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6 on "snappy chariot" driver? Downton Abbey estate — a deliciously entertaining formula that has made it the highest-rated drama in PBS history.

Downton Abbey Season 6 features returning stars Maggie Smith, Hugh Bonneville, Michelle Dockery, Elizabeth McGovern, Jim Carter, Laura Carmichael, Joanne Froggatt, Allen Leech, Robert James-Collier, Penelope Wilton, Phyllis Logan, Brendan Coyle, and Lesley Nicol.

Experience the intrigue, drama, romance, and legacy of Downton Abbey Season 6 on MASTERPIECE Fridays at 9 p.m. beginning January 8 on Rhode Island PBS.

But you don’t have to wait until January to get a look at the new season of Downton Abbey!

Join us as a new or renewing member of Rhode Island PBS for a

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RICM’s Kate Hanley, Designer. Photo taken by RICM’s Jorge Leon.

CREATIVE In You

original educator ingenious productive inspiring motivating daring passionate entrepreneur maker gifted mentor inventive leader visionary prolific innovative imaginative experimental original educator ingenious productive inspiring motivating daring passionate entrepreneur maker gifted mentor unique inventive leader imaginative1 Vol. 4 Issue | The official publication of KS1Designs

from the founder The official publication of KS Designs Oh, how I love this time of year! The beautiful scenery, the full calendar of parties and events, the unique, one-of-a-kind gifts on display at Rhode Island retailers, and—of course—the amazing holiday menus created by local chefs.

As we approach one of my most favorite holidays of the year, I am reminded how important it is to take the time to give thanks. During our busy lives, we sometimes forget to tell our family, friends, clients, co-workers, and all who matter in our lives how grateful we are to have them.

Founder and President Kimberly Sherman Leon Assistant to the President Pnina Pressburger

Kim

So let me take this moment to say how very thankful I am for my team of creative contributors. Each and every month, they provide our readers with amazing business tips as well as creative and unique articles and designs which perfectly capture the inspiration of our very talented makers here in Rhode Island. Page by page, they take content and bring it to life using their own style of artistic expression, helping to build a stronger foundation and maintain the creative flow from one issue to the next.

Last, but not least by any means, I want to thank my family, who stands behind me, fully supports the hard work this publication entails, and believes in my mission for Rhode Island.

I am grateful for all of the new relationships and the positive results that have come from RICM. Together, we make this happen…we bring the vision to life.

In this issue, RICM continues to showcase a variety of topics, which encompass the very meaning of creative. From sharing T.F. Green Airport’s dedication to and support of local artists via their “Green Space” exhibit, to tips on how to build better websites for your business, these articles fully embrace the essence of what we are celebrating this and every month.

I hope you enjoy this month’s features and helpful tips that our team has prepared for you. Please be sure to visit our new blog, which highlights upcoming articles for you to like, share, and comment on, as well as news and press releases about what is happening creatively in Rhode Island!

Connect - Communicate - Collaborate = Cross-pollination = Greater Awareness, Appreciation and Understanding of our industry.

Sincerely,

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

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| Rhode Island Creative Magazine

Assistant Editor/Writer Kate Strassel Assistant Secretary/Designer Regina Hogan Assistant in Creative Communications Joseph Shansky Design Manager Lisa Malm Designers Panhia Lee Kate Hanley Michael Ricci Amy DeSantis Lillian Ferranti Contributing Writers In this Issue Kim Celona Jairo Gomez John Prothero Sheila McElroy Patricia Raskin Jason LeClair Chris Sheehy Kate Strassel Paula Mottshaw Devon Landis, Esq. Ronald G. Shapiro Ph. D.

Rhode Island Creative Magazine Cranston, Rhode Island 401.440.3911 kim@ksdesignsri.com

c 2012-2015 All rights reserved.

Rhode Island Creative Magazine is a KS Designs production. Reproduction in whole or part without written permission is prohibited.

facebook Online twitter @ricreativemag ricreativemagazine RICREATIVEMAG.COM

contents 2

From the Founder

3

In This Issue

4

Contributing Team

9

On a Clear Day You Can See Art Forever!

16

Website Designs That Kill SEO & Rankings

18

A Window of Opportunity

19

Website Design Projects - Step 2: Hiring

20

I {heart} Rhody

21

It’s Not Copyright Violation... It’s Fair Use!

22

The Nine Paper Options That Will Make or Break Your Project

24

Three Ways to Use Scarcity When Marketing Your Next Offer

32

Creative Calendar

featured articles 10

Traveler’s Delight

12 Art Education is Not Your Holiday Decor Store 14

Donna St. Pierre Photography Spread

25

Dear Mom and Dad: I Want to Study Art

26

Getting Personal: a Writer’s Perspective

on the cover Cover artwork is designed by the Founder, Kimberly Sherman Leon.

“I wanted to do something soft to represent one of my favorite times of the year. The use of watercolor helps deliver the look I wanted to achieve.”

Vol. 4 Issue 3 |

3

contributing team writers and designers in this issue

Ron

Kim Kim Celona

Ronald G. Shapiro, Ph.D.

Prolific Artist &Writer

Independent Consultant & Speaker in Human Factors & Ergonomics Writer

Jason LeClair

Educator of Illustration & Theatrical Design Writer

a

ci Patri

John John Prothero

Patricia Raskin, M.Ed.

Prothero Press Writer

Award Wining Radio Producer, Coach, Trainer & Author Writer

a

Sheil

Sheila McElroy Writer

s Chri Chris Sheehy

Sidewalk Branding Writer

4

Jason

| Rhode Island Creative Magazine

Paula Paula Mottshaw Writer & Designer

e

Mik

Jairo Jairo Gomez

Xzito Partner/Account & Creative Director Writer

Michael Ricci Writer & Designer

n Devo Devon Landis, Esq.

Arts & Entertainment Attorney Writer

Lily Lillian Ferranti Designer

“The team of creative contributors.

Each and every month, they provide our

Lisa Lisa Malm

Design Manager & Designer

Pnina Pnina Pressburger Assistant to the President

readers with amazing business tips as well as creative and unique articles and designs which perfectly capture the inspiration of our very talented makers here in Rhode Island. Page by page, they take content and bring it to life using their own style of artistic expression, helping to build a stronger foundation and maintain the creative flow from one issue to the next.

Kate

a Regin Regina Hogan

Kate Hanley

Assistant Secretary, Designer &Writer

Designer

They stand behind me, fully support the hard work this publication entails, and believe in my mission for Rhode Island.

I am grateful for all of the new relationships and the positive results that have come from RICM.

Together,

we make this happen…

we bring the vision to life.

Panhia Lee

ia Panh

Kate

- Kimberly Sherman Leon

Kate Strassel

Assistant Editor &Writer

Designer

You can learn more about these amazing and talented individuals on “The Team” page at www.ricreativemag.com.

