light background works too.

MAIL PIECE DESIGN What will the Postal Service allow?

But while that is the ideal mailpiece for us, it is not ideal for getting that message to stand out in a crowd and we understand that. So let’s talk about what you can do in today’s mail.

The Postal Service is a delivery company and we are the best in the world at delivering your message to a target audience. The main thing we need on any mailpiece is a delivery address. Not to get too technical but on a letter-size piece, that delivery address needs to be at least ½ inch from the right and left edges of the piece, more than 5/8 of an inch from the bottom edge and at least 1/8 inch away from any other surrounding text or graphics.

The Postal Service has a piece of equipment called the “Envelope Reflectance Meter,” which allows us to check any color combinations you can come up with for compatibility with our optical character reading equipment. Our equipment cannot read reverse print, so white print on a dark background doesn’t work.

Deep red, dark green and black envelopes are also not good. Even with a white “knockout” for the address, we will not be able to read the barcode we applied. That is when you get those white labels we apply in the lower right which allow us to see the reapplied barcode.

A mailpiece does not have to be an envelope. It can also be a folded, selfmailer formed of one or more sheets of paper folded together and sealed to make a mailpiece. Bi-folds, tri-folds, quarter-folds and oblongs are all folded self-mailer options. I have seen some pretty creative folded designs.

Booklet style pieces are also popular where the pages are held together by a defined spine either as the bottom edge or lead edge of the mailpiece. And simple card designs, whether they are true postcards or oversized cardstock pieces, are an option as well.

We know you have many marketing choices, but according to the Epsilon Channel Preference Study, 73% of consumers prefer direct mail for brand communications because they can read it at their convenience. Direct Mail tops all other media for delivering the highest ROI for B2C marketing, 31% for acquisition and 38% for retention, as reported by Target Marketing.

Other sources cite the mail as driving a response rate 30 times that of email.

And we continue to offer promotions offering discounts on mail including Mail Drives Mobile promotions that demonstrate how direct mail can combine with mobile technology to facilitate purchases through the use a mobile barcode or QR code on a mailpiece using a mobile device.

You can call 855-593-6093 to talk directly to a mailpiece design analyst or email your proposed design to MDA@ usps.gov. We will provide an analysis of your design telling you what you can do to increase the deliverability of your mailpiece while still trying to help maintain the unique characteristics of your design.

You can also meet and discuss designs in our offices if there is an MDA near you. We are here to help you get that message delivered so you are getting the most from today’s mail.

We also like the address to be no more than 2 ¾ inches from the bottom edge.

If you use a stamp, it must be in the upper right corner of the piece and we prefer that a return address be as high in the upper left corner as you can get it. That’s it, that is what we need.

16

| Rhode Island Creative Magazine

Layout Design by Lillian Ferranti

Create Your Dreams With Pictures, Paper and Pen

by Patricia Raskin Host Patricia Raskin Positive Living, WPRO AM630/99.7FM

In order to create your vision, you need to see it in your mind

first and then visualize it. It’s more powerful to back up the vision with actual pictures. Here’s an exercise to try: Make a list of what you want. Start with the abstract.

Ask yourself, “What are the qualities of what I want?”

For example, they could include, peace-of-mind, balance, courage, good health, work success, being in nature, special relationship, quality of life, beauty, good communications, financial abundance, travel, etc. Then make a list under each of those tangible things that bring you the qualities on your first list.

Next get a large sketch pad, glue stick or glue, specific magazines in your area of interest, and a scissors. Start looking through the magazines and cut out any pictures that appeal to you that fit in the categories you’ve listed.

Begin arranging the pictures in order of your priorities.

If you want peace-of-mind and balance, write that at the top of the page and place and paste the pictures on the page that represent those qualities.

Pictures are powerful, and cutting, pasting, and placing the pictures on the page is a lot of fun. Now if this sounds like an exercise for children, it does has a childlike quality. But the effects are powerful for adults too. After you see the collage you have created and review the pictures, they tell a story – your story. The visuals and the feelings they evoke will help you to focus more specifically on what you desire.

This exercise trains the brain, and plants the pictures of what you want firmly and clearly in your mind and subconscious. The more you study the pictures and feel the positive emotions they evoke, the more you are reinforcing that this is in fact what you really want.

The next step is to visualize yourself in those pictures so that you are creating that experience for yourself as you view them.

Try this exercise on a rainy day, or when you find yourself sitting in your comfortable chair thinking about what you want. Choose images that bring you into alignment with your personal goals and dreams. The pictures can help you bring them to life.

The next step is to write down the words that correspond to those pictures. There appears to be scientific evidence that writing about your life has emotional as well as physical benefits.

As with pictures, by putting your thoughts into a concrete, physical world, using pen to paper, you transform the words inside yourself into something outside yourself.

Layout Design by Lillian Ferranti

Vol. 3 Issue 6 |

17

The Pigment of Your Imagination

by Joseph Shansky Shansky Works

18

| Rhode Island Creative Magazine

Layout Design by Joseph Shansky

W

e see the world as colorful; in nature and through man-made technologies. But how do we convert the yellow-green of a cactus plant into a product we can use to decorate a room or view through the 4-color visual effect of printing inks on paper. We do it with pigments, powdered colors either extracted through the worldwide search of natural ingredients like rocks, flowers, and earths or synthesized pigments.

There are two kinds of color pigments: The kind of organic color pigments we see in Nature, and the kind of synthetic color pigments created by man-made technologies.

Pigments are formed by a group of compounds that are intensely colored and are used to colorize other materials such as printing inks, paints and plastics. Pigments generally are insoluble and are applied not as solutions but as finely ground solid particles mixed with a liquid.

Organic pigments are made from natural sources and have been used for centuries to color-ize a wide range of surfaces. However, most pigments today are synthetic.

Inorganic pigments include white opaque pigments, which are used to provide opacity and to lighten other colors. White extender pigments are often added to paints to lower their cost or improve their properties.

Pigment products are added to printing ink which in turn service the commercial sheet-fed, digital and package printing markets.

yield ochre’s (yellow-browns), sienna’s (orangebrowns), and umbers (browns).

