RESUMES &
CAREERS
ESSENTIALS
APPLICATION MATERIALS GUIDE
2021 EDITION
RISD
1. Will Hyre / Cover Letter & Resume / SC Sophomore
2. Diya Patel / Cover Letter & Resume / ID Sophomore
3. Olivia Phlair / Cover Letter & Resume / AP Junior
4. Xavier Williams / Cover Letter & Resume / IL Senior
5. James Yamamoto / Cover Letter & Resume / GD Senior
6. Maria Santos / Cover Letter & Resume / PT Senior
7. Rachel Macnulty / Cover Letter & Resume / FAV Alumna
8. Jalessa Adams / Cover Letter & Resume / ID Alumna
9. Kyeu Eun Kim / Cover Letter & Resume / TX MFA Alumna
10. Emily Tan / Cover Letter & Resume / IA Alumna
11. Samantha Smith / Cover Letter & Resume / AR Alumna
12. Ling Chen / Cover Letter & CV / March 2nd year
13. Oblot Bozzono / CV / FAV Alumnus
14. Lucas Pierre / Artist Statement / PT Alumnus
15. JC Velez / Exhibition Resume / CR Senior
16. Finn Artiste / Exhibition Resume / PT MFA Alumna
WORKING
SAMPLES
RESUMES, COVER LETTERS, ARTIST
STATEMENTS, & CURRICULUM VITAE
These samples provide content and
formatting for basic job resumes and cover
letters used for fine art and design
opportunities. Examples for both entry-level
and more experienced candidates are shown.
Use these samples for guidance and
inspiration, to create your own unique
documents based on your personal
background, skills and goals. The content
and design of your materials should reflect
the best way to describe and demonstrate
your abilities.
Will Hyre
Rhode Island School of Design
2 College Street, Box # 00 / Providence, RI 02903
401.001.7533 / [email protected]
www.whyre.portfolios.art
April 15, 2018
Ms. Amy Burgess
0 Flatbush Avenue, 1st floor
Brooklyn, NY 10001
Dear Ms. Burgess,
I am completing my sophomore year at Rhode Island School of Design and wanted to contact you regarding
a possible internship experience with your studio for this summer. I have been admiring your work since
my Freshman Foundation Professor, Gary Ferrous, presented images of your installations to our class.
Last November I was able to attend the opening of your show, ‘Disintegration’, at Socrates Sculpture Park.
At the opening we had a chance to speak briefly and you recommended that I contact you if I had further
questions about your work.
This semester I have been involved in a course devoted to Public Art and have created a Project Proposal
called ‘Open Shell’. In the same way that your works invite interaction, I developed a site-specific
sculptural piece for a public park in downtown Providence, RI. My concept involves a form based on
a chambered nautilus which uses fiberglass, metal and cast concrete and allows the public to climb,
walk or sit within it. My experience in working with these materials is complemented with my skills in
woodworking and even model making.
If I was able to assist you this summer, I would not only be able to work on fabricating your pieces, but I
could also provide help in managing your studio. I am very well organized and can handle a variety of office
skills from answering emails and ordering supplies to data entry. I am comfortable with computers and
very familiar with Microsoft programs, Excel charts, and have some knowledge of 3D imaging programs.
I also work well with clients and have great people skills from my experiences as a Resident Assistant at
RISD.
I have enclosed my resume and 3 samples of my work for your consideration. Thank you for reviewing these
materials and I look forward to hearing from you.
Sincerely,
Will Hyre
Will Hyre
Rhode Island School of Design
2 College Street, Box # 00 / Providence, RI 02903
401.001.7533 / [email protected]
www.whyre.portfolios.art
Internship experience working with an established sculptor or fine art foundry that will provide exposure to
professional contemporary art markets and utilize a broad range of 3D and 2D artistic skills.
Rhode Island School of Design (RISD), Providence RI
Bachelor of Fine Arts, Sculpture — 2020
Concentration, Art History
3D: Refined skills in casting plaster forms, model making techniques and working with a wide variety of
woodworking processes and equipment. Able to work in plastics and basic knowledge of welding and metal
forming processes. Skilled in use of shop tools including band saws, lathe, belt sander, drill press, and joiners.
2D: Drawing — Utilize sketching and detailed drawings to work out sculptural ideas. Photography — Extensive
art documentation work with digital cameras for publishing online and in print.