Amy Amy DeSantis Designer

Joe Joseph Shansky

ShanskyWorks/Founder & Creative Director Assistant in Creative Communications, Designer &Writer

Vol. 4 Issue 3 |

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| Rhode Island Creative Magazine

Since 2012, RICM has been the catalyst for raising awareness of the economic value of the creative arts industry. It is Rhode Island’s one-of-a-kind creative multimedia publication that inspires and informs readers.

Audience Maximize your visibility with RICM by reaching a wide audience of thousands of readers, including art enthusiasts, museum and gallery professionals, performing arts, creative arts professionals, business leaders, corporate executives, students, educators and other individuals from all walks of life.

Print On-Demand Printed issues available by demand on-line

Partnerships Result in Expanded Reach of 400,000+ Cross-Platform Marketing & Social Networking reaches thousands daily.

59% Women 41% Men 75% Age 25-54 79% New Users 21% Return Users

Distributed On-line FREE Local & Global Reach

Events, Presentations, Workshops & Internships Servicing the Community Hands-on

The official publication of KS Designs

TOGETHER WE WILL...

EXPAND YOUR REACH & GROW A DIVERSED AUDIENCE through our websites, newsletters, online radio stations, print & digital publications.

LEARN MORE WWW.RICREATIVEMAG.COM

THE OFFICIAL PRODUCTION COMPANY OF RHODE ISLAND CREATIVE MAGAZINE

A FULL SERVICE DESIGN COMPANY DIGITAL WEB DESIGN PRINT MULTIMEDIA PUBLISHING PHOTOGRAPHY PROJECT MANAGEMENT

401-440-3911 WWW.KSDESIGNSRI.COM

by Patricia Raskin Coach, Trainer and Author Host Patricia Raskin Show, WPRO AM630/99.7FM

On A Clear Day You Can See Art Forever!

Webster defines art as “something that is created with imagination and skill and that is beautiful or that expresses important ideas or feelings.”

I chose that definition because it crosses fine arts and performing arts, as well as liberal arts.

Whenever we create something from our ideas, thoughts, or expressions, we are making art. I think it is what distinguishes us.

We all have a way of presenting ourselves and our ideas that is unique to us. We traditionally think of fine art as a painting or sculpture, but this art has an important function in branding for any profession. For example, two companies selling the same product can have two completely different ways of presenting it.

The logo, design of the website, shape of the product, ingredients, and form and function are unique to that particular brand.

I consider myself an artist with words and concepts as a writer, speaker, and talk show host.

I create my material and my own “designs” and these are uniquely mine. That creative expression is vital in my work but also vital in my life. If I am not creating in some way, I am not fully alive. It’s what keeps my juices flowing.

Layout Design by Amy DeSantis

“If I’m not creating

in some way, I am not fully alive.”

In today’s world of technology and social media, visual and auditory images are front and center in expressing concepts. Facebook and Pinterest, among others, are full of images and videos with sound that show the reader what is happening.

The choice and placement of those images are part of the creative expression.

Think about the world without creativity or art.

We’d be looking at black and white images in a world without color. It is most important to bring creative expression and art into every profession. It becomes your calling card.

Choosing a profession in the arts today isn’t just about making the object or performing the scene. When we realize how much art is incorporated into every brand, we open the up the many possibilities and applications for career opportunities in the arts.

Vol. 4 Issue 31 |

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TRAVELER’S

By Sheila McElroy Layout Design by Kimberly Sherman Leon

T.F. Green Airport has gotten a little more interesting for travelers.

A new art exhibit entitled THE LOQUACIOUS LINE, sponsored by the Rhode Island State Council on the Arts (RISCA) will be held from through January 3, 2016 at GREEN SPACE, a gallery within the Warwick, RI airport.

RISCA and the Rhode Island Airport Corporation present the work of contemporary Rhode Island artists Carolina Arentsen, Anastasia Azure and Aarti Kathuria.

CarolinaArentsen

cites her exposure to many international cultures as a strong influence on her artwork.

Arentsen paints in the moment, incorporating timely found objects such as newspapers and publications into her gestural, rhythmic works. Born in Chile but raised in the United States, Arentsen studied at the Pennsylvania College of Art and the Rhode Island School of Design, where she received her B.F.A. in Illustration.

As far as exhibiting at an airport is concerned, Arentsen says

“people who are in a hurry

don’t have time to really see what is going on...they catch a glimpse... and that is ok.” She philosophizes that “the paintings reflect their busy lives. It is a balance of history with current life, a sort of ying yang.”

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Anastasia Azure

received her M.F.A. in Textiles from the Rhode Island School of Design and her B.F.A. in Metals from California College of the Arts. Her sculptures combine traditional textile weaving techniques with metalsmithing, utilizing a range of unusual materials to create works inspired by spiraling ocean currents and fractal geometries. She currently resides in Providence and works as an interdisciplinary teaching artist, jewelry designer and sculptor.

Azure credits the inspiration of her exhibited work to the magical and dynamic fluidity of ocean eddies she studied in collaboration with MIT professor Lawrence Pratt. There is also an intentional sense of wonder that she hopes gives busy commuters a reason to pause.

Aarti Kathuria

founded the studio Hopskcotch, a design and installation firm that specializes in spatial installations in the public realm.

Kathuria is particularly interested in the spatial dynamism of built spaces, and most of her work is tactile, interactive or kinetic. Kathuria holds an M.A. in Interior Architecture and Adaptive Reuse from Rhode Island School of Design and a Masters in Architecture from Illinois Institute of Technology.

Kathuria›s artistic expression is inspired “from

life itself, and [the] desire for my work to be uplifting, motivating...inspired by connecting with people at an ethereal yet intimate level.” She hopes the exhibit creates “a lingering presence, an enlivening moment, a heartening experience, to feel a personal connection to the piece, even if it is for a moment.”

The artists were selected for exhibition by an accomplished panel: Lynn Harlow, a sculptor and former GREEN SPACE Gallery Director; Touba Ghadessi, an art historian and professor at Wheaton College; and Erik Gould, an exhibiting photographer and staff member at the RISD Museum.

The Airport Galleries present art to an ever-changing audience of local, national and international travelers.

RISCA is supported by appropriations from the Rhode Island General Assembly and grants from the National Endowment for the Arts. RISCA provides grants, technical assistance and staff support to arts organizations and artists, schools, community centers, social service organizations and local governments to bring the arts into the lives of Rhode Islanders.

All imagery are supplied by the artists. RISCA Press Release as reference.

Vol. 4 Issue 3 |

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Art Education is not your Holiday Decor Store

By Jason LeClair Layout Design by Michael Ricci

If you have kids, you may have wondered why the elementary school staples of holiday decor that parents have been receiving for decades—hand turkeys, Christmas ornaments, paper towel roll menorahs, construction paper Kwanza and Advent candles—are becoming a rarity.