Certain compounds of chromium are used to create chrome yellows, oranges, and greens, while various compounds of cadmium yield brilliant yellows, oranges, and reds.

Iron, or “Prussian Blue” and “Ultramarine Blue” are the most widely used blue pigments and are both man-made and inorganic in origin.

Thanks to the latest technology, it is now possible to simulate pigments/colors on your computer screen with relative accuracy using a computer display system called “chromatic adaptation.” This system is able to emulate the correlated “color temperature” of most illumination sources to approximate the “true” color.

However, in many cases the perceived color of a pigment falls outside of the gamut of computer displays, in which case a method called “gamut mapping”, can be employed.

Carbon black, for example, is used to give black color to printing inks. Iron-oxide earth pigments Sources: Encyclopedia Britannica and Wikipedia

Vol. 3 Issue 6 |

19

RI

Freelancers

Looking for a professional for your next project?

Rhode Island consists of many types of freelancers in this industry. We want to give them the opportunity to shine and to promote their specific talents on our Rhode Island Freelancer page!

If you are interested in being listed, please send a brief biography with a link to your website or portfolio to kim@ksdesignsri.com to be considered for our upcoming issues.

pictures. I convinced her to come and sit for me, and then, with a bit of prodding, I changed her wardrobe, fixed her hair, and applied some makeup to her. I didn’t allow her to see the end result until I handed her my laptop with her final edited image on it. She was shocked—and she loved it. I knew I had to do more!

Powder and Pixel is the creative combination of two very different, and yet very complimentary, disciplines of makeup artistry and digital photography.

Several years ago when I was first learning the art of digital photography, I became really enthusiastic about portrait work. Finding people to sit for me was quite difficult, because seemingly no mater where I was or how good of an invitation I made, people would consistently say to me: “Oh no! Please don’t take my picture, I look awful!” This always perplexed me, and so slowly over the course of time I began to question why it was that most people—especially women it seemed, would go to great lengths to avoid being photographed.

On a whim one day, I asked one of these women what her real fear was in being photographed and she explained that she always thought she looked “ugly” in

20

| Rhode Island Creative Magazine

With Powder and Pixel, your natural personality is truly captured, and the results are truly creative and flattering. With the first consultation, your desired outcome is discussed and every detail of your photo session is carefully chosen. From the wardrobe and lighting, to makeup and hair and even your final editing, a session with Powder and Pixel is fun, relaxing and professional. Come feel what it’s like to be a model for a day, and come away with an image that makes you look as beautiful as you know you are!

THERESA OLIVER EMAIL: PowderandPixel@gmail.com WEBSITE: http://www.powderandpixel.com/ FACEBOOK: https://www.facebook.com/powderandpixel

How would you like to learn how to incorporate your hobbies or interests into a hands-on ‘Real World’ career experience?

Introduction to publishing — workshop Do you love to...

write or interview artists?

take amazing photos or create illustrations to share your vision?

learn how to turn your passions into your career.

Kim Sherman-Leon, the editor and founder of Rhode Island Creative Magazine (RICM) is proud to offer you an 8-week course to begin this transformation. During the course Kim will show you the real day-to-day process and aspects of working in printing, graphic design, web design, photography, journalism, social marketing, advertising, and communication as an individual and as a team member.

The course will be held at the Artists’ Exchange, 50 Rolfe Square, Cranston, on Wednesdays from 3:00pm –4:30pm, beginning on March 18th and ending on May 16th (with no class on April 15th). Enrollment is limited to 20 high school and/or college students and adults.

Registration is only $60. Contact Kim at 401-440-3911 or kim@ksdesignsri.com to register or for more information.

Act now, as enrollment is very limited to allow for a favorable student/instructor ratio.

Design for print or web?

sell, market or advertise?

Rhode Island Creative Magazine (RICM), a digital and print publication that strictly focuses on the arts and gathers the community to educate, collaborate and cross-pollinate all passions and expertise within the creative industry.

To learn more about RICM please visit www.ricreativemag.com.

Layout Design and Photography by Lisa Malm

The official publication of KS Designs

Vol. 3 Issue 6 |

21

power

of Paper

by Jill DiNicolantonio Parse & Parcel

One of the perks of my job is that I get to see some pretty amazing paper promotions.

Over the years I’ve amassed quite a collection of fab samples showcasing every print technique imaginable. I refer to my sample library often, especially when a designer asks to see something special. The one area of my stash that is in hot demand these days is luxury packaging. It seems everyone with a new business or product is embracing the tactile medium of paper as a means of differentiating their brand. There’s tons of great info online about haptics (the science of touch), but to me there is nothing quite like experiencing the real thing. I always thought it would make so much sense to just have one really well executed packaging piece that highlights paper as an essential part of packaging design. So when I opened the new Neenah packaging promotion — The Power of Paper: On Neenah, I almost passed out.

Let me just say, this is one piece every designer, print rep or paper enthusiast needs to have in their sample library. At first glance you notice it’s shape, resembling a milk carton, the cleverly designed outer carrier features Neenah’s folding board product in 100PC White 24 PT. — nice and hefty. But we’re just getting started. After removing the outer sleeve you are greeted with a colorfully wrapped set up box begging to be touched. The lid features the shimmery Stardream in Rose Quartz Text sporting the their logo in a shiny silver foil. The base shows the versatility of Neenah’s flagship Classic Crest brand in Avalanche White featuring the signature Neenah “N” flooded with bold colors on two sides and within a subtler dot pattern design on the others. Now if this was all there was to the promo, I’d be thrilled - but wait, there’s more…

Upon the box unveiling, I am greeted with a fab little packaging sample for a fictitious fragrance, ONIT eau de perfume (get it?) produced on Eames Solar White Canvas 120#DTC printed with five PMS colors + black featuring a copper foil — LOVE, LOVE, LOVE IT!! As if that wasn’t enough of a presentation, it’s propped up on a box holder and back drop made out of Starwhite Tiara 130#DTC Vellum featuring a blind emboss. Oh and all of this sits inside an insert on Neenah’s Folding Board Deep Black in 18PT. At this point I stopped processing all other stimuli — I was on complete sensory overload.

