Author: *

On a late afternoon last week, after receiving an initial shocking call from ASAI President Emeritus Dick Sneary,and then both of us making a few more calls to her closer friends that evening, ASAI has learned that its long-time, most supportive, non-illustrator member, Nancy Opsata had passed away in early December 2021. I then did some on-line searching and found the following notice about Dear Nancy on her FB page,with this most flattering,insightful photo capturing her wonderful persona; as posted by her Brother Jim, and Sister-In-law Vicki:

 

“It is with great sorrow that our family announces the passing of my sister, Nancy Lee Opsata, on December 3, 2021 in Monterey, California. A service will be held this Saturday, December 11th, at St. Timothy Lutheran Church in Monterey at 11:00 a.m, and it will be live-streamed from the church website. We plan to hold a memorial in Olympia at a later time for all her friends and family in Washington.”

I mentioned to our Executive Director Tina that ASAI should post our Members’ remembrances of Nancy, to which her many friends have contributed(as you can see below); and which would also allow other members to offer some comments,or to know about this special woman. Though newer members may not have known Nancy, and given the two-year-plus disruption from Covid, the testimonies below may provide a stronger sense of the deep comradery among our members, which has been an earmark benefit of our Society –that friendliness of membership “with meaning that is beyond just being a member” according to Co-Founder Steve Oles. ASAI still encourages new member friendships which will extend well beyond our professional sphere and may indeed last for years.

 

The Messages:

 

ASAI Co-Founder Steve Oles, Santa Fe:

“This brings tears to these old eyes.It’s no exaggeration to claim that I (as a hugely interested party) ‘love’ many of you guys.But Nancy was always my secret heart throb. How could she be otherwise? Gentle, understanding, understated, and quietly friendly by nature—and loyal to ASAI. Quick of wit, fun by inclination—but with an undertone of almost grave seriousness. Trained as a nurse, among the most noble of callings, and totally appropriate to her character.She was almost too good. Certainly too young.A reminder of two things: the fragility of life, and the sweetly positive impact that true kindness can have on the lives of others.Nancy had that impact on mine. I’ll miss her from now on.”

 

President Emeritus Jane Grealy, Brisbane AUS:
“Such shocking news. Nancy was truly special and I will try to hold the memory of her gentle words, kindnesses and smiling face. What an example to us all. So sad to hear this and I don’t really want to believe it. I always thought we would see her again.”

 

President Emeritus Barbara Ratner, Atlanta, GA:

“Nancy was proud of her Norwegian heritage, she loved her lakeside cabin and her independence, and she knew how to have fun. She and I shared a small prop plane with open windows, flying along the coast of Australia, the two of us giggling and hanging on.I will miss her.”

 

President Emeritus Gordon Grice, Toronto:

“That is sad news indeed. Nancy was a rare bird: a registered nurse (I believe) who found greater kinship amongst the ASAI misfits. A tragic loss to our organization.”

 

President Emeritus Tom Schaller, New York, NY:

“Oh…So sorry to hear this.It is a loss. Life is fragile indeed.”

 

Hugh Ferriss Memorial Prize Winner, Chris Grubbs, San Francisco CA & Savannah, GA:

“I’ll miss Nancy.”(via London)

 

President Emeritus Bill (& Sandy) Hook, Seattle WA:

“We are so sorry to hear this. We would stay with her at her family’s cabin on Hood Canal near Olympia when she was here in the summer. She didn’t contact us this last time and we assumed she was just busy. This is so sad. We did enjoy our times with her and will miss watching the sun and moon rising over Mt Rainier. Goodbye Nancy.”

 

President Emeritus Dick Sneary, Kansas City, MO:

“Nancy listened to us, was always friendly, but you could also sense a friendly argumentative stance, when she wanted to know more about a subject. She told us about her ancestor’s links to Norway after a visit. Nancy made it a point to reconnect for some good times with me & other ASAI members during a national plein air event in Monterey.”

 

President Emeritus Henry Sorenson, Bozeman MT:
“Nancy was fully committed to the ASAI –she got to every conference I can remember after her joining. She always felt she was not really a very accomplished artist but she loved learning, and loved the ASAI, and she loved us. I suggested to Nancy that she consider joining the Board as she had such a talent for organization and I thought she might be good at helping to re-organize and rewrite the ASAI Operations Manual. She did both; I know she worked on it hard for some time. Nancy was completely genuine and …pretty fearless –confident enough to speak her mind and confident enough to try almost anything. She shared her sense of things in open, frank, always thought-through reflections. Yet she was a gentle soul …always kind, always caring. She made everyone love her. You didn’t really have a choice. I have been fortunate to have been invited to join the Grey-Haired Lady Gang (Elizabeth Day, Barbara Ratner, Marsha Brown, and Nancy) for several sightseeing outings in various conference venues –always great fun.My photo is…of the (Grey-Haired) Ladies in Blue navigating a mazein Houston. And…Nancy was once John Wayne’s nurse: she kept proof in her wallet –a well-worn photo of the two, arm in arm. We will all carry on without her, even though I know she is still with us in spirit.”

