Showing posts with label Art Professor. Show all posts
Showing posts with label Art Professor. Show all posts

Tuesday, October 11, 2022

How to Copyright in Batches of 10

The social media art challenge prompts are an excellent way for artists to express themselves, let their creativity flow, and get their work out there. Prompts are usually keywords, which can be anything from a single word to a sentence. I have a couple of favorites that I follow and participate in during the month of October; Facetober and Peachtober. During 2021, I created the Darcy Inventory based on the Facetober prompts and that series has gone on to be included in professional art exhibitions, like ArtFields.

The Facetober challenge is created by a Skillshare top teacher, British designer and illustrator Charly Clements. The prompts Charly creates helps people find new ways of self-expression through short-form portraits. This is an excellent opportunity for artists who prefer drawing or painting people instead of landscapes or other subjects to showcase their skills.



Above, Facetober 2022 day 3 (braid, gold, and magic) by Dawn Hunter, watercolor, ink and acrylic on paper.
Link, here, to the 2021 Facetober Darcy Inventory portraits.


Sha'an d'Anthes, an illustrator, artist, and author, created the social media art challenge Peachtober. She is the creator of the highly engaged Instagram account @furrylittlepeach, which features many of her creative projects, reels, and sneak peeks into her studio. The challenge for Peachtober is open-ended one word prompts, with various concepts and subjects that can be experimented with for the month.

If you are looking for social media engagement and connections with other artists while expanding your studio practice, both Facetober and Peachtober are excellent choices.

Sha'an d'Anthes and Charly Clements do a great job sharing their social media prompt schedule a month before the challenge starts. This gives artists plenty of lead time to gather their materials, think through the concepts, plan their work, and create artworks before the challenge starts. 

Making your artwork ahead of time is crucial because it grants you the opportunity to copyright your artwork in batches, which is cheaper than copyrighting a single artwork ($65.00 per single work registration vs. $65.00 per group registration). 

Original artwork posted on social media is a very popular form of expression, however before posting your artwork online, you should always make sure that you have copyright protection. Filing a copyright registration prior to publication also entitles you to a greater award sum for damages if an infringement occurs. 

It might sound complicated, it is much simpler than you think. 



Above, Facetober 2022 day 2 (afro, pink and animal print) by Dawn Hunter, watercolor, ink and acrylic on paper.


What is Copyright?


"Copyright is a form of protection for the rights of creators of works. It is used to give them the sole right to reproduce, distribute and create derivative works from their original work." -www.copyright.gov


Copyright is not a new idea, it has been around since the 18th century. It was first established in England in 1710 by the Statute of Anne. The United States followed suit with the Copyright Act in 1790 which has been updated over time to reflect changes in technology and society.


What's the Difference Between Copyright and Public Domain?


"Copyright is a form of protection grounded in the U.S. Constitution and granted by law for original works of authorship fixed in a tangible medium," such as writing, music, or artwork. Copyright covers both published and unpublished works.


Public domain is the legal status of creative works that are not subject to copyright or similar rights of protection. These include ideas, facts and discoveries; news events; government publications; works created by U.S. federal "government employees as part of their official duties;" and anonymous or pseudonymous works (unless the author's identity is generally known or can be reasonably ascertained).

Copyright protects original work from being used without permission from its owner - this includes copying, modifying, distributing, displaying publicly and making adaptations from it. The public domain does not offer any protection to a work - anyone can use it without permission from the author which includes copying, modifying, distributing, displaying publicly, and making adaptations from it.


An image that is posted publicly on the internet is not automatically public domain. Most people only realize they have committed copyright infringement when they are being arrested. It is important to determine authorship and receive permission to post images that you have not created. That is a topic that will be developed further in another blog post; however, I want to touch on it briefly here.



How to Register Multiple Artworks with One Application


The Copyright Office offers a way for creatives to register their individual works as a collective or compilation. The Copyright Office allows a group registration for up to ten works in one registration application.


You will need documentation of your photo, artwork, or illustration. Additionally, you will need an online eCO registration account through the U.S. Government Copyright Office, a completed online form, and a means of payment.


If your application is approved, you will be entitled to seek one award of statutory damages for the collective work as a whole, rather than a separate award for each individual work, even if the defendant infringed all of those works.




Above, Facetober 2022 day 1 (coral, red hair and sunglasses) by Dawn Hunter, watercolor, ink and acrylic on paper.



How to Copyright Your Artwork in Batches of Ten

As an artist, you're likely constantly crafting new pieces of art. You might wonder if there's a way to copyright your artwork in groups of up to ten works at once. Good news! It's totally doable and pretty simple. 