Computer: Macintosh and PC. Working knowledge of Form Z and AutoCAD. Photoshop, Illustrator, and
Microsoft Word. Ability to learn programs quickly and adapt them to studio needs.
Organizational: Ability to thoroughly research, organize, and manage projects from concept to production.
Strong client communication experience and office skills — answering phones, data entry, and meeting
deadlines.
Public Art, RISD Sculpture Department, Providence RI
Open Shell: Public Art Project Proposal — 2018
Developed site-specific sculptural piece made of fiberglass, metal and cast concrete for a public park in
downtown Providence. Concept based on a chambered nautilus shell with expanded and abstracted shell
segments including chambers that allow a child or adult to enter the piece and climb, walk or sit within it.
Formal proposal submitted including artist statement, detailed description of the piece, budget for fabrication
and installation, and hand drawn and computer renderings of proposed sculpture.
Somerville Community Arts Center, Somerville MA
Summer Art Instructor — 2017, 2016
Taught art day camp program for children ages 8 to 12 years old. Under the direction of lead teacher developed
lessons and provided class instruction independently once a week. Supported lead teacher with regular
assistance to students throughout class sessions by guiding their use of materials and encouraging their
creativity.
Office of Residence Life, RISD, Providence RI
Resident Assistant — 2017 - Present
Coordinate activities for dormitory floor of 30 students; provide guidance to students adjusting to college life;
plan social gatherings; and problem solve roommate conflicts. Work as a team with other resident assistants.
Sculpture Department Show, Woods-Gerry Gallery, Providence RI — 2017
Geometry, Johnson Craft Gallery, Racine WI — 2017
Fresh Cut, Wexler Art Center, Jersey City NY — 2016
Mano Grande, San Diego Museum, San Diego CA — 2015
Goal
Education
Skills
Related Studios
a
nd Experience
Other Experience
Exhibitions
Diya Patel
[email protected] | https://www.behance.net/risd/diyapatel | 2 College Street, Providence, RI
T
o The EcoVentures Design Team,
I h
ave always been passionate about nature and the environment. Some of my earliest
memories are of times spent discovering riverways, planting new flowers with my mother in
her small garden, and learning about the new creatures I encountered while exploring the
outdoors. I have a deep commitment to nature, so as a designer I feel a tremendous
responsibility to help protect it.
It
is this desire that first compelled me to study design. In my time at RISD, I have
committed to learning all that I can about sustainable design processes by majoring in
Industrial Design, and concentrating in Nature-Culture-Sustainability Studies. In particular,
the concentration is a way for me to ensure that I am building expertise in critical issues
related to biomimicry, emerging technologies, global warming, and other topics that will
allow me to build a holistic approach to designing responsibly.
My p
assion for sustainability aligns perfectly with the work you do at EcoVentures. When I
first learned of your innovative mission to grow materials using mycelium to ultimately
create biodegradable packaging and leather-like textiles, I was instantly hooked. I was even
more excited when I realized that you are hiring an intern this summer to join your diverse
group of engineers, biologists, artists, and designers.
T
hrough coursework and various projects, I have developed skills that I can contribute as an
intern to your studio. In fact, in my Sustainable Wearable Device course, I have even worked
on projects that have experimented with biomaterials such as PLA and mycelium. Beyond
that, I have gained confidence in 3D modeling skills using Rhino and SolidWorks in addition
to cultivating excellent hand sketching and visualization abilities related to concept
development.
I l
ook forward to the possibility of using these skills towards the creation of eco-friendly
packaging and products at EcoVentures. I know it would be an incredible opportunity to
learn from such a talented and values-driven team. Thank you for considering my
application.
B
est Wishes,
Di
ya Patel
Diya Patel
[email protected] | https://www.behance.net/risd/diyapatel | 2 College Street, Providence, RI
OBJECTIVE
Seeking an internship with a sustainably-focused and material-conscious design studio where I
can contribute my skills in prototyping, fabrication, and research.
EDUCATION
Rhode Island School of Design (RISD) | Providence RI | 2023
Bachelor of Fine Arts, Industrial Design
Concentration in Nature–Culture–Sustainability Studies (NCSS)
RELATED COURSEWORK
Sustainable Wearable Devices | RISD Industrial Design Department | Wintersession 2021
Explored wearable devices and their interaction with the human body. Researched the
relationships between human ergonomics, products, and sustainability. Learned principles of
form and material as they relate to sustainable design concepts. Developed a final project concept
for an original wearable wrist device. Created digital product renderings, final prototype, and a
presentation for a group critique.