After I picked my jaw up off the floor and removed the perfume box, I realized that not only was that box holder on Starwhite Tiara a nice little backdrop, but also served another purpose — it housed an entire portfolio of packaging print samples! Featuring eight tabbed out sections cleverly playing off the “on” theme:

22

| Rhode Island Creative Magazine

On Demand

On line

a petite hangtag, smartly die-cut showcasing two Classic Linen shades and sporting a foil stamp & ribbon loop.

On trend a fun little trend brief touting the power of paper in mixed media campaigns featuring Esse Pearlized White 84#C and Eames Vellum Solar White 100#T sporting a lot of ink.

reinforcing the power of paper as a haptic delight, featuring a cute little folding box on Environment Grocer Kraft 100#C, resembling an oven paired with a sweet recipe card featuring chocolate scented ink printed on Stardream Silver 105#C.

On target demonstrating the power of paper yet again with stats from direct mail campaigns printed on Starwhite Natural 80#C inside a sweet little 6 Bar envelope.

on point

emphasizing Neenah’s paper availability this is a great example of a stunning holographic copper foil on Classic Crest Epic Black 130#DTC.

illustrating the importance of the unveiling process, this a fab little sample of a gift card holder + gift card.

Yes, Neenah has a product that can be used as an actual gift card — Neenah Paper Card! The sleeve features silver metallic on Classic Crest Avalanche White Stipple 100#C with die-cuts and houses ImageMax card PC 40 White 28 PT. (super thick) sporting gorgeous white pearl & black foils.

On paper

On production

On time

highlighting the tactile importance of paper and its magical powers, this sample on Stardream Coral 81#T sports begged to be touched red flocking.

because all of these details are just too much for any one to remember precisely, they’ve made it super easy with a handy little 4 page card detailing all the production notes.

Designed by the team at Design Army in Washington D.C., Neenah has produced the mother of all mill promotions. This one is in pretty limited availability, so if you’re involved in a packaging project hunt down your Neenah rep and beg them for this sample.

In the meantime, keep collecting those print samples — you never know when you’ll land that dream project and have just the perfect technique in mind for it.

Layout Design by Lisa Malm

Vol. 3 Issue 6 |

23

Tussie Mussie

DIY Paper Craft

by Milissa DeFusco Whimsical Wishes and Delightful Dreams

Tools Needed

Optional Tools

Directions:

Mod Podge Hot Glue Gun Scissors Paint Brush

Glitter Spray Paper Ripper Ink Pad For Distressing Corner Maker

Remove staples from party hat and lay flat on wallpaper to adhesive firmly. Once dry and flat, cut shape out and reconstruct into cone shape. Once in cone shape, that is the start of your “Tussie Mussie” design.

Supplies Used Paper Party Hat Vintage Book Pages Photo or Graphic Die Cut Embellishments Jewelry Findings or Charms Lace, Ribbon, Trims Paper Flowers Paper Shreds to Fill Inside of “Tussie Mussie” Wallpaper Scraps (Scrapbook paper can be used also)

24

| Rhode Island Creative Magazine

Add book pages, photo or graphic and charms. Lastly, add your lace, ribbon and trims to make a side bow. Position the flowers at the base of the “Tussie Mussie” and add lace and ribbon bow to the side. You can add metal charms or embellishments for a Victorian flair.

You can simply add lace to the inside of the “Tussie Mussie” along with paper shreds and fill it with a special token of thanks for a bridal or baby shower, gift card holder or a candy holder. Attach ribbon at top of cone to hang in your home as a beautiful addition to your home’s décor.

Layout Design by Kate Hanley

yword Research On-Page Optimization Blogging Social Media Keyword Research On-Page Optimization Blogging Social Me

yword Research On-Page Optimization Blogging Social Media Keyword Research On-Page Optimization Blogging Social Medi yword Research On-Page Optimization Blogging Social Media Keyword Research On-Page Optimization Blogging Social Me

Our goal is to not only provide actionable tips to help you attract the right traffic but also to make sure you have the right foundation for success. Before we dive in, it’s imperative for you to uncover, understand and establish strategic objectives and a welldefined buyer persona. With these in place, youwill be able to develop an effective marketing plan.

Keyword research serves two purposes: • It helps visitors and prospects understand if your website contains the information they need as they scan for the keywords they have searched for.

• It helps search engines understand the purpose of your web pages to appropriately match them with search queries.

Action plan: • Create two lists: one with the keywords you would like to utilize on your web pages and the other one with keywords for your blog, which you’ll need for future posts.

• Read each web page’s content and identify at least two keywords that are most relevant to the overall page content.

• Find the ranking difficulty and monthly search volume for each keyword. If the specific keywords you have selected don’t meet the criteria mentioned above, search for variations or closely related keywords.

The purpose of optimizing your web pages using target keywords is to ensure that they are formatted correctly for indexing by the search engines, so they can be found by your prospects.

Action plan: • Ensure that your keywords are in your page title, meta description, URL, headline tags, page content and image alt tags for all your current pages.

• Develop and optimize any new pages that need to be created for additional keywords.

Do you think that people in your industry don’t read blogs? Blogging activities will bring more organic visitors to your website.

We recommend that you publish at least two or three blog articles per week, but you can start by blogging once a month.

Action plan: • Ensure that your blog is set up and integrated with your website.

• Create a blogging calendar to keep track of published content.

• Using the keywords you found in Tip #1, write and publish blog articles.

• Ensure your blog has an image, a call to action, and bold, important, compelling text.

Social channels provide an excellent opportunity to promote your content and bring it to the qualified traffic that is searching for it through the available social channels.

Action plan: • Promote blogs posts on your social media accounts.

• Keep in touch with your audience by asking questions and responding to any interactions.

• Invest time in growing social channels.

Measuring the effectiveness of your traffic-growth strategies is important for making improvements. You will want to analyze how well your strategic keywords are working to help people find your site, how your social engagements are performing, and how you are progressing toward your traffic-growth goals.

Action plan: • Understand how your efforts have affected traffic growth. You can use Google Analytics or other traffic analysis software.

• Review your social interactions to discover how you can drive more traffic to your website.

• Based on your analysis, make adjustments to your traffic-generation efforts to ensure you’re on track to reach your trafficgrowth goals.

