In the Spirit Of Illustration: Addressing the needs of the Gifted Learner.

Rohan Patrick

In the Spirit of Illustration: Addressing the needs of the Gifted Learner

Rohan Patrick UHA ID: 19331712

Thesis Defense and Exhibition Illustration ILS 970

In the Spirit of Illustration: Addressing the needs of the Gifted Learner

Submitted in partial fulfillment of the requirement for the degree of Masters of Fine Arts Hartford Art School, University of Hartford

Defense Date: ______________________________________________________________ Advisor: Bill Thomson

Defense Committee Committee Chair: ____________________________________________________________ Committee Member: __________________________________________________________ Committee Member: __________________________________________________________ Committee Member: __________________________________________________________

In the Spirit of Illustration: Addressing the needs of the Gifted Learner

Table of Contents

Introduction

1

Inspiration

4

Process

9

The Work

24

Marketing Plan

36

The Plan

37

Financing

41

Business Relationships

42

The Business of Gifted at Play

42

Attracting Talent

43

Marketing

44

The Program

46

Conclusion

48

Biography

50

Bibliography

51

Introduction

This project came about due to my interest in education and a need to better serve the learners in the school and class where I work. I also wanted to explore my interest in watercolor as a traditional illustration medium and to use this technique in my work and in my classroom. Since the beginning of the Low Residency MFA in Illustration program, I have been interested in developing and addressing the specific needs of high ability students. This is not to say that I have been assessed as a gifted learner. However, taking several courses in this area led me towards my teaching visual arts certification. This project is aligned to serve the kind of students I am preparing to teach.

There are many definitions for students deemed as "gifted" or "high ability." The New York State Department of Education defines gifted students as, "pupils who show evidence of high performances capability and exceptional potential in areas such as general intellectual ability, special academic aptitude and outstanding ability in visual and performing arts". This definition was taken from the website, gse.buffalo.edu/online/gifted. In preparation for Fig. 1 Winner, Ellen. (1996). Gifted Children: Myths and Realities. New York: Basic Books.

this new venture, I have taken several courses including Identifying Characteristics and Needs of Gifted Learners (Fig.

1). This course along with the book by (Winner 1996) provides an understanding of Gifted and Talented historical roots, basic terminology, theories and models, as well as general

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characteristics and needs of gifted learners. Developing and Evaluating Curriculum for Gifted and Talented Learners was another course explored (Fig. 2). In the text Curriculum 21; (Jacobs 2010), which was used in the course, Mr. Jacobs focuses on curriculum processes and outcomes for learners with gifts and talent. The seminar involved students in both analyzing existing curriculum research and designing their own curriculum research project in the area of gifted and talented.

I also had the opportunity to look into Differentiated Instruction.

Some of the information presented was from the text by Dr. Callard-Szulgit who was also the instructor for the course (Fig. 3).

This conceptual foundation and practical application of differentiated instruction for learners with gifts and talents examined lesson and unit designs to accommodate gifted learners and their needs using a variety of instructional strategies that promote higher

Fig. 2 Hayes Jacobs, H. (2010).

Curriculum 21: Essential Education for a Changing World. Alexandria, VA: Association for Supervision & Curriculum Development.

level, creative, and critical thinking skills. This course was specifically designed to cover New York State’s requirement for Gifted and Talented Instructors

Relying on the knowledge I gained by studying gifted students and instructional strategies, I decided to develop a children's Fig. 3 Callard-Szulgit, R. (2005).

Teaching the gifted in an inclusion classroom: Activities that work.

Baltimore, MD: Rowman & Littlefield

book called Gifted at Play as the subject of my thesis project. The

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book is intended to be a resource for gifted students, while also allowing me to experiment with traditional and digital illustration techniques. Doing the book project Gifted at Play would not have been possible without the full understanding of Identifying and Assessing Gifted & Talented Students (Fig. 4). This is the understanding of assessment that focuses on evaluation of learners with gifts and talents as well as promoting student development and learning.

The last portion of this course addressed issues in promoting the development and learning of students with gifts and talents. It is my hope that this project/picture book Gifted at Play (Fig.5) will help serve all children with severe peer difficulties and bring to light our nation’s high achievers. This picture book also focuses on the gifted learner’s playtime and interaction with school age peers. The main target of this picture Fig. 4 A Teacher's Guide to Classroom Assessment (Jossey-Bass Teacher) Understanding and Using Assessment to Improve Student Learning; Grades K12 by Susan M. Butler , Nancy D. McMunn

book is for middle school age children.

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Inspiration

As an educator, I have a great impact on my students' inspirational and motivational levels. I came to the Low Residency Program with a certain degree of motivation. My professors’ behavior and teaching style, the structure of the course, the nature of the assignments, the formal and informal interactions all had a large effect on my motivation. My inspiration came when I saw the many published works by my instructors and my deep desire to learn from some of the best.

Fig. 1 Zina Saunders (b. 1953), Attack on the Middle Class, 2010, Digital, Mother Jones, cover.

One of my reaction papers came from being inspired and motivated by one such illustrator, Zina Saunders, (b. 1953) (Fig. 1). Ms. Saunders is a self-directed artist with a passion for social issues. Whenever there is an issue that she is unhappy about, you will see it in her work. A native Fig. 2 Photographer unknown, Norman Saunders (1907-1989), 1951, Mr. Saunders at work

New Yorker, she attended The High School of Music and

Art and graduated in 1970. She went on to Cooper Union, but also learned much about painting and commercial art from her father, illustrator Norman Saunders (1907-1989) (Fig. 2).

The inspiration came from looking at some of Ms. Saunders’ work. Her style is filled with feelings and emotion showing her sensitivity to humanity. When asked to describe her style, Ms.

Fig. 3 Zina Saunders, Obama Angels, 2010, “DigiCut style,” The New Republic.