Little Johnny and Janey may no longer be bringing these things home if they have an art educator at the head of their classroom. Craft projects like the standard cotton ball snowman are nice and fun, but not necessarily pedagogically sound methods of art education. Now, don’t misunderstand me: there is nothing wrong with crafts made by kids as something fun for the holidays. They’re a huge part of the reason why arts and crafts stores exist in the first place. But projects that do not hit the standards of art education (and yes, there are standards) are best for parents to do at home.

Please, I implore you to get creative with your children and break out the store-bought holiday craft kits, or make paper plate masks of happy Santas with white glue and cotton balls. It’s a great way to spend quality time. Just don’t expect it from their school’s art educator.

I am not saying all art educators do not do this. Some uphold the tradition of “holiday arts,” and that is their choice in their curriculum.

The old standby crafts may look much different if the educator is meeting standards with the lesson, but nonetheless, they make an effort to include these fun projects. Speaking about and working with holidays in today’s public school environment is dodgy at best.

Do we create crafts for Eid al-Fitr or Solstice?

Within our politically correct culture, holidays have become something of a white elephant in the classroom. Moreover, many students today do not have the same reverence for holidays that was taught when the homemade holiday decoration trend began. Using holidays as a moral standard now gives rise to the consumer culture of the nation more than to its moral fiber.

With all holidays being massively product laden, students have lost the real celebratory meanings behind them. In fact, the only holidays that remain intrinsically American without causing offense to one party or another are Thanksgiving and July Fourth. The latter does not affect the classroom directly; however, the former certainly does. Family, food drives, and kind acts become emphases of the season. Without the pretension of gift giving or lavish décor, Thanksgiving remains— for now—the lone survivor of holidays celebrated in the classroom.

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Capitalism is what our nation has prided and built itself upon. We, as the most industrialized nation in the world and a powerhouse during the late nineteenth and twentieth centuries for manufacturing and invention, have art education to thank. The American ideal remains that with proper initiative, gumption, and education, a person can be a rousing capital success. During the Gilded Age and the beginning of the Modern movement in the fine art world, public schools in America concentrated on more practical and celebratory arts in education. This in turn formed yet another industry – art education products.

Sources of inspiration for school art stemmed from this industrialization. As Mary Ann Stankiewicz points out in Roots of Art Education Practice,“…holiday art was related to the seasonal condition of early common schools, to industrialization, and the rise of consumer values.” (Stankiewicz, 2001, p. 68) Education as a whole changed dramatically when industry became the norm in major cities. No longer was it a schoolmaster’s charge to ensure that education ran around productive seasons in rural environments: city teachers in industrial complexes needed to occupy children while parents worked in the factories supplying the demand for American products. This industry provided a need other than nature to reinforce the importance of seasonal changes. Henry Turner Bailey was a forerunner of a movement to incorporate holiday decorations into the classrooms, both to enhance the drab appearances of black and white as well as to effectively remind students of seasonal change. “Holidays provided a necessary contrast and balance to the regimentation of industrial work…” (p. 71) Patriotic holidays also became a portion of the curriculum to teach good citizenship and a sense of community. The crux of all of this celebration and art-making for holidays was to impart qualities desired of a patriotic citizen, but moreover to instill moral virtues that the intrinsic meaning of holidays would aid in teaching making good community members.

The formal teachings and composition/color theory that drive much of art education are also an offspring of the consumer culture. Aside from the obvious capital gains by of gift giving or lavish décor, manufacturers of art education materials, when introduced in the industrial revolution, art education was a means to an end Thanksgiving remains - for now for increasing profits. Walter Smith brought industrial drawing the lone survivor of holidays into the classroom in 1870 and followed it with his description celebrated in the classroom. of well-composed objects as having “graceful service.” (Stankiewicz, 2001) Bailey had his share in the generation of industrial standards as a portion of art education. Historic ornamentation was a useful compositional tool that, when taught properly by formula, would result in a more readily salable product.

Using this methodology, Bailey would create the basis for an understanding of good taste, not only in the potential consumer, but in the potential artisan or manufacturer as well.

Without the pretension

The proof is in the product. Over the summer, my color theory students—soon to be my painting students in the fall—were given an assignment: “Create a self-portrait in whatever style and water-based medium you wish.” One student came in with a sub par portrait she was ashamed to display even after weeks of work. After three months of formal compositional training with paint, brushstroke, and other techniques, she created a set of four paintings for her final project which she was very proud to show. Using the theories taught in class and applying them to her work, she gained the confidence to explore a medium that was, to her, frightening. The results were stunning…not in the product itself, but in her execution of them. The student had overcome self-doubt through the acceptance of mistakes as a growth tool, not a hindrance. This is a central point for art education. Creativity and a yearning for self-improvement outside of the expectations of society are what we really teach. This student, among others, would have gained nothing from creating a mass-manufactured, prefabricated painting of a holiday scene. It would only teach her how to copy someone else’s achievement.

By learning this set of knowledge and tools, my students are better prepared to draw their own conclusions regarding art and creativity. Using these methods is essential pedagogy if I am to create an intelligent consumer of the art that affects the beauty of our world and our lives. There is nothing wrong with highlighting holidays in an art class as a moment of cultural stimulation within the family. Art educators have the capacity to stimulate the mind of your student and make them a better citizen of the world by giving them the ability to conquer their fears, accept mistakes, innovate, and build self-confidence. The skill sets we teach will make America a powerhouse again.

Reference: Stankeiwicz, M. (2001). Every Day a Festival. Roots of Art Education Practice, 67 - 103 Layout Design by Paula Mottshaw

Vol. 4 Issue 3 |

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| Rhode Island Creative Magazine

Donna St. Pierre

Vol. 4 Issue 2 |

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WEBSITE DESIGNS

THAT KILL SEO & RANKINGS WRITTEN by Chris Sheehy

Considering there’s no shortage of SEO and marketing advice floating around the internet, it perplexes me why the majority of business websites I see are missing the foundation SEO elements needed to get their website discovered online.

It isn’t the business owner’s fault if their seo sucks— the blame falls on their seo or website design/development firm.

Any businesses who outsource their needs to make certain the company they hire is fully experienced and qualified to tackle the ongoing SEO by educating themselves with the basics of search engine optimization. You cannot ask the right questions if you do not know the right words. And don’t be shy about asking prospective providers to explain their strategy for your business—by all means, do it! Listen for a “Unique” strategy built for your unique business, and pass on menu pricing and automated solutions. As you go through the process, just remember what Einstein said: “If (they) can’t explain it simply, (they) don’t know it well enough.”

Any SEO or web designer/developer worth considering should be able to explain (in non-technical terms) your current website status and their plans to correct any technical errors, as well as a future outlook. You don’t need to know how to do their job, but you desperately need to know how to negotiate and prioritize the scope of work your business needs with them. Learn the basics.