Attracting qualified web traffic might seem overwhelming at first, but the payoff will be well worth the effort. More qualified traffic means more qualified leads, and soon the sales manager will become your best friend. See more at: www.xzito.com

Keyword Research On-Page Optimization Blogging Social Media Keyword Research On-Page Optimization Blogging Social Media

Keyword Research On-Page Optimization Blogging Social Media Keyword Research On-Page Optimization Blogging Social Media

Chances are you’re reading this article for one of three reasons: • You’re getting website traffic but aren’t converting this traffic into leads.

• You want to improve the quality of your traffic to maximize the investment in your website.

• You’ve just redesigned your website, and you are looking to increase targeted website traffic.

* Ikea

Keyword Research On-Page Optimization Blogging Social Media Keyword Research On-Page Optimization Blogging Social Media

by Jairo Gomez Xzito

Keyword Research On-Page Optimization Blogging Social Media Keyword Research On-Page Optimization Blogging Social Media

Keyword Research On-Page Optimization Blogging Social Media Keyword Research On-Page Optimization Blogging Social Media

Keyword Research On-Page Optimization Blogging Social Media Keyword Research On-Page Optimization Blogging Social Media

yword Research On-Page Optimization Blogging Social Media Keyword Research On-Page Optimization Blogging Social Medi

yword Research On-Page Optimization Blogging Social Media Keyword Research On-Page Optimization Blogging Social Medi yword Research On-Page Optimization Blogging Social Media Keyword Research On-Page Optimization Blogging Social Me

Layout Design

by KateOptimization Hanley Vol. 3 IssueSocial 6 | 25Medi yword Research On-Page Blogging Social Media Keyword Research On-Page Optimization Blogging yword Research On-Page Optimization Blogging Social Media Keyword Research On-Page Optimization Blogging Social Me

Inspiration

Spreading one card at a time

Written and Designed by Regina T. Hogan | Graphics & Interactive Media Instructor | William M. Davies Career & Technical High School

S

ometimes, all it takes is a single a few years ago from a friend that word or phrase to inspire someone truly came at the right time in my life.

- to encourage someone to take that The printed message that appeared by Regina T. Hogan risk or make that change that they on the front of the card was not only Graphics & Interactive Media Instructor haven’t had the courage to do on their beautifully designed but powerful as Layout Design by Regina T. Hogan own - to open a new door, live in the well. It read, “It’s never too late to be moment, or simply to inspire someone what you might have been - George to inspire someone else. There is Eliot”. The handwritten note on the no better way to receive this kind inside read, “Don’t let fear stop you of inspiration than with an original, from doing great things. If it doesn’t handwritten card. scare you a little then it isn’t worth it”.

These words really gave me that little In today’s fast paced digital age, we extra push I needed to change careers send and receive just about anything and I’m so thankful they did. Who knew in seconds. But when you receive that this small 5.5” x 5.5” card would a handwritten card, that message have that much power. But sometimes just feels so much more intimate all it takes is a single word or phrase to and sincere. There is something inspire someone. That little card that truly meaningful about opening a inspired me to make a change was handwritten card. The way the paper from Inspired By It. A greeting card line feels in your hands and the way the that is designed and printed right here sender’s personality bleeds through in Rhode Island. the pen strokes.

Inspired By It has been spreading Can you remember the last time you inspiration one card at a time for just received some really thoughtful and over three years now. Recently, I had insightful words that made a difference the opportunity to sit down with the in your life? I can, and I look at it owner, Nicole Couto, and talk about everyday because I put it on my fridge what inspired her to start this greeting to remind myself. It’s a card I received card line. Here is what I found out.

26

| Rhode Island Creative Magazine

What inspired you to start a greeting card line?

I have always been a “quote” person and started reading positive thinking books when I was 14. I realized that words have immense power which can be used to make massive, positive changes. Being a part of our family’s printing business, Barrington Printing, it was a natural extension that married our resources with my passion. I began by sending out monthly quote postcards to my printing clients. I was able to use that positive feedback to have the confidence to build the card (and now journal) line.

How do you go about choosing the quotes to feature on your greeting cards?

I love proverbs. Many of these incredible nuggets of wisdom were written hundreds of years ago during a very different time. Amazingly, these messages are still so relevant today.

Human beings and their struggles have not changed that dramatically which I think is astonishing. Proverbs are also considered public domain

which means no permission is needed to use them, which is helpful. When selecting a quote I often think of these questions: “Who is the recipient of this card and what is the occasion/reason for sending?” I consider whether it is a message of congratulations, I’m sorry, cheer up, you can do it, good luck, get well etc, etc… And secondly, I ask myself, “Can this card be read and absorbed in less than 5 seconds and is it moving?”

We live in an age where you can get just about anything digitally, including greeting cards. Why go through all the hassle of handwriting a note in a card, putting a stamp on an envelope, and dropping in the mailbox?

As a consumer, it’s a special process to drive to a particular store and search out the perfect card for someone. I personally love to touch, feel, open and read each card. I like to think about what emotions I want this person to experience when they receive it. It’s the paper stock, the message, the design elements – it’s all a part of the process which makes it incredibly personal. With Inspired

By It cards, I go through those same stages even though I don’t know who the specific recipient will eventually be! I want to make sure the paper stock feels special and different but is also environmentally friendly. I like when the design of a card conveys the message quickly and strongly. I work with Emily King at pottsdesign.com

who is both an incredibly talented designer and a dear friend – Emily has the rare ability to capture and communicate these messages in an exceptionally beautiful way. Because our family owns Barrington Printing, we have fantastic resources to be able to test, sample and take some risks with paper and printing. I believe sending hand written letters and cards (and even journaling!) will enjoy a tremendous resurgence in the coming years.

If you could send just one card to one person in the entire world who would it be and what would it say?

Oh boy. I would probably write a note to my younger self around the time I had very young children. It would say something like this: Dear Nicole, Please stop worrying so much! I promise that your kids will eventually be potty trained. And they will NOT go to school with binky’s in their mouths. And believe me; they won’t always want to sleep in your bed (although I promise you will wish they would want to in the future). If you can, enjoy them throwing their cup on the floor so they can immediately say “uh-oh”, and appreciate that snuggle time when they are sick with a cold. It really does go by so very fast and before you know it, you will be teaching your teenager about the pressure of social media, fitting in, body image and other very mentally challenging topics.

inspiredbyit.com

You’re doing a good job! Stop worrying so much and enjoy the ride!