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Saunders commented that she has several. Her first is a painted style executed digitally that tends to be loose and experimental. It is also often filled with a lot of color. Her next style is what she calls “DigiCut” (Fig. 3). This essentially is digital wood cut, which is done exclusively on the computer. Her third and final style is animation (Fig. 4). With her animation, Ms. Saunders is using a standard that she calls, “cartoon vocabulary”. Ms. Saunders’ work is inspiring in developing an illustration vocabulary. Inspiration came through my desire for self-fulfillment, enjoyment and to achieve a mastery of the subject. On the other hand, I was also motivated to perform and succeed for the sake of accomplishing a specific result. This result is a picture book (Fig. 5) and the Masters of Fine Arts in Illustration from the University of Hartford.

In addition to my class mates and professors’ inspiration, the curriculum was structured to motivate students. I was inspired through the research of Fig. 4 Zina Saunders, Blind Trust, 2012, animation style, The Final Edition.

my reaction papers and critiques. In several one-on-one meetings I have had with Dennis Nolan (b. 1945), I felt the emphasis on “personal meaning,” as I believe is illustrated here in this portrait (Fig. 6) by Lauren Mills (b. 1957), the wife of Professor Nolan. The emphasis on this piece for me was to uplift, edify, and educate. The personal meaning for me was an opportunity to abandon topics and methods Fig. 5 Rohan Patrick (b.1969), Gifted at Play, 2013, book cover, Lulu.com

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chosen for career advancement in favor of subjects that are personally meaningful.

Throughout the program, the emphasis was not on grades but the quality and context of the art work. Faculty members responded with feedback and gave tips to encourage students to complete assignments. My influences leading to this topic came

Fig. 6 Lauren Mills (b. 1957), Artist Dennis Nolan, 2006, bust sculpture

from being a Youth Advocate for the Office of Children and Family Services, Lansing Girl School; where I have worked since 2007. This project idea, In the Spirit of Illustration: Addressing the needs of the Gifted Learner, I wanted to present a case and advocate for the gifted learner by highlighting how a particular learner interacts with her peers. The result of this came in the form a middle school age picture book. This book will be my first and I have seen first-hand how difficult and meaningful it can be to illustrate, write and produce a children’s book. I am grateful for the opportunity Fig. 7 Alice A. Carter (date unknown), Cecilia Beaux: A Modern Painter in The Gilded Age, Rizzoli, 2005

to study techniques, share ideas and rub shoulders with

successful and nationally recognized illustrators, such as Alice “Bunny” Carter (dates unknown) (Fig.7). Ms. Carter emphasis on quick sketches (Fig. 8) made the class intense and high spirited. Her increase push and motivation was an inspiration

Fig. 8 Rohan Patrick, thumb nail sketches, Alice A. Carter and Dennis Nolans’ class, Hartford art School, 2012

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to the class. Lisa L. Cyr (dates unknown) took me on a different adventure with her presentation. Ms. Cyr is an accomplished multidisciplinary artist and author with a content-driven approach. Her highly imaginative, fantasy-inspired works use layers of metaphor and allegory to stimulate curiosity, Fig. 9 Lisa L. Cry (dates unknown) African Dreamer, acrylic, ink, gel medium & oil on Bristol board

provoke thought and encourage further inspection.

A poetic, rhythmic synthesis of drawing, painting, collage and assemblage, Ms. Cyr's visually tactile, mixed-media work is composed to collectively create a new reality with a more expressive, symbolic arrangement. The artist's expansive visual vernacular and innovative use of alternative materials and approaches transcends mere techniques, creating a dynamic pictorial Fig. 10 Ed Tuttlel, (b. 1945), Ted Lewin, 2006, photograph,tedlewin.com

idiom that is not only multidimensional but also multi-sensual (Fig. 9).

Ted Lewin (Fig. 10) and Betsy Lewin (Fig. 11) gave me a sense of purpose

with my work and Dennis Nolan (b. 1945) let me see the merit in art history and production.

I was further inspired by other visiting faculty’s work (Fig. 12) and their levels of accomplishments in illustration. It was further inspiring for students to have the opportunities in self direct assigned tasks that are neither too easy nor too difficult. I was able to find personal meaning and value in the material in an atmosphere that is open and positive (Fig. 13).

Fig. 11 Betsy and Ted Lewin with Laura Bush, photographer unknown, 2006, National Book Festival, betsylewin.com

I was also motivated to continue with my chosen book topic Gifted at Play or Gifted Play because I believe in the topic and subject matter. It is a topic that has never been seriously Page: 7

explored and a topic that made me feel valued like a member of a learning community.

At first, I struggled to decide what medium to use for the illustrations of my project. After seeing a Fig. 12 Fig. 1 Dave Cutler (b. 1960) Out of His Mind, 2012, medium unknown, self-promotion

presentation by Mark Ulriksen, (b. 1957) (Fig. 14) in San Francisco, I began to try multiple medium using

watercolor and Adobe Illustrator. Mr. Ulriken worked as a graphic designer, which I have done for several years. Therefore; I had some understanding of his approach to design. For this project the problem was identified along with the process in resolving the problem. After identifying the Fig. 13 Brian Burgess (b. 1966), MFA-NYC contact 2012, photograph, Society of Illustrator

problem, taking

notes and gathering as many ingredients as possible. A rough drawing becomes necessary for me if I need to retake a photo reference; I often sketch from a photo. Once I am happy with the drawing, I may take either of two approaches, using Adobe illustrator to produce a clean drawing or cleaning up the sketch

Fig. 14 Mark Ulriksen, (b.1957), Hitting 40, April 2013, acrylic paint, magazine cover, The New Yorker

into a final piece. I am new to watercolor and I love exploring its possibilities in this project.