Design Principles | RISD Industrial Design Department | Fall 2020
Developed conceptual, strategic, and manual skills as part of the design process for this studio
class. Cultivated critical thinking and concept generation skill sets. Investigated form and
function through drawing and model making activities. Designed multiple physical product
prototypes, ranging from hand tools to decorative objects, in weekly exercises.
SKILLS
Design: Concept Sketching, Orthographic Drawing, Rapid Prototyping, Design Thinking
Fabrication: Biomaterial 3D Fabrication (PLA, Mycelium), Laser Cutting, 3D Printing, Metal and
Woodworking
Digital: Solid Works, Rhino, Sketchup, Fusion 360, Illustrator, InDesign, and Photoshop.
ADDITIONAL EXPERIENCE
Teaching Assistant | RISD Experimental and Foundation Studies | 2021
Assisted professor Ethan Farrell with preparation and instruction of Spatial Dynamics class. Aided
in laser cutting workshops and 3D modelling demonstrations. Provided guidance to twenty first-
year students.
OLIVIA PHLAIR
2
22.999.8888 >> [email protected] >> www.oliviaphlair.art
March 15, 2018
Mr. Patrick McKing
3 Silk Boulevard
London, England
Dear Mr. McKing,
You may recall, we met last spring when I came to interview for a summer internship at Patrick McKing Studio. Due to
financial and practical considerations, I was unable to take the internship at that time. However, I left our meeting extremely
excited about your company and hoped that a future opportunity would develop to work with you on your women’s
knitwear collection. For this reason, I was happy to see your recent posting to RISD’s job board, ArtWorks, for an entry-level
position in the same knitwear division.
I have been closely following your collections over the past several years, and I am consistently inspired by your notable
experimentation with materials and the richness and elegance of your clothing. Your Spring 2018 Collection was
breathtaking and many of your designs continue to resonate with me. Being able to see how the creative, technical, and
logistical processes inform each other in a successful business in the fashion industry is exactly the kind of professional
perspective I would like to attain after my RISD studio experience.
Since speaking with you last year, I have further developed my knitting and apparel skills. I feel that I am now in an even
better position to offer my assistance. I have drafted patterns for knitted and finished garments and broadened my
understanding of the principles of shape and structure in knitwear. I have been fortunate to have three internship
experiences including my most recent at Renegade Rose in NYC where I also provided freelance work for their knit dresses
and tops. Additionally, I have served as the Head Dresser and Runner for RISD’s Apparel Show 2017 and provided my
support to the Apparel Department by serving as a mentor to underclassmen as well as a studio monitor.
Thank you for once again considering me for an opportunity at Patrick McKing. Attached is my resume and
a PDF of samples of my work. You can see further examples of my projects at www.oliviaphlair.art and I can be reached by
email at [email protected] and by phone at 222-999-8888. I would be happy to schedule a phone interview in the coming
weeks and look forward to hearing from you soon.
Sincerely,
Olivia Phlair
OLIVIA PHLAIR
OBJECTIVE
Seeking an entry-level apparel design position working for an established label where I can apply my extensive design skills
while being exposed to the professional fashion industry.
EDUCATION
RHODE ISLAND SCHOOL OF DESIGN, RISD > Providence, RI >
2018 Bachelor of Fine Arts, Apparel, Honors
FASHION INSTITUTE > New York, NY >
2013 Pre-College Concentration, Apparel
APPAREL DESIGN EXPERIENCE
RENEGADE ROSE > New York, NY > 2018
Freelancer for Knit Dresses & Tops > Sketched designs for Spring 2019; created artwork including eyelet, embroidery and soutache
designs which were sampled; utilized NedGraphics software to draw and fill CADs; and updated
tech packs for Resort 2019 Collection. Conducted extensive research for inspirations, design concepts, and trend forecasting for
Spring 2019; developed presentation boards and participated in hand-offs and sample fittings.
RISD APPAREL FASHION SHOW > Providence, RI > 2017
Head Dresser & Runner > Directed models, designers and dressers backstage as well as prepared the order of the designs; set up
the modeling racks and handled other venue preparations during the Fall 2016 and Spring 2017 Senior Critiques for RISD
Collection 2017.
TRACY HARRIS & VICTORY> New York, NY
> 2017
Design Intern > Worked directly with owner/head designer to develop color story, silhouettes, patterns, flats and tech packs for
Holiday 2017, Spring 2018, and Fall 2018, lines of the company. Sourced materials, coordinated production, and served as fit
model and showroom model during market events.