President Emeritus Masaaki Yamada, Tokyo, JP:
“I just recently lost my father, and I can’t stop feeling saddened by this news.She came to Tokyo in 2011 and I have many fond memories of her.I will miss Nancy very much.”

President Emeritus Richard Chenowith, Silver Springs, MD:
“Thank you for passing on the news, Steve. So sorry to hear this… Getting to know her at…conferences was a joy.”

President Emeritus Frank Bartus, Miami,FL:
“Saddened to hear of this.Nancy was very loyal to all of us and it was always welcoming to see her. Thanks for letting us know Steve.”

Former ASAI Executive Director, Tamara Horch-Prezioso:
“She was such a loving, caring, compassionate person.More than once, her encouragement kept me going.I feel blessed beyond words to have known her. Thank you for including me on this message. I am so sorry to hear this and so very sorry for your loss. Nancy was an amazing person and I absolutely loved visiting with her when I worked with ASAI. She and I had numerous deep phone conversations…so supportive and loving.”

ASAI Member Marsha Brown, Toronto,CA:
“Nancy spotted me hesitating on the doorstep of my first seminar at my first conference in Providence in 2004. She immediately got up, took me under her wing, and connected me to ASAI forever. I am so saddened by her loss.”

Nancy was A Wonderful Soul…ASAI members are welcome to share more of these memories, like those recalled above. We must now be contented by these thoughts; and envision that Nancy, as a devout parishioner in Monterey, a choir member and singer, has now joined a Heavenly Choir to sing her Lord’s Praises.

A LIFE REMEMBERED
REMEMBERING SYD MEAD

BY GORDON S. GRICE

The first time I met Syd Mead was over the telephone. As ASAI (then ASAP) president, in 1993, it was my job to hunt down three willing professionals for our annual AIP jury. I don’t remember who suggested that we ask Syd to join the jury, but we all recognized it was a long shot – what would be the odds of one the world’s most eminent illustrators flying from LA to Toronto to serve on our humble jury? But it was a shot worth taking, so I made a cold call to his studio in Pasadena. Syd was warm and friendly on the phone. He expressed his appreciation for having been asked and quickly agreed. I was on cloud nine.

Syd was as friendly and generous in person as he was on the telephone, and even though the two other jurors and I were completely starstruck, Syd quickly put us at ease with his unassuming manner. Our AIP jury was successful and memorable.

The next time I met Syd, there was a crowd. The Society had decided to double down on our good fortune and invite Syd back to give a talk at our annual conference, also in Toronto. The problem was, we needed to pay for Syd’s expenses and the rental of the auditorium, and our coffers were a little low. By a stroke of fate, the director’s cut of Blade Runner was released that summer and the Toronto showing had attracted a throng of Syd Mead fans. I plucked up my courage and dispensed with my pride, and worked the movie theater ticket line, passing out printed invitations to the talk, hoping to fill a few extra seats. That autumn, Syd made a triumphant return to Toronto and spoke to a sold-out crowd at the Royal York Hotel—the turnout was astounding. The talk was, of course, brilliant.

I remember meeting Syd again when held our Pasadena conference. He and his partner Roger Servick kindly invited us to his studio in Burbank, which was an architectural gem, and which, Syd enjoyed telling us, was right across the arroyo from “Stately Wayne Manor,” the house that served as the set for Batman’s hideaway in the TV series.

The last time I met Syd was in Toronto again. I was working at the time for Forrec, a theme park design company, and Syd was in town on business. I asked him if he would come to our studio and talk to some of our designers. This being at least two
decades since the release of Blade Runner, a few of the younger designers (astonishingly) weren’t that familiar with the name Syd Mead. But those who knew his work and reputation were excited about meeting him. Syd was a terrific raconteur and his stories regaled all of us. By the time he left, all the designers, young and old, felt as though they had made a new friend.

There is one important thing many of us learned from Syd Mead, and it isn’t about design, illustration or futurism. It is about the importance of a good story, in words and images, and being kind and generous towards everybody, especially those
whose lives we may affect by the work we do. — Gordon S.Grice

(L–R) Frank Costanino, Syd Mead, and Gordon Grice attending the Architecture in Perspective
conference in Pasadena, CA. Photographer unknown.

In every era there are shining lights illuminating the way and providing inspiration for countless colleagues in a given discipline. In our field of inspirational graphics, Syd Mead was a supernova in our time. His magic was unparalleled, and will continue to inspire and amaze far into the future. — Steve Oles, ASAI Cofounder

A LIFE REMEMBERED THE SYD MEAD I KNEW

BY FRANK BARTUS

So much has been written to document the career and accomplishments of Syd Mead. Rather than restate any of this, sharing some of my personal experience working with Syd in the early 1980’s seemed the best way to pay tribute to such a great man.