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Lastly, when looking for service providers, consider where they have spoken or presented as well as where they have been published—these are litmus test items for any professional. For those who take the D.I.Y SEO approach to their business, focus on nailing the basics before applying more advanced SEO tactics like schema, starting a social media campaign, or opening an AdWords/PPC campaign.

The website should be the focal point for all your marketing activity, so you need to get it right.

Now that I’ve laid the foundation to my story, I’m going to pass on writing a “Best SEO Tips” article, and instead head in the opposite direction by listing some of the most recurrent errors we see on websites that are killing your search engine ranking along with tips on how to fix them.

So read along and compare the things noted against your website. Make it a priority to get them fixed soon—your online visibility will be all the better for it.

1

LACK OF KEYWORD FOCUS

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INCONSISTENT LOCAL ATTRIBUTES

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The days of brainstorming to capture every conceivable word (called keywords) or phrase (yep, this one would be the key-phrase) that your business could rank for and then stuffing those onto your website are long over—they did exist though!

So too are the days of creating individual pages to target every iteration of these keywords.

This one’s for businesses marketing locally and impacts more than 85% of the websites we see. Read how screwing this up is easier than you think—Click Here. Be certain that your business Name, Address, and Phone Number (referred to as NAP) are on your website as text, not words within an image. Search engines can only see written text—they can’t see images—so make sure your contact information (and primary keywords) isn’t layered in an image.

Keyword research is tough, but it’s got to get done. Use Google Keyword Planner as a starting point, and be sure to select your targeting area so your results are geographically relevant (i.e., local). While you’re at it, selecting “Google and search partners” along with “Only show closely related ideas” under the “Customize your search” header may yield even better results.

Best practice would be to have your contact information text on every page of your website. Because the footer is a global element of a website, that makes it a prime location for your NAP. While you’re at it, consider adding your contact information as structured markup code (schema); it offers descriptive behind-the-scenes data that search engines eat up.

You still should build pages based on keywords, but use them as a larger theme instead of a tight silo; macro vs. micro, if you will.

WRITE TO BE READ—BUT IN A WAY THAT SEARCH ENGINES FAVOR.

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THE WRONG KEYWORD FOCUS

X

There are the keywords that people type (or speak) into their keyboards or device to find answers, and there are t he words that you want your business to be discovered by. While you very well may hit it out of the park with being discovered for both, at the beginning, focus on the words people are using to discover you and your competition. Very often, businesses have a long list of terms they want to be discovered for, and very often, these don’t match the words people are actually using to find businesses like theirs. The solution?

See tip one. The reports from Keyword Planner will give you a sense of historical search volume for keywords.

In addition to using Google’s Keyword Planner, AdWords keyword conversion data and “search terms” data offer great insight, as do Google & Bing Webmaster Tools. Having these should be the de facto standard for all websites.

3

POOR

META

Here’s what you need to know—every public-facing page of your website needs a unique META Title, which also goes by the name Page Title. This is a primary and most foundational SEO element that identifies the title of every page of your website. Think of it as the chapters of a book; no two could be the same, and each should succinctly describe the chapter (page).

Here’s the fix: keep your META Title between 30–60 characters (top limit is 65 characters, and it’s actually measured in pixels; 200–512px, if you will). Place your keyword as close to the beginning of the narrative that you can, and end with your brand. Keep punctuation to a minimum, and use dashes and pipes (this >|< is a pipe) as separators if you need to, and remember to write to be read—but in a way that search engines like. Nothing on your website should read robotic. Oh yeah—it’s the opposite for the homepage (brand focus first—keyword focus last).

Seriously, that’s how you do it.

As for META Descriptions (Page Descriptions)—not a ranking factor. However, begin descriptions with a keyword, and write to entice someone to click your link. This is your #1 conversion element, but few people actually read all 165 characters of it (that’s the limit—932px, if you will), so keyword placement for skim-reading is vital.

Lastly, META Keywords—just stop using those; they have not been useful for anything in a long time, so give it up. For real, all the search engines have depreciated them, and you’re likely to get yourself into more trouble than they’re worth. See step one instead.

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ROBOT

TAGS

Back in the day, we instructed search engines to “index” a webpage with a line of code called a robot META tag, but that practice isn’t necessary any longer. Here’s what Google says about it: The default values are “index, follow...and do not need to be specified.” Adding an index META tag to a site today could be perceived as being a bit pushy (forced directive), so it’s best to not include it. Don’t worry though, the default has you covered as all pages are indexable unless noted otherwise.

Surprisingly, just like the index META code, we see a lot of pre-production/in-development websites that aren’t using the “no index” tag when using a separate URL during the website development stages (e.g., yoursite2.com).

In the absence of code, the in-development pages will show up online instead of or in addition to your clients’ existing pages. Getting caught doing this will not be a fun conversation.

We’ve also seen website developers using a subdomain on their own website to host a pre-production website.

It looks something like this: client.yourwebsite.com. Can you imagine the mess this makes when they forget to use the correct META tag?

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MISSING

IMAGE ELEMENTS

The number one thing that prevents pictures from being discovered within image searches has nothing to do with the image. It’s a poorly structured filename that will kill any chance of an image being discoverable online.

THE FILENAME IS THE STRONGEST SEO ELEMENT FOR IMAGES, AS WELL AS FOR PODCASTS AND VIDEOS. This is a super easy fix, but could take a ton of time to change. If your website is on WordPress, there are some decent file-renaming extensions that do a good job with the heavy lifting, but be careful of using a fully automatic one; those are usually a compromise solution that could triple your headache.

Here’s the advice we give our clients: format the filenames in lowercase using dashes-to-separate words (not spaces or underscores), and make sure to include the keyword of the page that the image is to be placed on within the filename (e.g., “red shoe” images that belongs on the “red shoe” page of your website should contain the keywords “red shoe” or “red shoes.” Remember, iterations are important). This is an overly simplified explanation, but it’s not rocket science, and most business owners can do this. If you have tons of files, set up a schedule to do a few every day; you’ll get through it.

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1

/2 NOT USING ANALYTIC

& WEBMASTER TOOLS

Not a ranking factor—but as the saying goes “you can’t manage what you don’t measure,” so I’ve included it. I don’t have hard data, but anecdotally, I would have to say that 1/3 of the websites we see do not have a Google Analytics tag installed or at least the most recent version of the code (it changes over the years). Fewer still have Google & Bing Webmaster Tool access (Google’s is now called Google Search Console).

Before making any change to a website, make certain you can measure the effectiveness of those changes. These tools are FREE, and the self-help/how-to articles on them are excellent.