ELOCIN VON THURSTENBERG > New York, NY > 2016
Design Intern for Womenswear > Swatched for fabrics and trims; fabric dyed; researched for inspiration images; executed
patterns; communicated and worked with sample room and production team; assisted with fittings and styling meetings in
preparation for Fall 2017 show.
SKILLS
DESIGN > Pattern drafting, draping, and tailoring. Strong apparel design and construction skills using knit, woven, and innovative
materials. Advanced experience in machine, hand sewing, knitting, fabric dying and screen printing. Confident fashion illustration
and observational drawing skills in various mediums. Instinctive color design ability with conceptualization, layout, and
presentation skills. Thorough execution of graphic design and marketing work.
COMPUTER > Macintosh + PC. Photoshop, Illustrator, InDesign, Kaleido, Excel. Ability to learn programs quickly and adapt
them to studio needs.
ORGANIZATIONAL > Ability to perceive and execute necessary tasks in advance. Excel in taking direction and able to work
independently when needed. Personal: Resourceful, optimistic, motivated, enterprising, adaptable, and collaborative work ethic.
OTHER EXPERIENCE
OFFICE OF INSTITUTIONAL ENGAGEMENT, RISD > Providence, RI > 2018
Phonathon Supervisor > Caller > Oversaw RISD Phonathon callers while contacting alumni and donors, tweeting Phonathon
updates and news, and inputing data from nightly calling sessions into Microsoft Excel. Called alumni and donors to update
contact information, discuss donating to RISD, and providing alumni with RISD resources.
APPAREL DESIGN DEPARTMENT, RISD > Providence, RI > 2016 -
2017
Mentor & Studio Monitor > Worked in the department to support and guide underclassmen with design and technical challenges.
Answered questions, problem-solved, and sought resources when necessary.
Dear Ms. Lu,
I remember the feeling like it was yesterday. My brother and I raced home
one afternoon, having just bought the new release of Elevate Studios’
Cracket and Mace. Having watched and re-watched the game trailer in the
weeks leading up to its release, we were eager to explore exotic planets,
collect out-of-this-world gadgets, and help Cracket and Mace save the
galaxy from certain doom. The countless hours spent immersed in that
fantastical world would be the beginning of my love for concept art, and
my fascination with the incredible power games have to introduce us
to complex characters and environments that are limited only by the
imagination.
As a senior in RISD’s Illustration department, I was so excited to learn
that you graduated from the department as well and are now leading
Elevate Studios’ art department as an Art Director. During my own time at
RISD, I have taken advantage of the courses offered to hone my abilities
as a game artist. Specifically, I was able to produce professional quality
game art assets in my Character and Environment Design class using
both traditional and digital tools.
Beyond the classroom, I was a member of the selective BostonDIGI
Summer Innovation Program. In this program I worked with other
students as well as seasoned gaming professionals to develop an original
mobile game intended for market. In this project I played an art directorial
role as well as illustrated key assets for the game. This experience taught
me so much about the process of building a game, skills I hope to bring to
Elevate Studios.
I would value the chance to speak with you further about the studio
and professional opportunities that might be available. From one RISD
illustrator to another, thank you so much for the amazing creative work
you do at Elevate. I truly hope to be a part of it.
All the best,
Xavier Williams
XAVIER WILLIAMS
xavierwilliamsgames.com
Rhode Island School of Design
BFA Illustration 2019
EDUCATION
Our Earth LLC — Game Design Intern, 2018
Collaborated with Our Earth LLC, an educational media nonprofit
aiming to teach children about climate change, to design a game for
distribution in educational institutions. Coordinated with Creative
Director to draft multiple concept pitches for the game based on
research of environmental pollution and its effects. Researched and
applied theories of play-based learning.
BostonDiGi Summer Innovation Program — Artist Intern, 2017
Worked as part of a team to develop a mobile app game for launch on
iOS and Android. Established art direction and produced illustrated
assets for weekly builds while maintaining consistency, quality, and
pace. Distributed tasks to team members based on individual skill
sets, and solved UI, design, and technical challenges with the team.
Demon Games LLC — Freelance Game Artist, 2017
Created detailed environment concept drawings for a horror-
mystery virtual reality game. Created concept sketches and final
illustrations for in-game implementation and promotional distribution.
Communicated with creative director to ensure that art followed
artistic guidelines.