Upon receiving a brief resume and examples of my work in February of 1980, Syd sent round trip tickets from Minneapolis to John Wayne Airport in Orange County, CA for us to meet. He personally came to greet me and put me up in his condo, which rested atop the bluffs of Capistrano Beach, from which Catalina Island was visible. The weekend visit included us watching “The Miracle on Ice” as Team USA won Olympic Gold by defeating Team USSR.

As soon as I saw Syd’s studio and the work on his board, as well as his books and posters, I began to realize the hugeness of his talent and greatness. I had not known of Syd before that moment!

After learning more about each other, Syd again took the time to drive me back to the airport on a late Sunday night. Along the way he offered to have me work with him. Syd and his business manager were so helpful. They found a condo for me with the caveat that the place must accept a dog, named Poorness.

This did not prove to be easy, but a place was found.

When I arrived, I found that all utilities, including cable and phone service, were set up and running. This was so thoughtful and gracious and just the beginning of Syd’s generosity toward me. I later saw that Syd helped so many people. A lady friend of his had fallen upon hard times in Houston during this time and he moved her to Southern California. Another automotive student from Germany needed help getting into Art Center and Syd took care of all of that.

Syd was in the middle of working on Dangerous Days, which was the working name for Blade Runner. It was amazing to see the illustrations come together. Syd worked from a small bedroom in his condo. One would imagine a glitzy studio with computers, flashing lights and chrome furnishings. Instead he worked in shorts and sandals, having to straddle his old and grumpy dog Ralph, who would growl at Syd if asked to move aside. When looking closely at the renderings for Blade Runner, Tron and other projects, strands of dog hair could be seen embedded in the paint.

A typical workday for Syd would begin at 9:00 AM, and he’d usually work on contracted projects like Blade Runner and Tron till 5:00 PM sharp. One might think that for such important projects he’d spend extra time on them, but he stopped promptly because that was in the contract. Sometimes there were hard deadlines with scheduled UPS pick-ups at that 5:00 PM time.

Typically, around mid afternoon, with a still very unfinished looking rendering on his board, he’d chat, calmly taking a moment for a cigarette and then a sip of a gin & tonic, while I nervously reminded him that the deadline was looming. Never speeding up, and ignoring his watch, he very confidently applied one strategic stroke from his brush after another, pausing often to explain what he was doing. And with just enough time to package his artwork, he would achieve a stunning and remarkable result. With all removed from his board, and after a brief break for dinner, he’d go on to other projects or sketch and draw concepts that came to mind till about 9:00 PM. I never observed him reading, yet he was always on top of the very latest aeronautical and scientific trends which he’d incorporate in his work as a visionary. Whenever he traveled or had free time to draw, he’d come up with new concepts and ideas for his own enjoyment. When clients would come to him in a panic, looking for ideas for some new project with a tight time frame, Syd could just dig up sketches and doodlings from his endless library of concepts and quickly adapt them to the project. To the clients’ amazement Syd had immediate and well-developed solutions to present.

Amongst his many other projects were architectural renderings for firms such as HKS, Houston (Harwood K. Smith and Partners). My role with Syd was to assist with this area of his work. Syd used Winsor Newton brushes and designer’s gouache. He would often reference high quality advertising photos of perhaps a wine bottle on a granite surface with beautiful lighting to extract colors to be used on a dusk scene rendering of dramatic high-rise office towers. For his perspectives he used the orthographic projection method as a base for his layouts but often took very calculated liberties to enhance the feel of the structures.

Syd related that, as a student, when classmates would go off and take breaks, he’d stay at his board and practice drawing elliptical circles at various degrees. And not just as seen on templates but in true perspective! He explained to me that when you draw ellipses you need to feel the centrifugal force. You can see this effect in many of his illustrations.

Before proceeding to his final renderings, Syd would often do a “study rendering.” One that comes to mind was an ornate dining hall of a Saudi Arabian palace. The study rendering, done in an afternoon, could bring tears to your eyes. I asked him why he felt he needed to do a finished rendering because the study looked so exquisite. I got my answer when I saw the final art, which was just that much more dazzling and amazing. The study allowed Syd to analyze values and colors so that the final was perfection.

When Syd did a painting, he worked to cover the entire surface of the board within an hour or two. All areas were treated with the same degree of importance until layer upon layer of paint began to illuminate the focal point. One can see in most of his renderings remnants of the first rough layers of paint.

Syd was very patient with me because I had not been exposed to his methods of rendering. He took the time to carefully explain what he did and never criticized what I had done (though he surely could have). And once my work was presented to him, he would, in a matter of minutes, place his final touches that seemingly magically transformed the painting to his liking! It was amazing.

When I became homesick and wanted to return to the Midwest, Syd wanted to give me a nice bonus— for no other reason than his kindness. I told him that since it was me leaving, I could not accept it.