Here's the catch: for works of art to be eligible, your artwork shouldn't have been published prior to your registration application. 

Review and follow the steps below, and your work will be protected at a cost-efficient price.

1. Create an eCO account. 

Protecting your intellectual property is important for professional success. Remember to procure copyrights and trademarks for all of your art, products,  services, and branding. Protecting intellectual property with copyrights and trademarks can be time-consuming, but it's worth it. The US Copyright Office website provides excellent resources for individuals: www.copyright.gov.

2. Select "Register a Group of Unpublished Works." 

You can make the process easier by copyrighting your artwork in batches of up to ten works. For a social media challenge like, Facetober, I would recommend to register each week as a batch, especially since the prompts are organized in that manner. That would be a total of four batches and the total cost would be $260.00. If you were to registered all thirty-one works individually, the total cost would be $2,015.00.

You'll need the work's title, the year it was created, and the copyright owner. The US Copyright Office will assign you a number once you've filed your application.

3. Complete the online form prompts:

  • Type of Work
  • Title of Work
  • Completion
  • Authors/Claimants
  • Limitation of Claim
  • Rights and Permissions
  • Correspondent
  • Mail Certificate
  • Special Handling
  • Certification
  • Review Submission



4. Fill out the online registration form and pay the fee. You can't upload extra docs or submit until the fee is processed.

5. Make a PDF with pics of each piece you want to protect, and upload it.

6. After your payment clears, double-check your application, upload any needed docs, and submit.

It'll take about 60 days for the review process, but your work will be protected once you've registered! If you work with an intellectual property lawyer, share your registration and certificate with them.

Got questions? Reach out to the copyright office!

It's a relief to have your work registered with a copyright. It is a topic that I feel passionate about, and you can learn more about how to register an individual work in my blog post from February 2022 titled Your Cheatin' Heart.


Saturday, September 17, 2022

Mentorship and Loss

Ah, you know, being a college art student is such an adventure! You've got that snazzy studio space to create your masterpieces, but it can feel lonely sometimes. I can't stress enough how crucial it is to have a mentor in your college art studio. They're like a lighthouse in a stormy sea of creativity! 

Mentors, they're like these magical beings who guide you, give feedback on your work and help you network with other artsy folks. The hallmark of a good mentor is excellent listening skills balanced with professional experience and generosity. Having someone committed to providing quality and consistent feedback nurtures your creative present and future. 

Let me tell you where to start if you're looking for a mentor.

First up, your professor; if there's a professor you genuinely admire and who knows their stuff about your preferred art form, they might be the mentor of your dreams! Ask if they can spare some time regularly to chat about your work and offer their insights.

Next is the college art gallery; those gallery staff members are usually eager to gab about art with students. If there's an artist or style you're really into, ask a staff member if they can point you toward a potential mentor. 

And remember local artists! Your town or city is probably teeming with artists who'd be thrilled to mentor a budding college student. Check out local galleries and studios, and don't be shy—say hello to and regularly interact with the artists of your community. Having a mentor in your college art studio can be transformative for you creatively but also set you on a productive career path. So, reach out and ask for help! 

My Mentors

During my college years at the Kansas City Art Institute, I was never shy about reaching out to professors. I was lucky in college, I had two great mentors who shaped my artistic practice profoundly: Wilbur Niewald and Shirley Luke Schnell.


Wilbur Niewald

Wilbur Niewald died this past spring at the age of 97. He live his entire life in Kansas City, and no one has painted the city as frequently as he did. His Plein air works could rightfully be called love letters to the city.

Wilbur earned bachelor and master degrees from the Kansas City Art Institute. He was a member of the painting faculty for 43 years, chaired the painting department from 1958 to 1985, and was a respected and well known painter throughout the United States. 

In 1992, he retired. He remained devoted to his artistic practice and he spent hours each day, often six days a week, painting outdoors in Loose Park or the West Bottoms or in his studio during his retirement.

One of the things I liked to do when visiting Kansas City in the summer was to visit him while he was creating his Plein air artworks. I would find him passionately painting away at his easel near the tennis courts at Loose Park in Kansas City, Missouri, wearing his well-known attire: a straw hat, denim shirt, and blue jeans.


Above, a drawing I completed of Wilbur Niewald while he was painting in Loose Park during one of my visits to Kansas City, marker and pen on paper, 11" x 14."

I took Wilbur's drawing classes most semesters while I was in college. Every class was always the same, with one instruction: "Draw what you see." I found the experience meditative and relaxing, and I also developed a deep appreciation for working from observation.