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Process The first step in my process was to take a series of photographs of children playing (family members). This was done Memorial Day 2012. After a series of photo shoots, I then selected the most appropriate photographic reference for the story (Fig. 15). In trying to understand what makes a good illustration in our tech savvy environment, I looked around on the internet and found smashingmagazine.com. Written in a blog-like format, this site is not only about traditional art, it also covers coding, user experience design along with graphics. The website, smashingmagazine.com, states that, “to be good at illustration means to first understand exactly how it differs from just putting down nice-looking doodles on paper.” I wanted my Illustrations to be clear, pragmatic, and intentional. To this end, I also wanted my pictures to demonstrate painting techniques, color mixing, and sense of mastery. I wanted the viewer to feel what I felt in the most efficient, clear, Fig. 15 Rohan Patrick, digital reference photograph, 2012

and direct way possible. In my first study,

everything is included in the drawings, I then “sometimes”; eliminate as many as possible the unnecessary elements. I tried to keep in mind also that “clear” is not the same thing as “simple”, and “a complicated drawing can communicate an idea very clearly, and a simple drawing can be hard to understand. If the drawing it simple or detailed, it has to be clear and have the fewest unnecessary things. I have tried to follow these principles.

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In developing my picture book, I took the path of exploring my skill-related knowledge and to monitor my level of development. I have had prior experience with Adobe Illustrator, so this project further developed those skills through trial and error. “There are, staples to illustration that have nothing to do with how good you are at drawing or using Photoshop or Illustrator — they transcend into the realm of good process and good design, and I’ve believed that studying illustration is much more about this than about the former,” according to an article on the website smashingmagazine.com. In composing my pictures, I selected six from a series of digital photographs. For the color and composition proof, I printed each in color on 8 ½ x 11” paper.

Using carbon transfer, I transferred the art. I then brought each photo into Adobe Illustrator, using multiple layers (Fig. 16), I drew over the picture. Finally, I brought them back into Adobe Photoshop for retouching. This was done in the watercolor traditional fashion and then digital using Adobe

Fig. 16 Rohan Patrick, Adobe Illustrator Layers, 2013

Photoshop.

I took a basic approach to my process and usually buy the best material that is affordable. I like the idea of children looking at my work and saying, “I can do that”. In my watercolor piece, I used the Prang - Oval Pan Watercolor Set. This watercolor set is very affordable for any beginner. This product offers smoothness, perfect blending, intense pigments and a good tone palette. This product is safe for children and is certified non-toxic.

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The watercolor (traditional) process:

Step 1 is the photo reference. Drawing from a photograph can make a difficult task much more manageable. At the beginning of the program, I started keeping thumbnail sketches of ideas (Fig. 16). Keeping a journal became reinforce in our children’s book class with Ted and Betsy Lewin (Fig. 17). I had never done a Fig. 16 Rohan Patrick, thumbnail Sketches from Journal, 2012-13, Hartford Art School

children’s book before and was inspired by both Mr. and Ms. Lewin s’ illustrations, their processes, business collaboration and

partnerships. Ms. Lewin said, “it’s a very different concept with different rules”, as she refers the illustration of children’s books. I became aware of this through doing my first book (Fig. 5).

The challenge is not the same for everyone; there may be problems with editorial, design or even the illustration. I choose to self-publish as it was the best decision at the time.

It was difficult at time to keep the format consistent in my sketch journal; and became even more difficult as I started sketching on whatever is available at that time. Working at a dedicated area would have helped. I used digital photography as it proved to be more manageable. Photo reference gave me

Fig. 17 Brian Burgess, Ted and Betsy Children’s book class, 2012, Hartford Art School

the pose and clarity I needed along with flexibility. I do not have to upload. Plus, photograph gave me the sense of reality for the information that I want to communicate. Even though I had live models I had only a one time opportunity to capture the reference I need. In some of my

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reference photos there were difficulties in producing a good drawing because I wasn’t getting the necessary information (masses, volumes, shapes, edges, values etc…). I quickly learned the difference between a good photo for photography sake and good photo reference. In using my photo references, I went back to Ted and Betsy Lewin’s mix and match when it comes to style and gesture (Fig. 18). Ms. Lewin likes to draw out of her head; loose and with a felt tip pen. “My drawing loses some of its spontaneity if I have to redraw the image”, she said. Therefore, Ms. Lewin draws on tracing paper which allows her to mix and match.

I had to figure out what problems I had to resolve and how I would resolve these problems.

What I resolved in my photo reference include lost areas; which means overexposed or

Fig. 18 Betsy Lewin, Five-minute mini-documentary, 2001-2013, TeachingBooks.net LLC

underexposed pictures. I resolved this by flattening the area with color or colors. I had to use what I know about my subject and reinvent some areas. The main point I had to consider was; does the photo give useful information? Does the photo give misleading information?

Does the photo provide readable information or is it misleading? The photos chosen for the book Gifted at Play is informative, readable and provide truthful information about its subject and subject matter.

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Step 2 is the carbon transfer drawings. Once I settled on the intended photos, I printed them using the Hewlett-Packard Color LaserJet 3500. This machine delivers high-quality text and graphics documents, and I’m able to print each photograph on 8.5 x 11� size paper. It is important to achieve a high quality print reference as this will be the basis for what you see and what will be in the drawing. Using the Mead brand carbon transfer paper is one of the best, easiest and fastest ways for artist to reproduce images. Best known as graphite paper this material works in exactly the same way as carbon transfer paper. In using this process, I had to be careful as the carbon transfer paper can leave behind residue which could be difficult to erase. Transfer paper that is designed specifically for artists is a lot cleaner than carbon paper and often comes in different colors. I choose this product because it provides the dark and bold lines I prefer plus I had several sheets in my inventory. The dark bold lines can work for or against your work. In this case as I was not sure about my delivery (traditional or digital), I wanted to keep my options open.