Later I found that he had somehow “smuggled” the bonus into my packed belongings!

The one thing I taught Syd? Not much, it’s very basic but I showed him how I would register a layout; a “trace down” on a board by placing holes through both the layout and the board, so that it could easily be placed back over the board. He called these “Bartus holes” and teasingly reminded me of this when we would talk over the years.

Syd always insisted to me that he was not an artist but a designer who could illustrate his ideas. We all know better than that because he was a master of both.

Syd mentioned Roger Servick to me often. Roger, my condolences to you. — Frank Bartus

Author: Frank Costantino

During the week of January 24, 2021, and after some months of delays in preparation and completion of the award, ASAI co-founder Frank Costantino, arranged for the presentation of the Architecture in Perspective 35 Hugh Ferriss Memorial Prize to Dennis Allain, here in Massachusetts. This Prize, unique to ASAI is not only the top award for the Society’s annual international competition, but is also the world’s most prestigious prize for architectural drawing. This Prize is typically given to a jury-selected recipient as the culmination of the Society’s annual conference, which for 2020 was to have been held in Berlin, Germany in October. However, this fourth, exciting international trip and event for ASAI members was reluctantly cancelled at the latest date, given the ongoing pandemic; and was presented in a virtual format.

Dennis’s extraordinary image, “Alone”, produced with his proprietary blend of digital programs, furthered the visionary works that have brought Dennis his second Ferriss Prize. He had previously won the Society’s top prize back for Architecture in Perspective 21, with a ground-breaking elevational perspective image. Dennis now joins a very select group of four other ASAI members, whose extraordinary works have been twice-selected for the Ferriss Prize. These members include Lee Dunnette, first double winner, Thomas Schaller of NYC & LA, Gilbert Gorski of Chicago, and Jon Kletzien of AMD, Providence. These esteemed, highly accomplished members represent a very small club, among the 2100+ selected winners in Architecture in Perspective competitions over the past 35 years. The competition stipulation also is that a member cannot be selected for a second Ferriss Prize until a five year period after the first. And the fact that every competition invites three different jurors each year, makes a repeat selection a very rare occurrence indeed.

However, Dennis’ imagery is so powerful, imaginative and symbolic, that among his generally annual selections, his illustrations have also been distinguished with Member Choice awards, as well as many Juror Choice or Category Awards. In other words, his excellent work has received a stellar string of recognition. Dennis’s objective for his work is “to tell a good story, and with an arresting image – wow! factors”.

The AIP 35 Juror Christoph Sattler found that Dennis’s image “reveals an incredibly dramatic, almost surreal urban scenario. Is it a catastrophe that is just happening, or is it the view of a city in decay? The artist brings together architectural imaginations from the turn of the century, futuristic skyscrapers and destructive structures where one does not know whether they will fall from the sky or emerge from the underground. A mysterious train passes the scenery. The representation shows a very differentiated color palette, ranging from an eerie and dangerous to a light and aggressive atmosphere. It is highly emotional, and it develops a dramatic lighting of great quality. The picture is also convincing because it is completely free of marketing or advertising graphics, but belongs to a purely artistic field.”

So, with my studio being quite close to Dennis’, I brought the finished framed Prize to his place during a gentle snowfall. It seemed appropriate for me to present the Architecture in Perspective 35 Hugh Ferriss Memorial Prize in person, since I have been fortunate to do so for nearly all the Winners of the Competitions & during our Prize presentations – from the beginning of our Society in 1986, with my Co-Founder Steve Oles.

In addition to my ASAI connections with Dennis, I have also had a personal history with him over a period of some thirty years. Dennis was a former student in one of my watercolor seminars, when his interest in illustration was first developing. He subsequently became employed by a long-time client of mine, the late Howard Elkus FAIA and David Manfredi FAIA (r.) of Elkus Manfredi Architects in Boston. It was at this firm that Dennis developed his illustration and digital skills under Howard’s keen eye and drawing guidance. ; as well as David’s encouraging support for furthering Dennis’ in-house opportunities with illustration experimentation and development. After some years with both Howard’s & David’s personal support and sponsorship, Dennis started his own illustration studio and has never looked back being busy with commissions from all over the country.

The Ferriss Prize is a hefty double-imprinted medallion, pewter-cast, and featuring an iconic Hugh Ferriss image (taken from his work for NYC’s zoning and building guideline studies from the 1950’s), with an edge-surround of the Society’s name. (see photo below) This cast medal, the last of the original imprints, still shows the originally conceived name of the Society – as “Perspectivists”. The obverse wording, as here, provides ASAI’s hallmark phrasing for superior achievement in drawing – “For Excellence In The Graphic Representation Of Architecture” – together with the engraved name of the Winner. The Award itself is a custom double-facing framed piece, showing both sides of the Hugh Ferriss Memorial Prize medal, together with a small reprint of the winning image – a rather weighty award.