GAMING EXPERIENCE
Character and Environment Design, RISD Illustration Department, 2018
Learned the many artistic and technical aspects of designing and
producing characters, environments and props for 3D games.
Designed effective low-polygon characters and scenes. Learned
and implemented texturing and UV mapping, as well as simple
character rigging.
3D Illustration, RISD Illustration Department, 2017
Self-directed visual development, game mechanics, and production
design for a narrative board game entitled Froghop Escape. Created 2D
assets, 3D assets, and promotional packaging. Revised designs based
on critique.
RELEVANT STUDIOS
SKILL SET
Art + Design
Character and Environment
Design, Game Design and Asset
Creation, Figure and Observational
Drawing, Landscape Painting,
Human and Animal Anatomical
Illustration,Storyboarding,
Beatboarding, Color Keys
Software
Photoshop, InDesign, Illustrator,
Maya, ZBrush
ACHIEVEMENTS
Honors
Winner, Society of Illustration
Student Scholarship, 2018
Speaker, Boston Festival of
Indie Games, 2017
RISD Honors, 2016-2017
Exhibitions
Senior Exhibition, ISB Gallery, 2018
RISD Portfolios Online Gallery,
Curated Selection, 2017
Fame, RISD Expose, Group Show, 2016
XAVIER WILLIAMS
xavierwilliamsgames.com
To: imosi@chicagochronicle.com
Subject: RISD Student seeking Junior Graphic Designer position
Dear Ms. Mosi,
I am writing with great excitement to be considered for the Junior Graphic Designer role at The Chicago
Chronicle. I have long been an avid reader of your content, always viewing the publication as the premier news
media platform in the country. In particular, I was profoundly impacted by your recent digital series telling
the stories of Japanese-American families forcibly placed in internment camps during WWII. As an American
of Japanese heritage myself, the power of the stories combined with the somber beauty of the associated
design elements and imagery impacted me deeply.
My goal as a designer is to tell stories that educate, bring people together, and bring positive impact to the
world. My education in the Graphic Design Department at Rhode Island School of Design (RISD), along with
numerous real-world applications of my design practice, has provided me with the skills to be just this kind of
designer in the world.
While at RISD I worked as a Layout Editor for Visions Magazine, a literary art publication produced by Brown
and RISD which focused on the stories and issues pertinent to Asian and Asian-American students. In this
role, I was responsible for layout design, typesetting, and content management. I also interned at the notable
New York design studio, PS Design. As an intern, I was embedded with the design team on multiple projects
for clients, and even got to lead the design on a digital publication for the Columbia Business Review. In
addition to the skills gained through these experiences, I am highly capable in Adobe Illustrator, Photoshop,
and InDesign as well as front-end coding.
I firmly believe I am an ideal fit as part of the creative team at The Chicago Chronicle. I will be in Chicago the
week of March 23rd and would be more than happy to meet with you at your convenience. I look forward to
hearing from you.
Sincerely,
James Yamamoto
jamesyamamotodesign.art
james.yamamoto@risd.edu
EDUCATION
Rhode Island School of Design (RISD)
Providence, RI | Sept. 2013–2017
BFA Graphic Design Honors
Brown University
Providence, RI | Sept. 2015–2017
日本語 Japanese Language Courses
SKILLS
Design | Print, digital, and editorial design;
installation and curation experience; front-end
coding and prototyping; signage and wayfinding.
Artistic | Printmaking and illustration.
Computer | Adobe InDesign, Illustrator, and
Photoshop; HTML/CSS; Microsoft Word,
PowerPoint, and Excel; Apple Keynote.
EXHIBITIONS
Reflecting Room | RISD Museum, Gelman Gallery
Providence, RI | 2014
Live Love | New City Arts
Providence, RI | 2015
AWARDS & CERTIFICATES
Haystack Art School Collaborative | 2016
Malcolm Grear Endowed Scholarship | 2016
Nestlé Professional Scholarship | 2013, 2014,
2015, 2016
Japanese American Treaty Centennial
Scholarship | 2013
Lucille Ryman Carroll Scholarship | 2013
The President’s Volunteer Service Award:
Gold | 2013
CREATIVE EXPERIENCE
PS Design | Design Intern
New York, NY | June 2016 – Present
Design signage, graphic standards, presentations, web and print materials for
clients as a part of a team of designers. Assist on-site for installations; attend
client meetings and project presentations; typeset and collaborate on larger
projects; lead the design of client-based projects.