Fig. 19 Rohan Patrick, Gifted at Play-inside page, 2013, digital, book

With the dark line it would be simple and hassle free to import the

drawings and simply apply color in Photoshop (Fig. 19), which I did in this small area. Painting in watercolor; I had to be careful not to let the dark color compete with the color. Toning down the dark area would prevent this along with keeping the lines in a variety of weight. Once I am finished with the carbon transfer drawing, I usually make several photocopies of the drawings (Fig. 20) and a variety of sizes on Bristol, poster board and or regular paper using a photocopy machine. Painting on a larger size provides me with flexibility and a bit more control.

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When I learned about the use of carbon transfer paper, I had already developed my drawing skills (Fig. 21). I am consistent with my sketch journal (not necessarily with the format). I became comfortable using artist graphite paper and carbon transfer paper. For me using this process speeds up the art-making process, allowing more time to Fig. 20 Rohan Patrick, different drawing sizes, 2013, photocopy

conceptualizing and creating new works of art.

Drawing skills is the foundation for any artist and it is important that an artist knows how to draw. What is used to create an artwork becomes the artists’ tool; such as graphite paper, the grid method (Fig. 21), tracing or projectors. Using these tools helps create the vision that you see inside your head and to allow the world to see it also.

Step 3 is the photocopying of the carbon transfer drawing. I usually enlarge each drawing Fig. 21 Rohan Patrick, Cottage House, 2013, graphite pencil on paper, 8x10�

to about 150%. The size

enlargement works best for me. I believe it is much better to

Fig. 22 Rohan Patrick, Drawing using the grid, 2013, Graphite pencil on paper, 6x8�

reduce a large image rather that to enlarge a small one for painting. Watercolor is quite new for me and I wanted to experiment with this medium. I admire black and white line drawing along with technical illustration which shows a level of refinement. (Fig.22). I also admire thick lines (Fig. 23) in some artwork along with thin ones using hatching, cross hatching and other graphite pencil techniques. I admire color dominance over dark color lines and vise versa.

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Using watercolor I had to keep in mind the output, that I am doing it for publication and the color plays an important role. Also; I had to decide how I would display the Fig. 22 Rohan Patrick, Tropical Paradise, 2004, digital, adobe illustrator

artwork at my MFA thesis show.

Several discussions with faculty member suggest using a lighter tone for the outline (Fig. 24). I enjoy doing this in the digital mode. It provides flexibility and mobility of my work. As mentioned; watercolor paint is a new medium for me. I took to this medium slowly and enjoyed my new painting skills. I found painting in watercolor to be enjoyable and a bit frustrating at times. This medium is quite versatile and often turns with ease from one thing to another. I used the loose and impressionistic approach to painting in this medium and took small steps while learning in stages; thumbnail, comprehensive and final. In the painting process I apply a light color wash onto the entire surface; this would be my thumbnail and represents the tone for background color. Watercolor paint always looks lighter and paler when dry. Testing it out first helps determine the hue or tone I am going for. In some areas I had to use more paint and less water, or paint another layer. Watercolor paint is soluble which mean I could re-wet the dried paint with water on a brush and it would turn back into paint. I was able to fix mistakes, by lightening colors by removing some of it being careful not to scrub, damaging the paper surface. Instead of removing some of my mistakes I embraced and worked with the transparency effect of watercolor. The comprehensive includes using a number four or slightly larger brush getting basic details. This is where I learned that is better to have just one good brush than a handful of cheap ones. It is important to achieve a fine brush-mark and to have a

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brush that retains its shape. The control of the brush helps in the final stage where the paper choice and brush choice produces a particular result.

The digital (new media) process:

Step 1 is the photo reference. This process could be the same as the first step in the traditional except working digitally I still like to see or have something in my hand. I usually print a photo reference. Using this reference, I am better able to see the clarity and Fig. 24 Rohan Patrick, 20% Opacity in Adobe Illustrator, 2013, digital

understand the exposed and underexposed areas. Editing

Fig. 23 Rohan Patrick, 2002, selfportrait, digital, adobe illustrator

photo reference can often be done simply by using an editing program from a camera or Adobe Photoshop.

Some of the simple editing process for this project was to adjusting the brightness and contrast, color tone, hue saturation and sharpness along with tone curve adjustment. Doing this allowed me to see the new media potential and specifically animation. I started seeing my work leaning towards drawing skills, concept development, experimentation, mixed media processes, narrative storytelling, historical research, and critical thinking. In Zina Saunders work she uses Adobe AfterEffect to

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produce her animations. Working in the digital mode showed me the animation potential of my work in this same medium. I would like this to be part of my future investigation in illustration. I also looked into another illustrator’s process

Fig. 25 Laura Tallardy, (b. 1983), Mermaid Fashion Show, 2012, digital apps, lauratallardy.com

that I admire. Laura Tallardy, (b. 1983) (Fig. 25) work is very transferable and showed me that there is a future beyond illustration that the illustrator can create.

Step 2 is the vector drawing using Adobe Illustrator. This was done directly from the original photo (Fig. 26). Instead of using my carbon transfer drawings; I chose to redraw without preFig. 26 Rohan Patrick, Vector drawing in Adobe Illustrator, 2013, digital

conceived line stroke using vector graphics. Vector

graphics are based on paths, or strokes. This worked well as each area can be assigned a color, a shape and a thickness. This does not affect the magnification size as it eliminates Bitmapping.

Step 3 includes taking the image into Photoshop for coloring. I am careful to save it as a Photoshop PS file. This file format is good for layering. When I am satisfied with the color choice I then save a copy as a JPG file at 8 x 10�, 300 (dpi) dots per inch.

Looking at the two different processes, I prefer to work in the traditional technique. This for me is faster, more fun and provides greater flexibility for correction. For my book, I have used the

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watercolor pieces and will also use them for my presentation. I will also show the digital version to complement my project. This presentation will also show there are no tricks when it comes to this technique as it tries to mimic photo reference but tries not to be photo illustrated.