So while I was making the presentation to Dennis on behalf of the Board and all ASAI members, and for the Society’s record, I reiterated the above facts to him. Kerri-Ann, Dennis’ wife and avid photographer, not only took a video of the member-less presentation for the Society, she also took some candid pictures of both of masked-us after the exchange. Kerri-Ann also sent ASAI another picture of the beaming Dennis with his double Ferriss Prizes (See Below: AIP 35 on the left, with AIP 21 on the right).

ASAI has long been the touchstone for this level of illustration excellence for its entire existence; and with its upcoming Architecture in Perspective 36 competition, again continues its mission for encouraging outstanding work from all its members, and the profession worldwide.

Dear Colleagues,

At our request, Bruce Lehman Esq.,of Lehman Nilon & Associates has analyzed available relief to illustrators and artists under the CARES Act. We are grateful to Mr. Lehman for his quick action and expertise to decipher some dense material and give guidance to visual artists.

Mr. Lehman is Pro Bono Advisor to the American Society of Illustrators Partnership (ASIP), Legislative Advisor to Association of Medical Illustrators (AMI), and Legislative Advisor to Artists Rights Society (ARS).

As the economic disruption continues and extends these resources may be helpful, or even vital, to visual artists.

Please share this information with your members.

Sincerely,

Cynthia and Brad

Summary of Relief Provided to Small Businesses, the Self-Employed and Non-for-Profits under the Coronavirus Aid, Relief and Economic Security (CARES) Act

The emergency economic relief legislation signed into law last week contains several provisions that can provide support for artists who either are self employed or work in small businesses.  Illustrators and fine artists can avail themselves of three separate programs under the new law:

• Pandemic Emergency Unemployment Compensation;
• Emergency Injury Disaster (EIDL) Loans, and
• The Paycheck Protection Program.

In addition, Quarterly Estimated Tax Payments can be deferred until the end of the calendar year without penalty.

Pandemic Emergency Unemployment Compensation

Normally, self-employed individuals are not covered under state-operated unemployment compensation programs as the premium for unemployment compensation insurance is paid by an employer. However, the emergency legislation covers self-employed persons who lose their income. The new legislation expands eligibility to include anyone who is:

“self-employed, is seeking part-time employment, does not have sufficient work history, or otherwise would not qualify for regular unemployment under State or Federal law….”  

Under this provision of the CARES Act, a self-employed person will receive the weekly payment that their state normally provides under unemployment compensation insurance plus $600. The benefit lasts for up to 39 weeks. The applicant for unemployment compensation may self-certify that he or she is otherwise able to work and available to work except for their unemployment or because they have been diagnosed with the Covid-19 virus, are unable to reach their place of employment because of the Covid-19 virus or are caring for someone with the virus.

To participate in this program a freelancer or self-employed artist needs to apply through their state’s unemployment office. In most cases this can be done online. The following URL from the U.S. Department of Labor contains information and has a menu option that will link you to your state office. https://www.careeronestop.org/LocalHelp/UnemploymentBenefits/

Economic Injury Disaster Loans (EIDL)

EIDL loans are normally used in the case of natural disasters such as a hurricane. Small businesses with fewer than 500 employees may borrow up to $2 million under the program. However, the CARES Act extends the EIDL program to self-employed individuals and non-profits with fewer than 500 employees who have suffered economic loss as a result of the Coronavirus pandemic.

The program is administered by the Small Business Administration (SBA). Anyone falling into these categories may apply for loan “advance” of up to $10,000 for the purpose of maintaining payroll, meeting increased costs to obtain materials, or making mortgage or rent payments. There is little paperwork and the applicant can self-certify that he or she meets the criteria. The SBA is supposed to provide the loan advance within three days of application.

While these advances are called loans, repayment is waived if the applicant uses the money for the enumerated purposes.  Information about applying for an EIDL advance, including a link to an online application, may be found on the SBA website at https://www.sba.gov/disaster-assistance/coronavirus-covid-19.

If an applicant also applies for a loan under the Paycheck Protection Program, separately provided in the CARES Act, the $10,000 advance will be deducted from any loan under that program.

The Paycheck Protection Program

The CARES Act provides $ 349 billion in forgivable loans for small businesses and non-profits of fewer than 500 employees as well as self-employed individuals. The loans can be used for salaries and other payroll expenses, rent and utilities, mortgage interest and interest on other debts incurred before February 15, 2020.

Applicants can seek amounts that are two and a half times monthly payroll expenses for full-time employees. The limit is $10 million with repayment within ten years at a 4% interest rate. However, the loan in effect converts to a grant if the recipient keeps all employees on the payroll through June 30, 2020 and uses the money for allowable expenses. Allowable expenses are: (1) payroll costs; (2) continuation of employee health care benefits; (3) employee salaries, commissions and similar compensation, (4) mortgage interest; (5) rent; (6) utilities; (7) interest on pre-existing debt.

