ARTISTS

I

Continued from Page 7
everyone will think I'm good, there
will be no question about it," she

explained. "If I am that good,
everyone will see and my work will
sell itself when it comes to that
point."
"The biggest question you'll
hear: 'You don't look like an

-m-i


druSL, saw unns rac er wnie
working in his painting class. "It
doesn't take that kind of clothes,
that kind of attitude. It takes
dedication."
The senior graphic designer's
canvas was streaked with pink -
he'd just erased a nearly complete
painting because he didn't like the
way it turned out. Packer can easily
spend 15 hours on one life drawing
project. But "if you think of what
the masters spent, they would laugh

cy..u, s.ala.
John Becker, a graduate photo-
graphy instructor, warns his stu-
dents that they are expected to put
in nine hours of work a week for
the three credit course.
Not all of those destined to
become contemporary masters come
clad in tie-dyed tee shirts, berets,
long scarves. Becker says it's easy
to tell which students are geared
toward designing and which are
"studying art as an expressive

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"A lot of students majoring in
(fine arts) go through the starving
artist routine, buy everything at the
Salvation Army," he said. "That's
as opposed to someone who's go-
ing into business design, wearing a
suit and a tie. Both are artists with
a captial 'A', but in a different
sense of the word."
The demand for graphic design
artists is expected to grow as more
advertising companies stress visual
appeal.
Those who feel too constricted
by the exactness of the work
eschew the possibilities it presents
for a less saleable trade.
"I think a handful of people who
are in graphic design who love it
are meant to be graphic designers.
It's very technical," said senior
photography major Liz Albert. "I
think someone inherently meant to
be messy in the studio, with paint
all over, like me, wouldn't be
happy being in graphics."
Sometimes, the line between
creating for yourself and creating for
others is blurry. "It's a tough thing
for artists because there's some-
thing that doesn't match up with
making art for yourself and selling
it," Edwards said. "You can't pin
down why someone would buy art
other than they like it," he said.
"An artist is trying to make
concrete money out of art that is
not concrete; it's hard to put on a
pricetag." U

VOLUME 5, NO. 14

J the M~ichigian 19 iilg [

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.PAGr2 , KbWEEKEND/'JANUARY 0, 1987

Plus:

Keith Jarrett

Interviews: Judd Nelson and

Peter Ca