So there you have it—6½ WAYS TO BOLSTER THE FOUNDATIONAL ELEMENTS OF YOUR WEBSITE THAT OFTEN GO MISSING AND KILL ONLINE VISIBILITY. SET A SCHEDULE TO FIX THESE, AND WATCH YOUR RANKINGS TREND UP! Layout Design by Lisa Malm

Vol. 4 Issue 3 |

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A Window of Opportunity

By Kim Celona

the vines twisted upward all around almost choking in their rapture thinking growth should be a good thing like weeds and excess greenery needs to be eliminated cut back to truly see the beauty of simplification It is realized the small opening portal is as present as you are

Window of Opportunity, etching with aquatint and dry point, 2015. Artwork created by Kim Celona

MARKETING RAMBLES Paula Mottshaw Website Design Projects Step 2: HIRING Okay, you have done your planning. You have a good idea about what you want, your goals, and you have a good handle on the content that is needed.

Now you need to find the person to make your site come to life. Some of you may have the skills to create your own website, and others may have the time and want to delve into doing the work yourself. But, most of you probably want to continue working at your craft and do what you love to do and want to hand off the project to a professional.

How do you hire the right web designer? Start by talking with friends and colleagues who have gone through a web site design or redesign project. Ask them about their web designer? Ask them if they were happy with their designer. Look for a designer who is easy to contact, easy to understand and has a respect for deadlines and work schedules. Make sure there is a good personality match.

Just like any other field of work, many web designers specialize. For example, if you are a creative professional, you may want to look for a designer who specializes in creating websites for designers and creative professionals.

Try to look for a designer who specializes in your field of work, or at least performed some work in that area. Review some of the designerâ&#x20AC;&#x2122;s work. Do you like her style? Is her style in line with your brand?

Contact web designers and actually talk with them on the phone. Share your project specifications with them. Do they communicate in a clear and effective way that you can understand? Do they answer your questions? Are they clear about what they can do for you?

When you find a designer you like, ask her to submit a brief proposal that includes work to be delivered, price quote, payment schedule and work schedule (time line).

Some organizations choose to do the hiring process through issuing a request for proposal (a solicitation made through a bidding process). It is a good process and one that allows you to gather a great deal of information. It does take a lot of effort to respond to such a solicitation; therefore, you will

WEB DESIGNER WANTED most likely receive responses from agencies (which is fine if you have decided that you want to work with an agency).

Freelancers are often busy working and canâ&#x20AC;&#x2122;t afford to take the time off to respond to such a solicitation.

Consider working with a freelancer. The benefits include continuity (you are always working with the same person), saving money (often freelancers charge less than an agency) and personalize attention (one-on-one communication with the same person instead of having multiple contacts).

Questions to Ask 1. When can you start working on the project?

2. What do you need from me before we start?

3. Who is doing the work? Is anything outsourced?

Who is the contact person?

4. Can you help with writing content? Some designers do more than design.

5. Do you have experience with my industry?

6. Do you have experience designing sites for mobile devices? Responsive sites?

7. Do you have experience with the content management system I want to use?

Take your time and make sure there is a good fit between you and your web professional. You will be glad you did.

Paula Mottshaw specializes in web design and graphic design (print materials) for healthcare and nonprofits. She can be reached at pmottshaw@ mysimpledesignsolution.com. @pmottshaw www.linkedin.com/in/paulamottshaw

K SS

Layout Design by Paula Mottshaw

Vol. 4 Issue 3 |

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my own. As a commercial illustrator, I can dream-up just about anything. I thrive on detailed realism.

4. What’s your favorite item to create?

I {heart} Rhody interviews Cate McCauley from Pawtucket Artist’s name: Cate McCauley Shop name: Pyrography Illustrations: The Fine Art of Drawing with Fire onlinE http://www.catemcc.com

A few years ago I switched from burning on wood to watercolor paper, a process that took over a year of experimentation. Now I can add color. Even if it’s just a touch as with my logo art “White Tiger,” or more color like “Iris Blooms,” it opens a whole new world of possibilities.

5. What’s your best seller?

Because I sell matted reproductions, there have been a few over the years.

It’s always unpredictable.

At the recent Wickford Art Festival (July 2013) it was “Baby Elephant.”

Facebook https://www.facebook.com/cate.mccauley.3 SEE|ME https://catemcc.see.me

1. Tell us about your work.

Pyrography literally means to “draw with fire.” My artwork is burned on watercolor paper using heated metal-tipped pens.

Burning an image creates unique sepia-toned shading and crisp details unlike any other medium. Each piece is meticulously hand-drawn. They can take about 10 to 40-plus hours to complete, depending on size and complexity.

(For more about the tools and techniques, please visit: http:// www.catemcc.com/tools.html)

2. How did you come to be a professional artist/designer?

My art career began almost four decades ago. I went from a teenage apprentice at Mark Three Studios in Providence to becoming president of my own ad agency. I was trained on the job to be an illustrator back in the days when everything was drawn by hand instead of computers. That experience has served me well working in this medium.

3. Where do you draw your inspiration?

Nature mostly. We have many Barred Owls in our yard, which I’ve studied in great detail.

Other times folks send me photos for inspiration, or I take

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| Rhode Island Creative Magazine

6. How long have you been in Rhode Island?

I am a proud life-long Rhode Islander. The last of four generations to growup on the now-famous Perkins Ave. in Cranston.

My family then moved to Warwick, a few miles north of East Greenwich. Today my husband & I live in West Greenwich, our little slice of heaven.

7. What do you {heart} about Rhode Island?

It’s home. It’s a beautiful and extraordinary place to live, whether you like the ocean or woods, history or nightlife.

Although there are some Rhode Islanders who still pack a lunch to go from Apponaug to Hoxie, you really can get there from here in short-order compared to other states: How cool is that?

8. Please include anything else you’d like to add: I’d like to thank everyone who has supported me and this rare art form. My next big showing will be at the Scituate Art Festival on Columbus Day weekend (Oct. 12, 13 & 14). It’s always such a pleasure meeting people and introducing them to this art form. So please come visit. Meanwhile, feel free to contact me if you’re interested in any of the artworks or a commission.

Connect with I {heart} Rhody

twitter @iheartrhody

facebook iheartrhody

online iheartrhody.com

Layout Design by Kimberly Sherman Leon

“

It’s Not a Copyright Violation...

It’s Fair Use!” By: Devon Landis, Esquire RI & MA Attorney

Artists often times find inspiration from the people around them, from current topics in the media, and from other artists’ past or current work. Ideally, almost all clients will talk at length with me about their current projects, as well as their ideas at the outset of their project. At every step, whether the client asks me to or not, I am looking to see if there are possible copyright infringements. One example is the artist or client who wants to take a famous photo and paint it in a different manner or style. Many times when I discuss a possible infringement, I hear back from my client that even if the aforementioned work is copyrighted, what they are considering doing would be considered fair use.

What is fair use?

There are sections within Chapter 1 of Title 17 United States code that provide specific situations when using work that is copyrighted is permitted. The law places limitations on the exclusive rights of the copyright holder in order to balance it with the rights of the public.

What needs to be understood is that courts all over the country have not settled on the exact application of the fair use factors. For examples, take a look through the case search service that the U.S. Copyright Office offers online which lists whether the court found fair use or not.