The loan program will be administered by banks and credit unions that that have agreed to participate. As of this writing the program is not up and running, but cooperating banks and credit unions should be able to begin processing applications in the very near future. Since the loans will be processed on a first come, first serve basis until the $349 billion limit is reached, it is important to move quickly if there is a desire to participate in this program. If you have a bank with which you normally do business, you may wish to contact them as soon as possible to get in the que for this program.

If you are a solo-preneuer some of these tools and processes of running a business are not new to you, but as many companies begin to assist their employees to work remotely due to COVID-19, we thought that a list of useful apps would assist your workflow and communications.

This information was provided in the Women in Arch Viz Facebook Group by Christiana Tudor. She has given ASAI permission to use this useful information.

Productivity & collaboration:
◾ G-suite – https://gsuite.google.com/
◾ Office 365 – https://www.office.com/
◾ Microsoft Teams – https://products.office.com/en-us/microsoft-teams/group-chat-software

Meeting scheduling:
◾ Doodle – https://doodle.com/
◾ Google Calendar – https://gsuite.google.com/
◾ Calendly – https://calendly.com/
◾ Worldtimebuddy – https://www.worldtimebuddy.com/

Communications:
◾ Slack – https://slack.com/
◾ Zoom – https://zoom.us/
◾ Google Meet – https://meet.google.com/
◾ Skype – https://www.skype.com/

Decision Making:
◾ Loomio – https://www.loomio.org/

Resource planning:
◾ Harvest Forecast https://www.getharvest.com/forecast
◾ Float – https://www.float.com/

Project Management
◾ Basecamp – https://basecamp.com/
◾ Asana – https://asana.com
◾ Trello – https://trello.com/
◾ Activecollab – https://activecollab.com/
◾ Notion https://www.notion.so/

Brainstorming:
◾ Mural – https://mural.co/
◾ Milanote – https://milanote.com/

Audio Atmosphere:
◾ Coffitivity – https://coffitivity.com/

Time tracking:
◾ Toggl – https://toggl.com/
◾ Rescuetime – https://www.rescuetime.com/
◾ Timedoctor – https://www.timedoctor.com/
◾ Timely – https://memory.ai/timely

Password Management:
◾ 1Password – https://1password.com/
◾ LastPass – https://www.lastpass.com/

Socialising & Team Happiness:
◾ Donut – https://www.donut.com/
◾ Oskar – http://oskar.hanno.co/
◾ Office Vibe – https://officevibe.com/

Note-taking apps:
◾ Evernote – https://evernote.com/
◾ Bear – https://bear.app/
◾ Onenote – https://www.onenote.com/
◾ Google Keep – https://keep.google.com/

Where to discover even more apps:
https://www.remotestarterkit.com/
https://standuply.com/330-remote-work-tools
https://www.remote.tools/

https://techagainstcoronavirus.com/

A great book on remote working:
◾ Remote – https://basecamp.com/books/remote

Let’s continue delivering high-quality services while working remotely!

#workfromhome #remotetools

Throughout the years I’ve had many questions related to ASAI and the Architecture in Perspective competition. I’ve put together some common questions along with a response and a little history. I hope you find this information helpful and get your submissions ready for the upcoming deadlines of the 35th Architecture in Perspective International Professional and Student Competitions.

Good luck!

MYTH: Only artists living in the US can participate in the Architecture in Perspective (AIP) professional and student competitions. I mean the organization is called the American Society of Architectural Illustrators, right?

FACT: The professional and student competitions are open to ANYONE in the world who would like to submit their work. We hope it’s obvious, but only students who are currently enrolled in University may enter the student competition.

HISTORY: Yes, we know it can be confusing that the name is the American Society of Architectural Illustrators. It’s a long story why that is so, but don’t let the name hold you up. From its inception ASAI has been an international organization.

MYTH: The AIP competitions only accept traditional entries.

FACT: Nope. It has been an ongoing belief that traditional and digital work can be put next to each other and judged side by side on the merits of the work, technique, and story of the image. One medium does not overshadow the other and displays an inclusive exhibition of diverse work created in the architectural visualization industry.

HISTORY: Check out the varied work from the most recent competitions AIP 33 and AIP 34. If you’d like to see a 34-year history of exhibitions think about starting your collection of catalogs chronicling the history of this industry.

MYTH: Entries for the AIP 35 professional competition need to have been created in 2020.

FACT: You may choose to submit work that you are proud of that has been done at any point in your professional career. In fact, even if it has been a piece that you already submitted, you can submit it again as long as it hasn’t already been included in a previous AIP exhibition.

MYTH: You must work solely as a professional illustrator to enter the Architecture in Perspective professional competition.

FACT: The AIP competitions are not limited to strictly illustrators, but are open to architects, designers, teachers, students, corporations, and anyone engaged in the serious pursuit of architectural drawing.

MYTH: You must be a sole proprietor to enter work.

FACT: Artists who work as a 1 person show or within a firm may enter the competition.