Photographs courtesy of InspiredByIt

Vol. 3 Issue 5 |

27

Paper

The Endless Possibilities of

by Kimberly Sherman Leon Founder and President

“Japan has a long history of paper culture. This ancient art form began 2,000 years ago. Many of today’s handmade papers are a mixture of traditional and contemporary techniques,” says Lauren Pearlman, owner of Paper Connection International, an exclusive American supplier of papers imported from Tosa Washi (washi means paper in Japanese) and 13 other countries. Since 1995, Paper Connection has been an incredible resource for all kinds of papers and projects.

Meeting with Lauren in her Providence location, I am in complete heaven surrounded by all the fascinating patterns, textures, and colors and of course the smell of these specialty papers. Lauren admits she is a bit of a ‘fiber-sniffer’ herself.

28

| Rhode Island Creative Magazine

As Lauren begins to share all the different types of paper she has on display, I’m so impressed with the quality and creativity of each sheet and design. The stories behind them, how they were made and what they were used for, are fascinating. “Our customers use our papers in so many creative ways. From wearables to wall coverings, bookbinding, stationary and invitations, conservation and repair, fine art, photography, graphic and interior design, and even product design; i.e., lighting, room dividers…

I once read about a paper-racing bicycle! Basically, if you can dream it you can make it with paper, especially if it’s a well-made paper.” The paper that she provides is extremely well made and nothing but the best. Listening to Lauren, you can hear the passion she has for paper and the creative industry.

I asked Lauren just how paper became her passion? “As far back as I can recall when I was 6 or 7 years old, maybe even younger, I began collecting ephemera,” replied Lauren. “I started with antique labels, antique postcards, stamps, matchboxes, and mini paper umbrellas – leftover from adults’ fancy drinks. Around that same time, I made my own-collaged cards for friends and family. Today, my personal card collection is large enough to have a separate card shop.

While living in Japan in the 1980’s, the paper collection grew. I added papier-mâché dolls, like etoningyou- zodiac animals. My stationery collection soon expanded from postcards to small sheets of chiyogami.

It was almost a coincidence, however, just before moving back to the US, that I went to a papermaking village in Kagawa-Pref., Shikoku Photos taken by RICM staff.

Island, Japan. That is when a seed was planted in my subconscious. A seed for a business in which I could share my love of Japanese paper culture back in the states.”

And that is what Lauren did! She founded Paper Connection International with the commitment of ensuring that the art of traditional papermaking is preserved for future generations. She stocks the largest variety of high quality hand-and machine-made Asian art papers in North America. “We strive to educate the local and international community about papermaking and the possibilities of the material, as well as supporting the contemporary artists who use paper in their practice and at the same time sustaining the livelihoods of the families who still practice this craft.”

Lauren and I both feel it is important to educate the community about the art of papermaking. “Like so many traditional art forms in the modern high-tech world, making paper by hand is no longer widely practiced, or an everyday part in the public conscience,” Lauren says. “Few artisans remain (in the East or West) who still possess the knowledge and skills to produce high-quality handmade paper. Therefore, I think it is very important to make sure this knowledge is transmitted and shared with future generations.”

What exactly does paper making entail? It is a lengthy detailed process that we will only briefly touch upon here. Lauren has a video that shows the process of papermaking, and a washi handbook for sale. She also sells handbound swatchbooks showing paper samples from all over Japan.

that this process is repeated several times. Each dipping causes the plant fibers to intertwine which results in an extremely strong sheet that can be used for many purposes. The wet sheets are then pressed, dried and finally inspected to determine if they are market-ready.”

The paper-making process is amazing and seeing the final product is inspirational! The options are limitless, especially when you use your creativity. I encourage all artists to visit Paper Connection International (paperconnection.com), educate yourself about quality paper and get your creative juices flowing. As Lauren says...

“if you can dream it you can make it with paper, especially if it’s a well-made paper.”

“The handmade papermaking process,” Pearlman explains, “involves the steaming, cleaning, cooking, rinsing, and of course, beating the plant fibers to a pulp.

Sheet-forming is dipping a large fine screen into liquefied pulp. Then the excess pulp mixture is poured off. The pulp itself is made from plant fibers. The three main papermaking fibers are arekozo, or the Japanese silk mulberry, and two from the daphne family, gampi and mitsumata.

What makes Japanese paper so strong and unique is Layout Design by Kimberly Sherman Leon

Vol. 3 Issue 6 |

29

is print dead?

by Joseph Shansky Shansky Works

There have been many articles forecasting the future of “Print.” They usually mention the migration of newspapers, magazines and other forms of communications from printing on paper to going digital. What they haven’t addressed is “Printmaking,” an ancient technology for creating original artwork using various printing techniques, including: * Screen Printing (paper and fabric) * Letterpress * Intaglio & Etching * Relief Printing * Traditional Lithography * Offset Lithography * Monotype * Hot Foil Stamping * Bookbinding

P

rintmaking, around since the 4th century AD, has been used to reproduce religious manuscripts and artworks for distribution. Of course, the use of printmaking has evolved from its documentary and preservation purposes to creating works of art designed to be seen and owned by the masses.

Technology this old belongs in a museum.

And that’s exactly where you’ll find the printmaker’s art exhibiting for all the world to see. Museums, galleries and private collections all have world-class, signed and numbered prints from famous artists and up and coming artists alike, encompassing their personal visions and expressions.

If you’re a longtime print designer, you may feel a little left out what with the transition of content to tablet devices and smartphones.

With Adobe’s Creative Suite of

30

| Rhode Island Creative Magazine

products bursting with features devoted to digital publishing, should print designers feel obsolete? Will they abandon their long-held beliefs that all art should be CMYK and 300 ppi? Is their work destined to be seen only in uncaring pixels, never to feel the kiss of coated stock? In Rhode Island, the answer is “No.”

AS220 – Keeping the fine art alive!