Section 107 of Chapter 1: Limitations on Exclusive Rights: Fair Use of Title 17 of the USC, states:

Well, I think it’s fair use, so I won’t get into legal trouble.

“…the fair use of a copyrighted work, including such use by reproduction in copies or phonorecords or by any other means specified by that section, for purposes such as criticism, comment, news reporting, teaching (including multiple copies for classroom use), scholarship, or research, is not an infringement of copyright.

In determining whether the use made of a work in any particular case is a fair use the factors to be considered shall include—

»» »» »» »»

The purpose and character of the use, including whether such use is of a commercial nature or is for nonprofit education purposes; The nature of the copyrighted work; The amount and substantiality of the portion used in relation to the copyrighted work as a whole; and The effect of the use upon the potential market for or value of the copyrighted work.”

Layout Design by Amy DeSantis

Fair use may apply, but the key question to ask yourself is: are you prepared to use fair use as a defense in court? This means that you don’t get to present your argument until after having to pay legal bills. Sure, you may receive a cease and desist letter and have your lawyer write back a letter on why fair use applies, but it does not mean that the other party or their lawyer agrees with your use and will not force you to defend that use in court. Always try and get permission for use of a copyrighted work or meet with an attorney to discuss the possible use.

Disclaimer: This is for informational purposes only and not exhaustive of all aspects of the law on this topic and it is not to be considered legal advice on any particular set of facts or circumstances, you should contact an attorney for advice on specific legal problems. www.devonlandislaw.com

Vol. 4 Issue 3 |

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THENINE NINE THE PAPER PAPER OPTIONS OPTIONS THATWILL WILL THAT MAKEOR OR MAKE BREAK YOUR BREAK YOUR PROJECT PROJECT WRITTEN BY JOHN PROTHERO LAYOUT DESIGN BY MICHAEL RICCI

We have covered designing from the back end as well as thinking of various finishing and post-press operations and how to design for them.

Last month we covered basic press mechanics to help you understand how to design for the press or device the job will print on. For this final installment, we will talk about how paper impacts your design.

Paper is the biggest variable in your design, so let’s look at some of the things to discuss with your client and the printer when determining which paper you’re going to use: 1 2 3 4 5

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Coated or uncoated Dot gain Grain direction Colored paper Cover or text weight

| Rhode Island Creative Magazine

6 Sheet size 7 Basis Weight 8 Thickness 9 Paper dummies

COATED OR UNCOATED

The basics of paper cover the choice of using a coated sheet (gloss, dull, matte, silk, cast-coated) or an uncoated sheet (text, offset, opaque, smooth cover, super smooth cover). The thing to remember is that ink sits differently on coated sheets than uncoated sheets. On a coated sheet, the ink dot or micron will sit up on top of the coating and look brighter. On an uncoated sheet, the dot will spread slightly and even absorb into the sheet slightly, which will affect the color and create a bit of dot gain (see below). Different types of coated sheets will affect ink dots as well, and some uncoated sheets have smoother surfaces, so the dot sits on the sheet better.

DOT GAIN

Dot gain occurs when the ink dot spreads slightly on the sheet. Many things can affect dot gain: paper surface; viscosity and temperature of the ink; too much packing behind the blanket, and so on. Paper, however, can have the most impact. A vellum sheet will absorb more ink and create more dot gain, whereas a gloss-coated sheet will have little dot gain.

GRAIN DIRECTION

This is VERY important in your design, particularly if you have solids and are running on cover-weight papers since the printer will have to score the sheet. When manufactured, paper creates a grain direction; when paper is sheeted at the mill into parent sizes, manufacturers and distributors indicate grain direction by how they spec out the dimension of the parent sheet, with the second number indicating the grain direction. For example, 25 x 38” means that the grain runs parallel to the long edge (38”). Sometimes you’ll see books where it’s 25 x 38 or 25 x 38. But if you have what is called a “short grain” sheet, the indication is 38 x 25, or 38 x 25 or 38 x 25. Short grain means that the paper grain is running perpendicular to the long edge of the sheet. Grain direction can also affect how the sheet runs through the press, and MOST printers prefer long grain running perpendicular to the sheet direction since the sheet is rolled around various cylinders as it prints.

PAPER COLOR

Most coated sheets are white with variations on whiteness or brightness, blue-white, or cream-white. These variances can affect how the ink will appear, since light passes through the ink, bounces off the paper, and then back through the ink again to your eyes. There are many uncoated sheets that have a variety of colors and finishes, or flecks of recycled material, and this can greatly impact your design. Make sure you get the most recent swatch book from your printer so you can see what that paper will look like. Some print services providers can proof directly onto the paper if they have a high-end proofing system. You may wish to ask that question, particularly if you’re using a paper such as something in the Neenah Environment line.

COVER OR TEXT WEIGHT

Cover paper is, as it sounds, used for covers of books or other publications. Text paper (often called book) is for use in the text of a publication. Now, cover can be coated or uncoated, and text the same. When I started in this industry, text meant uncoated text-weight sheets, and book was for coated text-weight sheets. Currently, you’ll see “coated text” frequently used for coated book.

SHEET SIZE BASIS WEIGHT

There are a myriad of sheet sizes dependent upon if the sheet is coated book or text, offset, or coated or uncoated cover. The standards are anything that can come out of either a 25 x 38” sheet, or a 28 x 40” sheet. But even with that, there are variations. For example, 28 x 41” is not uncommon, and 23 x 35” is what you’ll find for text or “writing” sheets. Another common size is 25.5 x 38”. Again, pay attention to grain direction, and ask how your printer plans to run the job, in case he or she is running it in a way that won’t get the best optimization of the sheet.

There is a whole standard for how basis weight is determined, and it can be confusing. Primarily, it’s based on the parent sheet size at a specific amount of sheets. And printers love to use “#” for “pound”, so don’t be too surprised it’s not a hashtag!

THICKNESS

Obviously, thickness of a sheet of paper is crucial and is often directly related to the basis weight. European convention (which is slowly being adopted here in the US) is GSM, or grams per square meter. Digital presses in particular use GSM, and you need to know off the top of your head what your digital device’s max GSM is.

PAPER DUMMIES

I’ve said it before, and I’ll say it again: paper dummies can truly save your skin, because they are the threedimensional realization of the design you have. Have your print services provider create one for you and one for themselves for reference. Make sure it’s on the actual job stock, and then get the final dieline from the printer to lay your files to.

Designing for print requires more than just a knowledge of layout and composition; it’s also about paper, print, and finishing processes. Understanding all of these factors and how they work together will enable you to design dynamic and cost-effective pieces for your clients.

Vol. 4 Issue 3 |

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by Jairo Gomez Xzito

Fact: Scarcity Sells.

The principle of supply and demand shows that when supply is limited, demand goes up. Scarcity Marketing has a psychological influence on us, making us want something even more when there isn’t enough to go around. Scarcity creates a fear of shortage and of missing out, and thus a sense of urgency.