Fig. 27 Rohan Patrick, Sitting on the Ground, 2012, photo reference

Fig. 27A Rohan Patrick, Sitting on the Ground, 2012, photo reference

Fig. 28 Rohan Patrick, Sitting on the Ground, 2012, carbon transfer drawing

Fig. 29 Rohan Patrick, Sitting on the Ground, 2013, watercolor on paper, Gifted at Play

Fig. 28A Rohan Patrick, Sitting on the Ground, 2013, Adobe Illustrator (CS6) drawing

Fig. 29A Rohan Patrick, Sitting on the Ground, 2013, Digital Illustration Photoshop (CS6)

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Fig. 30 Rohan Patrick, Sitting by Herself, 2012, digital photograph

Fig. 33A Rohan Patrick, Sitting by Herself, 2012, digital photograph

Fig. 31 Rohan Patrick, Sitting by Herself, 2012, carbon transfer drawing

Fig. 31A Rohan Patrick, Sitting by Herself, 2013, Adobe Illustrator (CS6) Drawing

Fig. 32 Rohan Patrick, Sitting by Herself, 2013, watercolor on paper, Gifted at Play

Fig. 32A Rohan Patrick, Sitting by Herself, 2013, digital

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Fig. 33 Rohan Patrick, Group Sitting, 2012, photo reference.

Fig. 34 Rohan Patrick, Group Sitting, 2012, carbon transfer drawing.

Fig. 35 Rohan Patrick, Group Sitting, 2013, watercolor on paper, Gifted at Play

Fig. 33A Rohan Patrick, Group Sitting, 2012, photo reference

Fig. 34A Rohan Patrick, Sitting on the Porch, 2013, Adobe Illustrator (CS6) drawing.

Fig. 35A Rohan Patrick, Group Sitting, 2013, digital

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Fig. 36 Rohan Patrick, Marsha with her Brother, 2012, photo reference.

Fig. 37 Rohan Patrick, Marsha with her Brother, 2012, Carbon Transfer Drawing.

Fig. 38 Rohan Patrick, Marsha with her Brother, 2013, watercolor on paper, Gifted at Play

Fig. 36A Rohan Patrick, Marsha with her Brother, 2012, photo reference

Fig. 37A Rohan Patrick, Marsha with her Brother, 2013, Adobe Illustrator (CS6) Drawing.

Fig. 38A Rohan Patrick, Marsha with her Brother, 2013, digital.

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Fig. 39 Rohan Patrick, On the Bicycle, 2012, digital photo reference.

Fig. 39A Rohan Patrick, On the Bicycle, 2012, digital photo reference

Fig. 40 Rohan Patrick, On the Bicycle, 2012, carbon transfer drawing.

Fig. 40A Rohan Patrick, On the Bicycle, 2013, Adobe Illustrator (CS6) Drawing.

Fig. 41 Rohan Patrick, On the Bicycle, 2013, watercolor on paper, Gifted at Play

Fig. 41A Rohan Patrick, On the Bicycle, 2012, digital

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Fig. 42 Rohan Patrick, On the Porch, 2012, digital photo reference

Fig. 42A Rohan Patrick, On the Porch, 2012, digital photo reference.

Fig. 43 Rohan Patrick, On the Porch, 2012, carbon transfer drawing.

Fig. 44 Rohan Patrick, On the Porch, 2012, watercolor on paper, Gifted at Play

Fig. 43A Rohan Patrick, On the Porch, 2012, Adobe Illustrator (CS6) Drawing.

Fig. 44A Rohan Patrick, On the Porch, 2012, digital

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The Work (Traditional Watercolor)

Fig. 45 Rohan Patrick, Sitting on the Ground, 2013, watercolor on paper, Gifted at Play, Lulu.com

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Fig. 46 Rohan Patrick, Sitting by Herself, 2013, watercolor on paper, Gifted at Play, Lulu.com

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Fig. 47 Rohan Patrick, Group Sitting, 2013, watercolor on paper, Gifted at Play, Lulu.com

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Fig. 48 Rohan Patrick, Marsha with her brother, 2013, watercolor on paper, Gifted at Play, Lulu.com

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Fig. 49 Rohan Patrick, On the Bicycle, 2013, watercolor on Paper, Gifted at Play, Lulu.com

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Fig. 50 Rohan Patrick, On the Porch, 2012, watercolor on paper, Gifted at Play

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Digital (New Media)

Fig. 51 Rohan Patrick, Sitting on the Ground, 2013, digital

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Fig. 52 Rohan Patrick, Sitting by Herself, 2013, digital

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Fig. 53 Rohan Patrick, Group Sitting, 2013, digital

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Fig. 54 Rohan Patrick, Marsha with her Brother, 2013, digital

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Fig. 55 Rohan Patrick, On the Bicycle, 2012, digital

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Fig. 56 Rohan Patrick, On the Porch, 2012, digital

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Marketing Plan Marketing this book will be done under the umbrella of Rohan Patrick Studio. I have decided it is best to operate as a business when it comes to Fig. 34 Rohan Patrick, rohanpatrickstudio, 2004, business logo

contracts and negotiations. I took several jobs after college and found that starting and operating a

business was a bit more challenging than I thought. My plan includes the following for the marketing of Gifted at Play: Playtime and Interaction. Since I have no training in business, I have to consult my wife, Vanecia Hill (b. 1977). Ms. Hill has extensive knowledge in the area of business administration. Now that I have a copy of the printed book, we are calling it the first edition where we will seek the reviews of professional editors, book reviewers, faculty members and basically professionals’ positive reviews and to make changes for the second edition.