Printmaking is a full-sensory art form.You feel the raised surface of ink or the indentation of dimensional shapes on the back of hand-made paper.You smell the printer’s ink and your muscles will get a workout working the presses.You can’t do printmaking sitting down.

The AS220 Printshop is a public-access printmaking studio offering intaglio etching, traditional stone lithography, letterpress, silkscreen, and offset facilities. The shop is equipped with a range of printing equipment; including a Vandercook SP4 Letterpress and a massive Takach intaglio etching press with a 4.5’ x 9.5’ press bed donated by the Rhode Island School of Design (RISD).

The AS220 Printshop is committed to promoting the full breadth of printmaking, supporting local creativity through affordable workshops, a vibrant learning community, and access

* Links to Wickipedia definitions

to professional tools and facilities. The shop incubates new artistic voices through its educational opportunities, while simultaneously creating rewarding teaching opportunities for Shop Members and printmakers in the community.

Printmaking – It’s an education, it’s a business and an opportunity!

Within the last 5 years, the AS220 Printshop has educated over 1,500 students in becoming printmakers. Each year, approximately 550 people will enroll in one or more of the Printshop’s classes. Our dedicated team of Staff members, Key Members, and Shop Members support a shop that is open to the public 5 days a week. We support a community of over 400 active shop users – people who just want to learn how to use the art form, run a business from our facilities and who are looking for a new career opportunity from all over Rhode Island and across New England.

The Printshop also serves young artists engaged with AS220 Youth, a free multi-site arts education program focused on those in, and transitioning out of, state care and custody.

Each week, a group of students ages 14 - 21 pursue printmaking at the Shop as an integral part of the Youth Studio’s visual arts curriculum.

You can be a part of AS220.

There are many opportunities for you at AS220.

You can join its membership, volunteer your services, support us through donations, take classes, teach classes and much, much more.

Contact us if you’d like to learn more about the Printshop or any programs, courses or opportunities that AS220 is offering.

AS220 http://www.as220.org/ Open Hours: Wednesday – Thursday, 10am – 10pm Friday – Sunday, 10am – 6pm Closed to the public Monday and Tuesday Contact: Brian Whitney, Printshop Manager 401.831.9327 x.201 brian.whitney@as220.org Beth Brandon, Printshop Facilities Manager 401.831.9327 x.201 beth.brandon@as220.org Layout Design by Joseph Shansky

t

The History of the Printshop he first iteration of the AS220 Printshop was spearheaded in 1996 by AmeriCorps*VISTA Mark Pedini. Originally located in the basement of AS220’s Empire Street Complex, the Printshop provided silkscreen printing facilities to novice and experienced printmakers in Providence. In 2003, increasingly stringent fire codes led to the Printshop’s closure.

Photo of the letterpress room at the Dreyfus Printshop

With the acquisition of the historic Dreyfus Hotel at the intersections of Mathewson St. and Washington St., AS220 recognized the opportunity to open a second Printshop and fill the hole left in by its popular basement studio. A full-time AmeriCorps*VISTA, Morgan Calderini, was enlisted to establish and manage the Printshop. Calderini, aided by a team of around fifteen volunteers, opened the second Printshop in September 2007. In its first year, the Printshop at the Dreyfus established the model of the Printshop that exists today, one that offers affordable access through multiple membership plans and diverse educational offerings.

In late 2010, demand for the Printshop’s resources led to expansion. From its 500 sq. ft. two-room incubator space, the Printshop moved to a space six times larger, just next door to the Dreyfus in the recently renovated Mercantile Building.

The move provided a new home for several stored (and storied) presses, including a 4.5” x 9.5” Takach etching press donated to the organization by the RISD. Since its rebirth in 2007, the AS220 Printshop has taught thousands of community members the art and craft of printmaking.

Vol. 3 Issue 6 |

31

Thermography Printing Tips Content Provided by Mohawk

Thermography creates raised effects much like engraving. It adds dimension and color to type, line work, solids and screens. Although thermography has advantages of its own, it is usually specified as a cost alternative to engraving.

Thermography is a process that combines offset printing ink with a powdered resin, which is baked so that the resin rises to give the ink a textured effect. The image is first offset printed with slow drying ink. Next, the wet printed sheets travel through a tunnel that dusts them with resin, vacuums off the extra, and then melts the remaining resin to form a raised, glassy and slightly enlarged image. Controlling the inks, resin and heat determine whether the thermography is glossy or if it has a stippled, orange-peel effect.

There are several types of powder used in thermography: fine, medium and coarse, dull, matte and gloss. The powders are transparent so they take on the color of the underlying ink. It is also possible to use transparent, white ink, which will make a transparent or “blind� design. Thermography is not recommended for screens or halftones as the nonimage area may fill in with powder. For the same reason, avoid intricate elements and very small type (7 points or less).

Thermographed images do not have any overall size constraints, however large, solid areas of color may blister. Your printer can offer specifics for the image and paper specified. Coated and uncoated papers are suitable for thermography. Uncoated papers provide contrast to the glossy surface of thermography. Basis weights from 20 lb. (75 gsm) to double-thick covers may be used. Avoid using heavily textured papers that have the potential of trapping powder in non-printing areas.

Envelopes can be converted before thermographing.

Thermography will run through inkjet printers, however talk to your printer about using a laser-safe resin for letterhead/shells that will run through laser printers.

Because thermography is a heat-set process, and because the printing is raised, it is not recommended on all laser printers or copiers, which operate at high temperatures. Be sure to specify a paper that is laser guaranteed for these projects and run tests.

Mohawk provides numerous free resources for designers and printers at their website MohawkConnects.com Click here to view other helpful tips! (http://www.mohawkconnects.com/resources/pdf-library)

Layout Design by Kimberly Sherman Leon

32

| Rhode Island Creative Magazine

Part 2 How to Earn an Outstanding Internship

There are two essential requirements to earning an outstanding internship. You need to be: 1. A great candidate.

2. Known to the people who will be hiring interns.

candidate for an internship will have:

by Ronald G. Shapiro Ph. D.