Wilbur always took me seriously and respected me as an artist, which profoundly impacted me the most. I took myself seriously because of that. He understood my potential more than I did. As a sophomore, I had a conversation with him about switching my major from Painting to Fibers. He made a compelling argument to other faculty and me in the program about why I should not switch my major. I stayed because he convinced me.

He drew and painted from direct observation beginning in the 1970s. It never mattered to him what the condition of weather was. Once when our drawing class was outside drawing the landscape in Plein air, it began to rain. Most students began packing up and heading back to the classroom, but Wilbur exclaimed, "Don't leave; this is great. Change your drawing as the situation changes." He only convinced four of us to stay.



Above, a drawing I completed of Wilbur Niewald while he was painting in Loose Park during one of my visits to Kansas City, marker and pen on paper, 11" x 14."


Shirley Luke Schnell

There's nothing quite like a quirky art professor to get students excited about creativity. Shirley Luke Schnell was one of those teachers. With her whimsical, soft-spoken voice and eccentric clothing, she always seemed to be on the verge of levitating above all of us in the Foundations studio. But somehow, she always managed to bring unique and memorable insight to the studio practice, and her students always seemed inspired and to learn a lot.

Even though she was different than anyone else you'd ever meet, her students connected with and loved her. They knew that she cared about them and that she wanted them to succeed. She was always pushing them to be their creative limits with the concepts of her assignments. This generated growth and new perspectives on what is or could be.

Shirley is a true original, and in the classroom, she was the perfect example of how being different can be a good thing. After Foundations, I reached out to her for critiques of my paintings and help with my graduate school applications. She was fully invested and took time during her weekends to help me write my application essays with clarity. I was fortunate to have her mentorship after college, too. We became close friends, and she has been present for the significant milestones of my life. Such as visiting me in London during my residency at the Royal Academy of Arts and attending my wedding.


Above, a digital iPad drawing I created of Shirley during one of my visits to her home.


Embracing Change: The Journey with Alzheimer's

As we grow older, it's not uncommon for memory to fade, impacting both ourselves and our dear ones. When it comes to Alzheimer's, this shift can be particularly tough on relationships. I remember my incredible mentor, Shirley, who was officially diagnosed with Alzheimer's back in 2013. 

Looking back, he signs were there even before her diagnosis—visible in her actions and words. Today, she's reached a non-verbal stage as the disease continues its progression. Though she's still with us, Alzheimer's has taken away so much. Let's cherish our memories and support those facing this journey.

1. Understanding Alzheimer's: A Battle of the Mind 

Alzheimer's, one of the most common types of dementia, has touched the lives of over 5 million Americans. As a neurodegenerative disorder, it slowly erodes our memory and cognitive functions, making every day a struggle. Despite the efforts of researchers, the cause is unknown. Its cause is theorized to be a blend of genetic and environmental factors. The cure remains undiscovered.

2. Recognizing the Signs: Encountering Alzheimer's Symptoms

Living with Alzheimer's can be an incredibly personal and unique experience, as the symptoms manifest differently for everyone. Yet, some common threads bind these journeys: the challenges with memory, thinking, and communication and the shifts in mood and behavior. 

Physical symptoms like trouble walking, dizziness, and appetite changes also make their presence known, adding to the daily battles faced by those with Alzheimer's.

3. How does Alzheimer's disease affect relationships?

Alzheimer's disease can be heart-wrenching, profoundly affecting our relationships with loved ones. Those with this condition might withdraw from socializing, struggle to recall names or faces, and even become disoriented or agitated. As friends and family, it's painfully difficult to watch someone we care for seemingly disappear from us.

But let's not forget that beneath the disease; their hearts are still capable of feeling love and affection. We must keep embracing them, even when communication becomes a challenge. Engage them in activities they've always loved, and practice patience and understanding. Together, we can make sure they never feel alone in their fight.


Above, a digital iPad drawing Shirley created, after the onset of Alzheimer's, of her cat during one of my visits to her home.


Loss

Losing a mentor—whether through death or illness is difficult. 

Whether it hits you like a bolt from the blue or you see it coming, the passing of a mentor can feel like a shock. You may feel a great sense of emptiness after losing someone like the North Star guiding your ship, helping you grow and learn!

When a mentor leaves this world, it's easy to feel adrift and unsure. Let's remember that your mentor would want you to continue and keep growing creatively. 

It is essential to pause, allow yourself to grieve, and then remind yourself that your mentor would be cheering you on to keep putting one foot in front of the other and pay it forward by mentoring a younger artist yourself!


Wednesday, July 28, 2021

¡Muchas gracias!