Even though I have self-published, I enjoy the idea of identifying possible publishers. We would find these publishers through such organizations as the Society of Illustrators. The book, “Children’s Writer’s and Illustrator’s Market”, is one of many possible sources for identifying children’s book publishers and their contact information and submissions policies.

My desire to self-publish does not mean I will never find a publisher that can mass produce my book. The target audience for this book is Middle School age children and parents that are in gifted, pull out or extended programs. I can reach my target audience by sending advance copies to school and public libraries that offer children read a-longs. Colleges, Universities and

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other institutions such as churches are also on my list of marketing efforts. With each year, I am able to update either by adding pictures or editorial research, continuing a series of picture books specific to the Gifted and Talented learners. Amazon’s Createspace might be a better possibility than Lulu - possibly cheaper and with a wider distribution. However, Lulu is the starting point for me and later can be transferred over to other applications such as photo books, calendars, eBooks and iPad Publishing. Lulu.com works for me in that; it allows purchase and print on demand without the inventory for the illustrator. I will also set up a web site promoting it along with the internet marketing tool. The true main introduction to this picture book will most often be a promotional piece, either a hard copy or an email. My first level of promotion is my friends and family. My second level is my community. I can accomplish this through my family’s mailing list.

Background: I am an Illustrator and designer living in western New York. I have worked in New York City, Connecticut and New Jersey since 1994. Currently, I am a Graphic Arts instructor for New York State and I'm certified to teach this population. This is my first book and hope that it will serve and become an advocacy tool for the gifted and talented learners and instructors.

The Plan To implement my plan, I will start with the marketing of my picture book. I will do this in a variety of ways. Most of my plan is the elimination of inventory as it relates to products. I did not want to produce a book and have hundreds of copies just waiting to be sold. I have found a company that allows the production and sale on a ‘per order basis’. Lulu.com helps the self-

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publisher; they provide tools and services to make publishing simple. The plan for this project, Gifted at Play includes a book, a photo book, calendars, eBooks and iPad publishing.

The real world providers of capital and services often want to know that we have a concrete plan for building and managing our businesses. This plan is for potential partners and advisers to feel more comfortable coming on board. This plan is to also highlight the book to better position myself in the future marketplace.

Executive Summary: I have been successful as a graphic designer and have been blessed to have worked as an artist since graduating from college. In the marketing of my book, I am also interested in taking on new clients by identifying who they are, what they do (which could be sometimes different than expected), who their customers are, what their clients want and identify how their company meets those needs. Additionally, I would like to help create a strategic marketing and communication plan that outlines a company’s marketing and advertising goals and provides strategic solutions using illustrative manuals, guides or “how to� books. The future for this book is a strategic marketing and communication plan which allows the effective reach of customers. I will specialize in small business analysis by developing program ideas; in the areas of full service illustration and design.

Living in Monticello, NY and teaching in Ithaca, NY, time is precious for me, therefore; I chose to self-publish at this time. The target initially includes small to medium sized local book stores with a strong community outreach.

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Strategy/Management: This book offers a fresh perspective regarding the gifted learner and play time interaction with peers. Since my wife has business skills and I have creative skills as an illustrator and writer, my family provides diverse resources. This competitive edge allows us to bring both an aesthetic design focus as well as a practical, quantitative mindset that adds value; by creating solutions that have both creative elements combined with rational, business ideas.

We are able to obtain advisors, an accountant, a lawyer, a banker and an insurance agent. I am currently working at a zero budget and will establish one when the time comes. I believe the book is adequately priced at $28.97 with a 50% introductory offer at $14.49. There is an initial savings of 50% and it ships in 3-5 business days. With this, I believe by the end of the 4th quarter this year, I could gross over a thousand book sales.

Product/Service: I believe this book will create a positive and ample return for the investor. This book was developed as a small contribution; so children can do well in our society, and we want to do all we can to help. Since we spend a lot of time and real effort to understand this topic, it is easy for us to create design concepts for other identity-related marketing or advertising needs.

Market and Competition: There are many books on the Gifted and Talented topic and there are many different illustrators to choose from. I know that my area, the Monticello school district is not providing the level of programs deemed mandatory by the board of education. We can initiate such a program for gifted and talented learners. With the book Gifted at Play to be used as an introduction; I can also initiate mentoring and obtain corporate sponsorships for the gifted and talent extension programs in or out of school. This book can be a reliable source

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based on, pricing and quality of work provided. Not only is there quality of work, but it is written for the Middle school age learners. This book is backed with a guarantee in that you may return it within a specific time.

Sales and Promotion: When asked what differentiates this book from other books, my answer is planning. One of my goals for the MFA program was to produce a picture book, and Gifted at play is the result. I will use the following client services to achieve my sales and promotion goal.

I will create great looking collateral materials, advertisements, and so on. Through different promotional techniques, I would like to achieve sales of a thousand books by the end of December 2013.

Creative Services that is needed to launch the book, Gifted at Play:      

Graphic Design Website Development & Design Social Media & Management TV & Radio Scripting & Production Copywriting Public Relations

Consulting & Training: We will also gain help as needed to jump start the marketing program or smooth out the bumps in the existing one. I will always seek an expert and make myself available as an expert in both consulting and training in illustration and in the area of gifted and talented education. A marketing professional will provide information about opportunities and potential pitfalls. As my book develop new momentum towards meeting the goal; I would like to integrate my marketing and sales effort to get the best return on my investment. The plan in

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consulting and training is such that Gifted at Play must be synchronized in design and able to create reproducible growth.

Financial Consideration: There is no capital lost thus far for the production of this book. I have paid for two copies and will purchase more in the future. Doing self-publishing, once the book is submitted you have the option of quantity and price. A business plan, including a profit and loss statement, cash flow projection, tax returns for prior years, an account payable list, an account receivable list, a list of assets and monthly budget are all thing that can be dealt with once the public is aware of the book. I estimate based on marketing effort a rate of growth of the first edition to grow at a rate of 10-30% annually.