1. Good grades in school. Typically, the path to good grades involves studying all semester, not just the night before the exam, interacting with the material presented in discussions and problem solving sessions, not just trying to read and memorize, and attending an academic program which is well matched to their strengths (and weaknesses).

2. Some knowledge about art as a business.

3. Great recommendations from their faculty and possibly from professional artists which articulate accomplishments as well as the way that the potential intern approaches doing work, how they team with others, and their work products.

These are earned by working intensively with these individuals on projects. Merely earning good grades in classes is not sufficient.

4. A portfolio describing (and illustrating with photos) their art. If their art involves teamwork the portfolio needs to clearly delineate the individual’s role in producing the art. A track record for producing excellent work products (not just completing class assignments) might be very important in an area as competitive as the arts. Document each accomplishment frequently, to have this information when you need it.

5. Leadership in student and/or other professional organizations in which the potential intern can explain how the organization improved and its members benefited because they were involved.

6. A resume which ROARs (is Results Oriented And Relevant).

7. Prepared for their interviews, by being able to articulate clearly, sincerely and honestly their major work products, how their contributions made the products successful, what went very well, what did not go so well, the actions they took to make the products successful in spite of the challenges encountered, and what the actions they will take to prevent the problems in the future.

8. Done and communicated all of the above with positive attitude, appearing interested, enthusiastic and involved in everything they do.

great

Layout Design by Michael Ricci

great

A

A internship candidate will be well known to potential employers because they have: 1. Taken the initiative to introduce themselves to numerous professionals near their home and school.

2. Found several mentors and met with them on a regular basis for career guidance.

3. Attended business and artists networking events in their home community and their academic community.

4. Made significant contributions to the arts and on community service projects.

5. Work experience doing events.

6. Prepared by speaking with people, by their relatives, family friends, or just people they happen to meet by chance.

7. Contributed to the organization of student/alumni, artist’s events and been featured in blog posts, newspaper articles, etc.

8. Become well known to their school placement office.

Here’s a Tip:

Find several mentors and meet with them on a regular basis

Ideal Internship Part 1 In Ron’s last article, The Ideal Internship, he reviewed what you can do to increase the chances of being offered the ideal internship.

Thanks Dr. Margarita Posada Cossuto for helpful comments. Thanks to Andrew Maxwell and Dr. Ron Shapiro for permission to include components of this article from the Plan an Event.Org blog.

Vol. 3 Issue 6 |

33

There are times when an assignment comes across your desk that poses an entirely new challenge. How on earth do you accomplish such a creative feat with little to no money?

There are ways to make fantastic art with little to no budget if you just follow a few simple rules of making.

by Jason Robert LeClair Illustration & Theatrical Design

MAKING YOUR MARK,

an exploration of materials on a thin budget.

1.

3.

34

Don’t tell the materials what to do, let them help you to discover their capabilities. For instance, attempting to have expanding foam only expand so far is a losing battle.

As with all materials experiment to discover its limitations. The sketch and trial process should be extensive. It is also what you are doing in between gigs. It feeds your ability to work with a wider range of supplies and unsuspected new favorites.

Never underestimate a material’s potential. Just because it’s “only” something and is seen as having minimal functionality, doesn’t mean its true. Using creative problem solving, anything is useful in the making of art. Designing sets in high schools and for non-profits has taught me that. My first technical director said, “Theatre is the great recycler.” I thought it was due to him being a pack rat.

I discovered otherwise. The reuse and reconfiguration of previous work has applied to all of my art making. I still have all of my sketchbooks from age twelve up. These invaluable references and notes on materials aid me constantly.

| Rhode Island Creative Magazine

2.

4.

This brings us neatly into rule two: there are always ways around rule one. In that same expanding foam battle, you can actually carve it or place it in molds to get certain lightweight useful objects. Minimal expanding foam over an armature can make a very convincing fake turkey.

In the same way, take your materials that you are accustomed to and see what the interaction is between your old standbys and new friends.

If it’s free, it’s precious! With the high cost of materials, don’t be afraid to pull a little freegan perspective on your art supplies. Hardware stores have mountains of materials that they either store or throw away routinely. Everything from open box items to badly mixed paint, or my personal favorite, paint sample chips. These cards with a myriad of colors are tossed aside and recycled. Imagine what you could create with an entire display worth of those chips.

I’ve been employing these and other things throughout my career as a designer and director. As a steampunk, recycled materials are some of my favorite items with which I create. For my performance of Jekyll and Hyde the musical this past February at the Stadium Theatre for the performing arts in Woonsocket. I worked with a very minimal budget. As artistic director and designer of the show, I knew there would be many challenges.

The budget was minimal, but I used that to my advantage.

First and foremost, I used a free CAD program – Trimble SketchUp to get my concepts to my build crew. With is program, I was able to completely illustrate the set design including dimensions. The build team had access to the 3D model and could zoom in or out. This is fortunate as I designed two inverted periaktoi (three-sided columns) as the central fixtures. With up to four levels and a base eight by eight foot with heights up to twelve feet, it’s impossible to fully convey without a model. Once designed, the first order of business was determining what was in the company’s warehouse. We recycled every possible item, including boards that were stored in a company member’s barn (they made perfect aged joists for the East London scenes).

Using these elements helped tremendously.

For the laboratory, my steampunk exploded on the stage. I used whatever I could to create the look of a Victorian lab out of its time. The end rolls from a newspaper printer became copper piping with water bottle caps as brass bolts. Wine bottles became eerily lit chemical mixers run by bicycle gears taken from a local bike shop. Cleaned and painted, they formed the drivers of the “machine.” There were pieces of street lights and even a stand for an old mirror. How materials are

arranged and manipulated dictates much, but the simple details like taking a Dremel tool and engraving filigree patterns into the surface of plastic or plywood turns it into another era’s materials.

Paper and pencil are also your best friends, provided you have the right ones. There are some instances where the above rules must be paid attention to in another dimension.

That would be when the materials cannot be recycled and must be new. This, in my experience, applies much more to visual art. In that respect, there is a fifth rule: when investing in new supplies, buy the best you can. I know I started with this as a budget conversation and it still is. Hit sales and pay attention to applicable discounts. I have been able to buy hundreds of dollars of materials at half price when I hit it just right. This being said, be wary of buying your supplies on the internet. If it is something you’ve used before, by all means, find a better price online. For my part, I still like to see, feel and use these senses to determine the usefulness of my materials. Other than this rule, the first four rules still apply.