MYTH: There is no one behind the curtain at the ASAI headquarters.

FACT: Not a chance! Hi! My name is Tina Bryant. I am the Executive Director of ASAI and I am happy to assist you often available at non standard business hours to accommodate inquiries for artists all over the world. I do my best to be available at a time that is convenient for you. Email Me!

The original post by Bogdan Sasu is on the GTAPR website

For our 34th Annual International Conference, we traveled to Tinseltown! This year’s event, “AIP Goes to Hollywood,” included students, professionals and enthusiasts of architecture and environmental art came from around the world to engage in an open conversation on the relationship between  architectural illustration in 3D environments, architecture, cinema gaming, matte painting, photography and VR/AR. Attendees of the conference complimented, President Keely Colcleugh of Kilograph on her ability to put together a speaker lineup that was eclectic and inspiring.

A key component of the Architecture in Perspective 34 Conference was to provide an expanded scope of the event with a diverse speaker panel and to allow ample opportunities for alumni and new attendees to network and engage with each other during a variety of networking and learning opportunities including:

• Environments & Emerging Technologies – The conference kicked off with a discussion panel at Gnomon, moderated by Chris Nichols of CG Garage.  All-star artists representing a myriad of different industries and mediums talked about how new technologies are changing the way architectural concepts are developed and communicated.
• AIP 34 Exhibition Opening – Award-winning artwork from the International Architecture in Perspective 34 Professional and Student Competitions displayed at the WUHO Gallery that included a watercolor VR experience of the unbuilt work of Michael Graves “Imagined Landscapes”.
• Urban Sketch & Photography Tour – Conference attendees explored and sketched historic locations around Los Angeles. The tour engaged artists on a route from the Kimpton Everly Hotel to Hollywood Pantages Theater Metro Station (Red Line), Union Station to  El Pueblo de Los Angeles Historic Monument and ending with lunch at the historic district of Olvera Street.
• The eclectic 2-day lineup of speakers at this year’s conference featured practitioners from varied fields including architecture, photography, augmented and virtual reality, Hollywood visual effects and more. Speakers included:
  • Melissa Weese, Architect at TLCD Architecture
  • Barbara Ratner, President Emeritus of the ASAI and 2017 Gabriel Prize Winner
  • Chris Nichols, Director of Chaos Group Labs and host of the CG Garage podcast
  • Joy Lea, CG Art Director at ARwall
  • Austin Irving, Visual artist who works with large format analog photography
  • Nick Hiatt, Star Wars: The Force Awakens concept artist and matte painter
  • Mike Golden, Founder of 3Marks and Head of 3D for Kitbash3d
  • Eric de Broche des Combes, Founder of Luxigon

The final event of the conference was the awards ceremony where award winners from 2019’s AIP competition received their awards with the highest honor of the Hugh Ferriss Memorial Prize being presented to Corey Harper of TILTPIXEL during a special ceremony. Other awards given were Lifetime Achievement awards presented to Masaaki Yamada and Tina Bryant.

ASAI is extremely grateful for the glowing feedback already received from attendees and panelists, as well as for the tremendous support from our volunteers, venue partners, conference partners and sponsors.

We look forward to seeing you in 2020 in Berlin, Germany where Sergei Tchoban has already begun the planning for the 35th Architecture in Perspective International Conference. The dates for the conference are October 14-17, 2020. Details will be announced on the website along with the professional and student competition starting at the beginning of the new year. SAVE THE DATE!

PS. Did you take photos while at the conference? We would love to see them. Please send us your favorites!

This is the first article in a series was originally posted by Frank Costantino on LinkedIn.

In the course of my career as an architectural illustrator, populating project perspectives was a necessity for humanizing a new building design in its intended environment. The scale of figures had always been critical for establishing scale of the structure and the spatial depth of the overall view. The matter becomes a key compositional process in streetscape imagery, with foreground figures and natural activity and gestures, and other details that need to be depicted, the positioning of which not be intrusive to the big picture of the new design.

A watercolor for Cesar Pelli, in what was a rare scenario at the time – a rain shower on a cloudy, drizzly day – was a new tower’s office entry in a historic Boston transit station. My familiarity with this area of the city was a valued input to the New Haven design team for informing the project depiction. The hunched and umbrella-carrying figures are grouped in a supportive way to highlight the new entry facade, just off center of the view; but yet the active figures provide comfortable movements for the eye along the street space, and throughout the painting.

Another varied example of figurative positioning is detailed in a shaded university concourse at a new UC Merced campus – for EHDD in SF – depicting crowded student activity on a bright California day; yet such population not overpowering the tangible components of adjacent buildings and the shielding design of an upper sun screen and planted pergola. All these figures were first sketched out for rough positioning on an initial overlay of the perspective, then refined primarily from memory, but also from some reference photos for figure types and clothing. A second, or even a third layer, was sketched to help in refining the proportions and overlapping forms and gestures, before adapting the figures to a final drawing. To make-up or imagine such scale groupings was my own imposed challenge for comfortably enhancing and balancing this illustration.