Financing Being able to make the decision to self finance, all decisions became extremely important, keeping in mind longevity and sustainability. Based on my cash flow projections, I have determined how much money I’ll need to maintain operations for three to six month. My working capital for this project would include at least three months operating expenses in the bank before opening the doors of Rohan Patrick Studio. This studio overhead would provide longevity and sustainability for future book ideas. I do not have to borrow money to do this. 

Character: Who I am, my reliability and whether my book gifted at Play is credible.

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Cash Flow: In the marketing effort, I have to make sure there is enough money to keep the marketing and promotion of the book for more than three months.

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Collateral: To promote my book and to finance the purchase, I may have to look at my personal asset as an option.

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Capitalization: This book is the basic resource to capitalize on my investment; therefore, it includes owner’s equity and fixed assets.

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Conditions: I take into consideration, business industry changes. Outside factors are taken into consideration, such as government regulations, industry trends and economic predictions.

Business Relationships It is all about who you know. Bloggers and reviews are a great start in getting a review for my book. I will send a copy to the American Library Association along with small reviewers such as blbooks.blogspot.com. This site promotes the love of reading by providing reviews of books published for children and young adults. Networking through the local chamber of Commerce is a means to promote my book in places that will be rewarding with good advice for years to come.

The Business of Gifted at Play With an ISBN number, Gifted at Play is able to be sold all over the world. The self-publishing feature allows for many different options. When the book becomes successful, I will secure a Dunn & Bradstreet number keeping a clean score with the TRW/Experian/Equifax of the business world. The D&B number would establish credit worthiness for the business.

Equipment & Materials: One of the most exciting aspects of the book, Gifted at Play is a look into the 21st century learning and instruction with different techniques, equipment and materials. The book should be able to service many different platforms from reading to

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illustration and instruction. Using many different devices ranging from audio while traveling to smart phone application, Gifted at Play will be accessible to the customer. It will also be rentable from the local library or for purchase at a book store.

Attracting Talent Attracting talent is very important to us. The Gifted at Play serves as an advocacy for the gifted and talented learners, especially in areas that do not have the necessary program and teachers.

I see and expect growth in the area of gifted and talented education and being a part of the community; maybe someday creating a network circle for potential leaders in this area.

Another option that would allow attracting talent could be college course offerings. I will recruit talented advocates for production and administrative help with my book Gifted at Play.

Pricing, Contract and Paperwork: As an artist; sometimes I dislike paperwork. I do not want to spend much time on, estimates, contracts, invoices and marketing. I simply want to create more works of art. Pricing is the primary component of an estimate, and in any project, it is nice to see a strong return on your investment and effort.

I have priced the book Gifted at Play making it affordable for the Middle school age learner.

I would like to sell this book by the bulk wholesale at a discounted price. Using self-publishing on demand, I am able to change the price at will and offer as many discounts and pricing. I can monitor both time and budget and also keep an open dialogue with any client purchasing the book.

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Marketing Plan Just like every other book; I am going to have to continuously market my book in order to obtain and maintain a robust client base. Using Gifted at Play, I will do reading sessions at schools. The church is also a great outlet as we can reach hundreds of faithful members each week. Community organizations that provides school age program will also be a target. My intent is to send a copy to schools and the public libraries within the tri-State area.

I believe I have a leg up on the competition simply because I know and value great design. In this book, I incorporate images across every piece of communication to reaches a client. On launched giftedatplay.com, the website will match the print brochures, and contracts and our business logo. I estimate the cost of my marketing efforts to be 5-15% of my current salary. To continue with promotion of the book; I will do postcard, and a bi-monthly news communication. I hope to spice up the marketing efforts with a few speaking events, workshops, seminars, trade show publications, along with unique gifts in the holidays. I will attend extensive trade shows in the area of gifted and talent education; where I can also exhibit my materials. I have joined several social networking groups on Linkedin, Facebook, Twitter and others. Along with my social networking efforts I will receive additional marketing of this book, Gifted at Play, from Lulu.com. With the ISBN number, Lulu.com can expand our audience with a variety of distribution offerings. Print distribution: In addition to the Marketplace, I am able to sell and promote my work on Amazon.com, BarnesandNoble.com, and other choice online retailers so customers can find the book in the places they already shop. eBook Distribution: I will offers free eBook distribution to the Apple iBookstore℠, Barnes & Noble’s NOOK™

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Bookstore and the Lulu marketplace so I can reach readers even faster on their favorite devices with just a few clicks of a button.

I am paying more attention to the cards I receive rather than the cards I hand out. I will prepare a 30 second ‘elevator pitch’, for the book Gifted at Play. It will become something that rolls right off my tongue and sounds confident in its delivery.

I hope to keep track of future, current and previous clients. It’s so much easier to keep a client than to go out and find new ones. I will ask on occasion for a previous client to recommend my book. Often when a referral isn’t given it is because nobody asked for it. Customer service seems to be a dying trade; therefore we have resurrected it by gaining insight.

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The Program I fully appreciate the opportunity I had to attend the Low Residency MFA in Illustration program at The Hartford Art School. The program is rigorous in nature which is a slippery concept in education. “We all know that a rigorous education is important, but very few agree on what "rigor" really means. In most cases, educators believe that they know rigor when they see it without really having a fully defined idea of what it looks like”, according to ascd.org. As a definition, rigor is a quality of instruction that requires students to "construct meaning and impose structure on situations rather than expect to find them already apparent" (Resnick, 1987, p. 44). The program is designed so that students will think accurately and with clarity, identify and consider multiple meanings and interpretations, take and support a position, resist impulsivity and engage in disciplined inquiry and thought, work within and outside the bounds of standard conventions, develop their own standards of evaluation, use and adapt what they know to deal with uncertainty and novelty, adjust their approach when presented with new constraints, tolerate uncertainty and work through ambiguity and complexity. In short, the Low Residency Illustration Program rigorous quality of instruction goes beyond helping students memorize facts, acquire an understanding of concepts, and develop advanced skill proficiency.