Here’s three ways you can leverage Scarcity in your promotion for product launches, eBook availability, discounts and more.

Limited Time Offers: Time’s running out! Get it before it’s too late.

Limited Quantity Offers: In some studies, limited quantity or supply offers have outperformed limited time offers.

Why? Because a limited quantity can suddenly become unavailable, while a time-based offer has a known end time.

Limited quantity offers are great for not only getting people to say “yes” to your offer, but to avoid a buyer’s tendency to procrastinate.

Limited Time + Limited Quantity: Groupon is the perfect example of using both tactics. All Groupon deals end within a certain time frame, and they limit the number of people who can buy a Groupon. That’s a powerful combination. The site also packages these a powerful combination. The site also packages these scarcity tactics with discounting, which is another great value-add, especially for ecommerce businesses.

Interested in building the concept of Scarcity Marketing into your upcoming offers?

Learn more at www.xzito.com.

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| Rhode Island Creative Magazine

Dear Mom and Dad : I Want to Study Art Students have been discouraged from studying the arts, humanities, and social sciences based on the

misperception that there are no meaningful career opportunities for graduates who have studied these subjects. This is simply not true! There are exciting, well-paying, growth-oriented professional positions for people with an art background. Indeed, they are vital for the economy today. The following draft letter may help students with an interest and talent in art convince mom and dad that they should be taking art classes in high school and college.

Dear Mom and Dad:

Iâ&#x20AC;&#x2122;d like to study art and/or music in high school and college. Donâ&#x20AC;&#x2122;t worry. I know that you have heard that there are very few jobs in these areas and have images of starving artists with lots of debt when you think of an art or music student.

All of us know that few professionals are selected to play music for leading orchestras, and few earn large incomes from their paintings. It is also true that you will find starving artists and musicians. However, you will also find many with very successful careers earning very substantial salaries applying their knowledge of art and music. The key is that these successful students study art and/or music along with business and/or technology, which is just what I want to do.

Here are a few examples of the types of work I might do, applying my skills in art and music in industry.

Advertising. Designing product packaging, internet advertising, and billboards which are attractive and help to sell products.

Architect. Designing a nice-looking structure requires knowledge of art as well as technology.

Cosmetic Surgeon. Artistic ability is critical, right?

Dentist. Would you want someone without artistic ability reshaping your mouth (or mine)?

Human Factors Engineer. In addition to understanding psychology and technology, having artistic ability is an asset in designing products which are safe, easy, and fun for people to use.

Industrial Designer. Designing products for consumers and professionals.

Interior Designer. Designing attractive building interiors requires artistic talent.

Landscape Architect. In addition to understanding science, a landscape architect

has to make landscapes look beautiful.

Software Engineer. Did you know that prior to colleges and universities offering degrees in computer science and software engineering, music majors were widely sought after to do computer programming?

Evidently, the skills which a music student acquires help them to program!

I hope that I have shown you how my art and/or music training will be the differentiator that helps launch my career in whatever discipline I may eventually choose, so that I will be so much more successful than graduates without art and/or music training. It will be a great investment.

Your Future Professional,

Signedâ&#x20AC;Ś

Ronald G. Shapiro, PhD Vol. Vol.4 4Issue Issue2 1| |27 7

Getting Personal: a Writerâ&#x20AC;&#x2122;s Perspective

by Kate Strassel

Layout Design by Kate Hanley

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| Rhode Island Creative Magazine

Last summer I enrolled in a creative nonfiction class at Harvard taught by David Gessner, an accomplished nonfiction author and blogger.

For the first half of the semester, I based my responses to the weekly writing exercises on â&#x20AC;&#x153;safeâ&#x20AC;? subjects: a family trip to Maine, a favorite childhood memory, my passion for baking.

During the fifth week of class, however, our assignment was to write a single page about something outside of our comfort zone, something truly personal.

Even though I knew what I was going to write about, I waited until late the night before to complete the assignment.

I emailed the essay to David and shoved the printed copy deep into my backpack, not wanting to look at it again until I absolutely had to.

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The next day I arrived at Harvard early and was relieved to find the classroom empty. I pulled my phone out of my pocket and was opening the email app when David strode into the room, his longish gray hair windswept and papers overflowing the top of his worn leather messenger bag.

He saw me sitting there and grinned as he dropped the bag on to the pocked surface of the conference table.

“Kate! I’m glad you’re here early. I want to talk to you about today’s assignment.”

My stomach lurched. I knew what was coming.

David rummaged through his bag and pulled out a dog-eared sheet of paper: my essay. I could see his scrawled comments all over the margins as he held up the paper and gestured towards it.

“Your mother and the overdose and the cats—it’s brilliant!

Why haven’t you written about her before?”

I stared at the table as I mumbled “Because it’s too hard.”

“Too hard? What’s too hard?”

I took a deep breath and looked up at him “Because I’m ashamed. I’m ashamed of her and ashamed of the way I feel about her.”

I turned away, blinking back tears.

I heard David sit down next to me. “Look at me, Kate,” he said. Biting my lip hard, I swiveled back to face him.

He stared at me, his pointed index finger two inches from my face, and said “That’s exactly why you need to write about her. Don’t worry about who might read it. She never has to read it. Just get the words down on the page.”

It was the single most valuable piece of writing advice I have ever received.

It’s always personal.

Unless we’re writing ad copy or documenting a scientific experiment, any and all writing we do is personal.

I don’t care if it’s a grocery list or an autobiography: every detail—from the arrangement of the words on the page to the use of the first or third person—reflects the personality and emotions of the writer.

While you’re not likely to offend anyone by putting the produce before the meats and dry goods on your shopping list, you do run the risk of angering, embarrassing, or hurting someone (a spouse, a friend, a coworker) if you portray

28 RhodeIsland IslandCreative CreativeMagazine Magazine 1 | | Rhode

“ Just get the words down on the page.”

him or her in a less than flattering role in your memoir.

Some writers experience no internal conflict whatsoever when it comes to choosing between their own feelings and those of the people they write about.

These are my feelings, and I have a right to express them—feelings of others be damned.

(I liken these writers to those people on Facebook who feel compelled to post every thought, emotion, and opinion that flitters through their brains.)

For many writers, though, revealing our innermost thoughts and feelings through our writing is tantamount to standing naked and alone on the field of a sold-out football stadium.

Sure, we can change names and hair color and cities and call it fiction…and then live in constant fear that Aunt Doris will read our story and figure out that the nagging, overweight woman with the shrill voice and the bad perm is really her.

We’re not just afraid of being exposed; we’re scared as hell of being judged for our unkind, unpopular, perhaps even deviant thoughts.

So what do we do?

Let it all out.

There’s a reason so many people (writers and nonwriters alike) keep journals: it’s therapeutic. Recording your thoughts and emotions—whether it be in a leatherbound book or on a laptop—enables you to take a step back and view the deepest, darkest recesses of your psyche through a different lens.