You will want to get artist’s grade or as close to it as possible if for nothing else, they last longer when used properly. In the long run, you’ll be much happier and save money.

Fighting against the materials because they are insufficient will only pull your creativity away and make you spend more on the good stuff anyway.

Last, but certainly not least, be personable with your supplier. If you can, shop local at a small store, they want to do price matching and compete. Helping these small businesses goes a long way for the local economy and for you as an artist. Establishing a rapport with a materials supplier will not only yield smart economics, it also allows for you to get access to things

that would have loads of red tape attached to them at a big box store.

Small stores carry great specialty items and can usually order whatever you need, or they’ll know where to get it. Better still, most of the owners of these stores are practicing artists and can give you first-hand advice on material usage. This also widens your network for gigs.

So, good luck! Gather your supplies.

Go out and create great things from nothing!

Jekyll and Hyde the musical, February 2015 at the Stadium Theatre. Photo supplied by Jason LeClair.

Layout Design by Lillian Ferranti

Vol. 3 Issue 6 |

35

What's happening in Rhode Island creatively?

3/3/15 2015 RISCA Fellowship Exhibition Fellowship Film Night 6:30-8:30PM. Screenings of video shorts by Peter Glantz and Laura Colella’s acclaimed Breakfast with Curtis. the Dorrance H. Hamilton Gallery, Salve Regina University, Newport, RI

3/10/15 - 3/28/15 Bert Gallery 30th Anniversary Thirty Years: Martiesian, Speiser & Bert Tuesday - Saturday, 11am - 5pm Meet the artists Kenn Speiser & Paula Martiesian 3/14/15 & 3/21/15 2-4pm 24 Bridge Street, Providence

3/4/15 Pour Painter’s Art Party Midtown Oyster Bar 345 Thames Street, Newport, RI 6:30 PM to 9:00 PM Call or Text 401.862.0082 PourPainters@gmail.com

3/10/15 - 4/3/15 ArtProv Gallery to Host MECA Ceramics Alumni Show during the 2015 NCECA Conference. Exhibit will run concurrent with ArtProv Gallery’s Newest Exhibit “Ceramic Inspirations” Doran Building, 150 Chestnut St., Providence

3/5/15 5th Annual State Youth Art Exhibit at the Atrium Gallery This New Visions New Curators program is presented in partnering with AS220Youth and RiverzEdge Arts Project. Weekdays 8:30am - 4:30pm

3/11/15 Riverzedge Arts Woonsocket Creative Placemaking Project Learn more Ciro’s Tavern to imbibe & inform!

42 Cherry Street, Woonsocket, RI 5-8PM; Take the Survey

Through - 3/29/15 Art League of RI Gallery at The Vets “The VETS Gallery: Explored and Envisioned” Thursdays and Fridays, 12–3 p.m., and by appointment One Avenue of the Arts, Providence, RI Reception: Thursday, February 5, 5:30–8PM “Dance of the Fireflies” will be performed by the Providence Ballet 401-861-0500; office@artleagueri.org 3/7/15 A Collection of Attitudes Presented by Island Moving Company Rosecliff 548 Bellevue Ave., Newport, RI 7PM 3/7/15 & 3/21/15 2015 MAKE-A-MINUTE MOVIE Challenge GiveMe5 Youth Film Lab 9:30am - 6:00pm Providence URI Campus 3/21/15: 9:30am - 6:00pm URI Kingston Main Campus CLICK HERE TO LEARN MORE!

36

| Rhode Island Creative Magazine

3/11/15 AMP RI featuring Patricia Raskin and learn strategies for dealing with change and the transition it brings. Patricia will also share her coaching insights and demonstrations on this topic.

Red Stripe 455 Main Street, East Greenwich, RI 5:30-7:00 PM, Pizza & Cash Bar $5 members, $10 non-members RSVP at ampri.info@gmail.com or call 401.861.7200 Bring a friend and your business cards!

3/12/15 Artists Loop Art of Publishing, Founder of RICM Kimberly Sherman Leon will be talking about ways to promote creative work in a format that creates attention!

FREE and OPEN TO THE PUBLIC Sponsored by: Friends of Rochambeau Library Rochambeau Library 708 Hope Street, Providence, RI

3/12/15 IYRS School of Technology & Trades 11th Annual Winter Event New York Yacht Club Sponsored by The Hilton Group at UBS & Paul Weber Architect RSVP to events@iyrs.edu or by calling Jenny at 401-848-5777 ext. 231.

3/12/15 - 5/14/15 RISD Museum Projections Projections screens films and videos by contemporary artists working between the gallery space and the cinema.

Yael BartanaTrue Finn-Tosi suomalainen 3/12/15 6:30–8:30 pm 3/13/15 - 3/14/15 Festival Ballet Providence Presents: JuxtaPOSE at the The Vets Avenue of the Arts, Providence, RI $23 - $85 Individual Dates & Times: * Mar 13, 2015: 8 pm - 10 pm (Fri) Mar 14, 2015: 7:30 pm - 9:30 pm (Sat) 3/14/15 Rhode Island Civic Chorale & Orchestra Psalms of Praise and Peace Soloists are the winners of the RICCO 7th Annual Collegiate Vocal Comp.

Cathedral of Saints Peter & Paul 30 Fenner Street, Providence, RI 7:30PM; www.ricco.org

3/17/15 Art Connection RI Come & Enjoy a Pizza at Flatbread Company 161 Cushing Street, Providence 5-9pm; Patronage accepted

Check out the full calendar online!

Just click here!

Cross-Platform MARKETING with RICM will CONNECT you to your audience.

The official publication of KS Designs

PRINT N DEMAND

NEWSSTAND QUALITY, AFFORDABLY PRICED Rhode Island Creative Magazine is now available by Print On-Demand! You can enjoy RICM on the go in digital or print starting March 23rd!

Just visit www.ricreativemag.com and select Print On-Demand. You are just clicks away from ordering your printed issue!

The official publication of KS Designs