Not having had any art lessons or figure drawing experience, I kept different sizes and types of sketchbooks for notating gestures of figures that caught my eye; whether that be at home, or travelling, or in conferences or meetings. The gestural action of a subject at these moments required a confident hand to well place the figure in the space of the page, while capturing convincing proportion for whatever the gesture might be; usually in a relaxed attitude. The medium did make a difference in approach and comfort level, and correctability. Pencil, charcoal, and color pencil allowed for some adjustments that enhanced a wobbly work and helped cover the inaccuracies of proportion with some level of honest “technique”.

But I found the best results from a drawing to be an almost an intuitive engagement with the subject, whereby a rational, deliberate judgement was suspended for the flowing, if not frantic, energy of capturing the arresting vision of that subject. In this case of my friend and colleague delivering an animated talk, his continued movement required intermittent drawing to fit the initial gesture drawn at the outset for capturing the figure.

However, when opting to really challenge myself, and improve my skill sets by using the uncorrectable medium of pen & ink, the need for more careful seeing and more deliberate judgement for the mark-making and continuity of line work required even more concentration and patient seeing. Confident speed was also a necessity in this process for drawing the figure, since movements, however slight, altered the shape of space and the figure’s ground-to-field relation, as well as facial features and expression, glasses, limbs, clothing, etc.,

Depending on my relative location to who I might be drawing, the pen & ink medium necessitated an almost disengaged, detached place of mind; and to avoid an intellectual analysis of the process, or a questioning hesitation in capturing the figure. The truth of such drawing was seemingly verified by the reaction of viewers, or the subjects themselves. What emerged was a depiction of the intangibles of action and/or emotion. The drawing always tells the truth.

I can only encourage folks to adopt sketchbook drawing, not only for practice in sharpening the eye, but also for pleasure of mark-making, and refining one’s drawing, visual and memory skills. The drawing experience will be further enhanced as the artist becomes deeply engaged in a given moment.

I’ve had the pleasure of drawing my sons since they were born, and continuing for nearly 50 years, to do sketches of them. This ongoing sketch practice informed my illustration work, as well as other artworks I’ve been fortunate to produce. I can only strongly suggest that figure sketching is well worth anyone’s effort; and it can only help in informing numerous skill sets that will very likely improve one’s professional work too. And however imperfect those sketches may be, they will always serve as memorable records of one’s engagement with people, places and times. copyright – f.m.costantino, 2019

We are very excited to have Sergei Tchoban join the ASAI Board of Directors. His longtime support of ASAI as a member has awarded him many awards in the Architecture in Perspective Professional Competition.

Among his other duties on the board, he is actively planning the 2020 Architecture in Perspective Conference in Berlin, Germany. We look forward to releasing those details at a later date.

Sergei Tchoban, Architekt BDA
TCHOBAN VOSS Architekten, Berlin
SPEECH, Moscow

Sergei Tchoban, born in Saint Petersburg in 1962, is a Russian-German architect. After his studies at the Russian Academy of Arts, Saint Petersburg, he worked as a freelance architect in Russia until in 1992 he started working at the architectural office NPS Nietz – Prasch – Sigl in Hamburg. In 1995 he became managing partner of this company, which since 2017 trades as TCHOBAN VOSS Architekten. In 2006 Sergei Tchoban founded the architectural office SPEECH in Moscow together with Sergey Kuznetsov. 2009 the Tchoban Foundation started, growing 2013 into the Museum for Architectural Drawing in Berlin.

Between 2009 and 2011 Sergei Tchoban has been member of the urban advisory board of the city of Linz and will resume this activity from 2018 on. Since 2013 he is member of the urban advisory board of the city of Moscow. Moreover Tchoban has been teaching at the Moscow Graduate School of Architecture MARCH during 2013 and 2014. He was jury member of the Iakov Chernikhov International Prize for Young Architects in 2014 and a jury member of the World Architecture Festival WAF in 2016 and 2017. He chairs the jury of the international drawing competition ArchiGrafik since 2013. In 2017 he founded the first Biennale for young architects in Russia, with the aim of encouraging and supporting their professional development.

At the Venice Biennale of Architecture in 2010 and 2012 Sergei Tchoban was curator of the Russian Pavilion. In 2015 he was the architect of the Russian Pavilion for the EXPO Milan. Further he was responsible for the exhibit design of several international exhibitions, the latest in the Vatican Museum in Rome. Since 1992 Sergei Tchoban is member of the American Society of Architectural Illustrators ASAI. His drawings have been displayed in several museums and galleries and several are part of the collections of the Hermitage in Saint Petersburg, Victoria & Albert Museum in London and the Architectural Archive of the Akademie der Künste in Berlin.

2018 Sergei Tchoban received the European Prize for Architecture by Chicago Athenaeum Museum of Architecture and Design.