In Peggy Nolan’s Huffington Post blog post “26 Reasons Why I Keep a Journal (And Why You Should, Too),” the author views her journals as safe, judgment-free zones where she can document her emotions and put them away for good. For journal writers, just having their thoughts exist in a space outside of their head is enough to put things in perspective.

Then there are those of us who require a more structured and polished outlet for our feelings.

As writers, it’s part of our nature to want others to read what we’ve written, to have our fears dispelled and our feelings validated.

But at what cost?

By forfeiting personal gratification to protect the feelings Layout Design by Michael Ricci

of those we write about, we are stifling our own feelings, keeping our frustrations and sorrows bottled up until the pressure builds to the point where the bottle shatters and everyone gets hurt.

Is there no compromise?

Choose your own adventure.

If you are someone for whom peace and satisfaction will never exist until your story has been captured on the page and read by others, then you have a decision to make. Fortunately, there are options that don’t have to result in family feuds, ruined relationships, or sudden career changes.

1 A select few: If you must have someone read your piece but can’t get over the fear that the wrong person will discover what you’ve done if you publish it, find someone—a best friend, a trusted relative or coworker, a professor or editor—for whom your story has no emotional ties and can be trusted to keep the contents to themselves.

2 An obscure publication: There are myriad fiction and nonfiction journals, both online and in print, which few non-writers have ever heard of or would stumble across on their own. Keep in mind, though, that a Google search for your name by a curious (or suspicious) person could potentially lead him or her to your story if the publication is online.

3 Get permission: You could, of course, have a heart-to-heart with the main characters in your story and advise them of your intentions. While this tactic may seem equivalent to walking straight into the path of an oncoming car, you may very well be surprised by the results. Never underestimate the power of someone else’s ego.

In a society where public airings of emotions and opinions are not only accepted as the norm but encouraged via social media and blogs, some people may find a writer’s struggle between “I want to write this because it’s eating me up inside” and “I shouldn’t write this because (fill in the blank) will be angry/embarrassed/ hurt” to be archaic and unfounded. But for every writer who only cares about themselves, there are dozens of us who fight this internal battle daily.

As I write this article, I feel the familiar lurch in my stomach even though I’m not really disclosing any deeply personal information because, for me, the topic itself is extremely personal. Nevertheless, I will write and publish this article, even though it terrifies me. Because if my words inspire even one fellow writer to conquer her fears, perhaps I will be slightly less fearful the next time I sit down to write.

Vol. Vol.4 2Issue Issue3 1| |29 1

creativeground.org CreativeGround@nefa.org

Dig into New Englandâ&#x20AC;&#x2122;s free directory of creative enterprises and artists Wikepi Baskets

Studio Echelman

Lida Winfield

AVA Gallery and Art Center

CreativeGround spotlights the creative people and places at work in New England, including cultural nonprofits like libraries and theaters, creative businesses like recording studios and design agencies, and artists of all disciplines such as performing arts, visual arts, and crafts.

What Cheer? Brigade

Photo credits (L to R): Theresa Secord (Penobscot); Ema Peter, Courtesy Studio Echelman; Gene Parulis; Gary Hall Photography; Sean Hafferty

Visit CreativeGround.org today to: Promote your work, activities, and services.

Log in and manage an informative and engaging profile visible to a broad audience of arts and non-arts invidiuals and enterprises

Find potential collaborators and resources in your cultural community.

Browse 30,000 profiles offering a wide range of services.

A project of the New England Foundation for the Arts, CreativeGround is brought to you through partnerships with the National Endowment for the Arts and the six New England state arts agencies.

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

The official publication of KS Designs

What's happening creatively in Rhode Island?

RI’s Comprehensive Arts & Entertainment Calendar

A rtsNowRI.com An easy-to-use calendar that covers all

art related events statewide. You can view the many different artists and events that our creative state has to offer. It’s also where you can submit any events you may be having. Make this your go-to calendar to see what is going on creatively in RI!

11/7/15 Annual 10x10x10 Opening Reception Pawtucket Arts Collaborative Mill Gallery 558 Mineral Spring Avenue 5:30-7:30PM 11/14/15 Paper Connections 20th Anniversary Warehouse Sale 166 Doyle Avenue, Second Floor Providence, RI 10AM - 4PM paperconnection.com

11/4/15 - 11/22/15 Around the World in 80 Days Ocean State Theatre Company 1245 Jefferson Blvd., Warwick, RI www.oceanstatetheatre.org

11/6/15 - 11/8/15 4th Annual RI Comic Con Appearances of actors from television, film and comic books. 3 day venue taking place at The Providence Convention Center and The Dunkin’ Donuts Center.

For tickets and more information visit www.ricomiccon.com

11/14/15 AMP RI Guest Speaker: Dayna Mancini Director of Sales, Marketing, and Events at Lang’s Bowlarama/RI Bowling 225 Niantic Avenue, Cranston, RI 5:30-7:00 PM, Appetizers & 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!

11/15/15 Craftopia A super-duper day of art, craft, food & fun!

Hope Artiste Village 1005 Main St., Pawtucket, RI 10AM-4PM; $1 Admission www.rhodycraft.com

11/6/15 - 11/8/15 Fine Furnishings Show Fri. 4-8, Sat. 10-6, Sun. 10-5 Pawtucket Armory Arts Center 172 Exchange Street, Pawtucket, RI Admission - $10 www.FineFurnishingsShows.com

Check out the full calendar online! www.ricreativemag.com 32

| Rhode Island Creative Magazine

11/18/15 RI Teaching Artists Center 6x6 Using Technology to Engage Learners AS220 131 Washington Street Media Arts Studio #206 Providence, RI 6PM - 8:30PM; Register here 11/19/15 Gallery Night Providence Contemporary Celebrity Tours with Beth Braganca Bell & Julie Brayton, Shopping Tour with Patyy Jeffrey 5:30PM; FREE One Regency Plaza, Providence, RI 11/23/15 Artist’s Loop with World Drumming Demonstration Sponsored by: Friends of Rochambeau Library Rochambeau Library 708 Hope St, Providence, RI 6-8PM; FREE 11/27/15 Trans-Siberian Orchestra Tribute: Ornament Stadium Theatre 28 Monument Square, Woonsocket, RI www.stadiumtheatre.com 11/28/15 - 11/29/15 Rhode Island Civic Chorale & Orchestra Handel’s Messiah 11/28 Cathedral of Saints Peter and Paul 30 Fenner Street, Providence, RI 11/29 St. Joseph’s Parish Newport 5 Mann Avenue, Newport, RI Tickets & Times visit www.ricco.org 11/30/15 Holiday Entertaining 101: A 2 Part Culinary Class The Cafe At Easy Entertaining 166 Valley Street, Building 10, Providence, RI Tickets & Time information nik@EasyEntertainingRI.com