A big thank you to Janine from #Uppercase for including artwork from my Cajal project in the 50th Issue, Visualizing Science.  I was so thrilled to receive the print issue - it's beautiful!  View the issue here: @uppercasemag.


"The brain is a world consisting of a number of unexplored continents and great stretches of unknown territory."

― Santiago Ramón y Cajal

Dawn Hunter, Re-creation of pages from Cajal's first sketchbook from Valencia, marker and pen on paper, 11" x 14"




Re-creation of inside back cover of Cajal's first sketchbook from Valencia, Fulbright Espana, 
Instiuto Cajal, Madrid, Spain.



More work can be viewed at:  Cajal Project: The Fulbright Experience

Learn more about this work here:  Communing and Giggling with Cajal 

Order your copy of the 50th edition, Visualizing Science here:  UPPERCASE


Monday, July 26, 2021

Sumptuous Summer Landscape

I am spending the summer feeding the artistic soul, senses, and sensual while relishing my time Plein air drawing and painting the luscious landscape at the Brooklyn Botanic Garden. Highlights from the visual adventures. 

Dawn Hunter, Brooklyn Botanic Garden, marker and pen on paper, 11" x 14," 2021


Dawn Hunter, Brooklyn Botanic Garden_2, marker and pen on paper, 11" x 14," 2021


Dawn Hunter, Brooklyn Botanic Garden_3, marker and pen on paper, 11" x 14," 2021







“consider the possibility that any man could, if he were so inclined, be the sculptor of his own brain, and that even the least gifted may, like the poorest land that has been well cultivated and fertilized, produce an abundant harvest.” 

― Santiago Ramón y Cajal


Monday, January 15, 2018

Drawing the Experience

"I am an artist, and I draw every day.  It is how I know and understand the world.  One day back in 2012, I was looking up neuroscience terminology to supplement an article I was reading on the claustrum, I stumbled across Cajal’s scientific drawings.  In the midst of trawling visuals on the web, I was swept away within “gesturely expressive” cellular images drawn in implied space.  I was dwarfed and transported into Cajal’s microscopic world.  Other neuroscience drawings were in the image cache, like those of Camillo Golgi.  However, I was not as taken with them, because Golgi’s illustrations were surrounded by a border that created closure and containment and possessed a topographical mannerism.  Based on those visual qualities, I felt Golgi’s drawings were “designed,” and that construction revealed a particular point of view regarding the role of drawing in his work:  that drawing was a vehicle to guide, transcribe, and organize nature in a manner that demonstrated a theory.  Instead of creating drawing from a designer’s perspective, Cajal’s work in comparison is drawn with a type of perceptual observation, one in which the inherent design of nature is discovered through sighting.  Drawing was a tool to observe, discern and recount microanatomy structure.  Cajal’s drawings are filled with actual lines and drawn with implied space.  I believe they demonstrate a philosophy that he was at the service of nature—recording and reporting the truthfulness of sight’s journey." - Dawn Hunter, November 2017

The above quote is from my piece "Drawn To, Drawn From Experience" written for the National Library of Medicine's, Circulating Now, blog.  It is the first of a three part series I am writing for them about Cajal, the latter two are forthcoming in 2018.

I completed my Senior Research Fulbright Fellowship at the Instituto Cajal, Madrid, España in December, 2017.  It was a remarkable privilege to commune with Cajal on a daily basis through studying and drawing his scientific illustrations.  There is information in those works that can only be accessed by active observation:  drawing.  Drawing provides a type of interaction with the works and entry into information about the maker and his theories that is not possible through passive observation.  Cajal proved to be a great teacher, and my "apprenticeship" yielded a fruitful scholarship of knowledge.  More, of course, is yet to come.  In the meantime, below are a couple of examples of my drawings of his drawings, as well as, information on my writing for the National Library of Medicine.

For more information about my past works on Cajal please visit my web site:  www.dawnhunterart.com or previous posts from this blog.  There are numerous posts about my Cajal project on this blog, here are a select few and some of my favorites to choose from:  Cajal Inventory, Cajal Inventory:  Head Heart and Spine, Sometimes Summer is All about the Work, and Started in the Middle.  

Dawn Hunter's study of Cajal's scientific drawing of pyramidal neurons, FRONT, 11" x 14," marker and pen on paper




Dawn Hunter's study of Cajal's scientific drawing of pyramidal neurons, BACK, 11" x 14," marker and pen on paper

Unfortunately, nature seems unaware of our intellectual need for convenience and unity, and very often takes delight in complication and diversity.

- Santiago Ramón y Cajal from his 1906 Nobel lecture 
"The structure and connexions of neurons."