The rigorous instruction asks students to create their own meaning, integrate skills into processes, and use what they have learned to solve real-world problems, even when the ‘correct’ answer is unclear and they are faced with perplexing unknowns.

I was also driven to pursue the Hartford Art School Low Residency MFA Program because of my previous relationship with Murray Tinkelman (b. 1933) (Fig.35) at Syracuse University where I completed the Masters of Art in Illustration under his guidance in 2002-2004. After a telephone Page: 46

conversation with Mrs. Carol Tinkelman, I was convinced. I applied and received some positive comments about the program from previous students. The program is diverse, with learners from all across the United States, as well as internationally. I came to the program seeking exactly what the web site indicated, “illustration stimulation, an infusion of ideas, looking to enhance

Fig. 35 Murry Tinkelman, (b. 1933), tinkelmanstudio, 2007, website, tinkelmanstudio.com

illustration skills, and an advanced degree for a career in higher education.� At first, I was intimidated by the wealth of professionals in the field of illustration and design; however, students in the program are quite humble with their abilities. The program works closely with leading illustrators in the country dedicated exclusively to illustration, all the while maintaining their current professional and personal commitments.

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Conclusion When I look back at the start of the MFA Low Residency program, I am pleased that I took the steps necessary and enrolled. The year went by very quickly and I would have wondered what would have happened if I did not entered into the program. The pictures that I developed are intended to serve as part of a book which was one of my goals in this program. Whether or not it is profound and serves as an intricate part of the education or gifted community, I had a tremendous amount of happiness and sadness working on the art and understanding Gifted and Talented learners.

As a father of two girls; one is a teenager and the other is five years old, I have learned that there are special needs for gifted girls who possess many different characteristics. According to an article by J.F. Smutny on the website, davidsongifted.org by “to identify gifted girls in the classroom, educators really must draw from multiple criteria.

Rather than rely on test scores alone, teachers should be alert for behaviors that indicate giftedness.� When I understood this, I became aware and familiar with gifted behaviors common in the classroom. Some of these are academic behaviors such as viewing and understanding issues from multiple points of view.

There are also creative behaviors which is the demonstration of special ability in the visual arts. What made me sad was that according to the same article by J. F. Smutny which lists seven

Fig. 36 Robert Henri (1865-1929), The Laundress, 1916, oil paint, Phoenix Art Museum

special challenges of gifted girls, these learners have: low self-esteem, apathy, based on

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resignation or feelings of inferiority, fear of taking risks, exaggerated concern about being accepted among peers, ambivalent feelings about talent, and conflict between cultural identity and school achievement.

Based on my research and work with students, I have found that the seven special challenges listed above occur not only in gifted students but also in the general population. What makes it even more critical is that students are being bypassed due to the lack of training by administration and teachers. Thankfully enough there are people and organizations that are working to correct some of these issues in gifted and talented education.

The University of Connecticut is home to the NEAG Center for Gifted Education and Talent Development. This organization studies and focuses on meeting the needs of gifted and talented learners. The NEAG center research emphasized studies related to creativity, assessment, identification, programming, and evaluation. The center guides and helps with the design and development of programs and services to meet the needs of gifted and talented students (gifted.uconn.edu). It is important to understand the larger context and how I will connect this project to my future. I have found that there is a gap in this area, that as an illustrator I am motivated and able to work through. “It is only through such motives that you can learn to draw. This kind of thought is drawing, the hand must obey the spirit,� Robert Henri (1865-1929) (Fig. 36).

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Biography Rohan Patrick was born in Jamaica, West Indies and grew up in Brooklyn, NY where he graduated from Boys and Girls High School. He received a BFA degree in graphic design from the State University College at Fredonia and an MFA in illustration from the University of Hartford, Hartford Art School. He also holds an advance certificate in Gifted and Talented Education from the University at Buffalo and works as an instructor of visual arts for the New York State Office of Children and Family Services. Rohan is married and has four children. He lives in Monticello, NY with his family.

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Bibliography http://gse.buffalo.edu/online/gifted http://serc.carleton.edu/NAGTWorkshops/affective/motivation.html http://www.smashingmagazine.com/2010/06/10/the-process-behind-good-illustration-part-1/ http://mediastudy.buffalo.edu/dms-courses/graduate/ http://www.gifted.uconn.edu/ http://www.davidsongifted.org/db/Articles_id_10171.aspx http://www.tinkelmanstudio.com/ http://www.prang.com/art/paints/watercolors/oval-sets

http://www.astm.org/ABOUT/aboutASTM.html http://en.wikipedia.org/wiki/Vector_graphics http://www.lulu.com/shop/rohan-patrick/gifted-at-play/paperback/product-21063930.html http://www.stanprokopenko.com/blog/2009/04/choose-good-photo-reference/ http://the-artists-cubby.deviantart.com/art/Choosing-Photo-Reference-8477184 http://www.art-is-fun.com/transfer-paper.html http://www.fredonia.edu/department/art/illustration.asp http://blog.booklistonline.com/?gclid=CODhmanVjLgCFcqZ4AodQyUA http://blbooks.blogspot.com/ Hayes Jacobs, H. (2010). Curriculum 21: Essential Education for a Changing World. Alexandria, VA: Association for Supervision & Curriculum Development.

Henri, Robert. The Art Spirit. J.B. Lippincott Company, 1958.

Lara J. Kisielewska, Lara J. Starting Your Own Communication Design Business.

Graphic Artist Guild, 2005.

Winner, E. (1996). Gifted Children: Myths and Realities. New York: Basic Books.

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