Impact Agency | Graphic Design Intern and Freelance Illustrator
Pawtucket, RI | June 2015 – September 2015
Design and illustrate icons, posters, and packaging; assist in rebranding
design for Farm Rhode Island.
BDRI Letterpress | Letterpress Production Assistant
Providence, RI | June 2015 – September 2015
Print, die-cut, and collate client work on the Vandercook letterpress press;
design digital files; assist in print shop operations; design and produce a new
business card book and a ludlow type-sample book.
New City Arts | Printmaking Artist Mentor
Providence, RI | September 2015 – Present
New City Arts is a nonprofit after school art program for high school students
from all over Rhode Island. Mentor, teach and collaborate with artist mentors
and students on silk screen and relief printmaking techniques, student
projects, and portfolio development.
VISIONS Magazine | Layout Editor
RISD/Brown University | Providence, RI | February 2015–September 2016
VISIONS Magazine is a student-run, printed, biannual publication. Design the
layout of the publication; edit and curate content for the magazine; oversee the
design and content.
ADDITIONAL EXPERIENCE
RISD Career Center | Office Assistant and Design Assistant
RISD | Providence, RI | June 2015 – Present
Manage the front-desk; design presentations; assist in design of print and
digital material; organize information in an online database.
Design for US | RISD/Brown Studio Member
RISD/Brown University | Providence, RI | February 2016 – May 2016
Design for US is a national network of interdisciplinary student teams working
together to promote social activism through human-centered design and
design-thinking.
JAMES YAMAMOTO jamesyamamotodesign.art jyamamot22[email protected]
To the Brooklyn Creative Arts Exchange Team,
As a socially-engaged artist who believes in open access to the arts for all, I have been following the Brooklyn Creative
Arts Exchange for some time. I have long admired your organization as a hub for NYC youth and professional artists to
share space, thoughts, and resources. In particular, I am compelled by your “Speak Up” program, which brings together
performance artists and local youth to create work that resonates with the community and stimulates dialogue. This type
of exposure to the arts is crucial for young people, and was an essential part of my own development as an artist. I hope
I can create more of these types of experiences as the Art Programs Associate at Brooklyn Creative Arts Exchange.
In my time as an undergraduate student in the Painting department at Rhode Island School of Design, I’ve been
intentional about seeking out opportunities to expand my skills as an artist and administrator. I have had multiple
experiences working for non-prots, including internships at the Brent Howel Art Foundation and the City Children’s
Museum in Providence. At Brent Howel in particular, I co-led an initiative to curate work by both students in the
program and afliated professional artists for a community-facing exhibition. This project involved signicant research,
scheduling, and coordination. Furthermore, I also understand the life of a working artist, a perspective I gained in part
from my role as a Studio Assistant for internationally-exhibited artist Atulya Ganesh. This understanding would allow
me to thrive in the Associate role when collaborating with local artists.
I believe deeply that I can contribute to the meaningful work happening at Brooklyn Creative Arts Exchange. The values
of your organization pair perfectly with my own. I truly hope I can join you in spreading those values, and look forward
to the chance to speak with you more about the position.
Sincerely,
Maria Santos
Maria Santos
Seeking an opportunity within a non-prot art center where I can contribute my curatorial, art administrative, and
community engagement skills.
Objective
Rhode Island School of Design (RISD)
Providence, RI, 2019
Bachelor of Fine Arts, Painting
Concentration in History of Art and Visual Culture (HVAC)
Education
Art Administration
Knowledge of contemporary art, historical art movements, curatorial practice, fundraising,
marketing, planning, budgeting, grant proposals, and youth art education
Computer
Adobe Creative Suite – Photoshop, Illustrator, Acrobat DC
Coding – HTML, Javascript
Language
Fluent in Spanish and Portuguese
Skills
Brent Howel Art Foundation, Brooklyn, NY
Curator in Residence, 2018
Brent Howel Art Foundation is a community arts non-prot that provides free community
studio programming lead by professional artists. Collaborated with the staff to curate a show
representing the work of students and professional artists at the foundation. Developed,
designed, and produced catalogue for the show. Managed the design and installation of the
exhibition.
City Children’s Museum, Providence, RI
Program Development Assistant, 2017
City Children’s Museum inspires and celebrates learning through active play and exploration.
Acted as an assistant program developer and play-guide at the museum. Assisted the museum
Program Coordinator in designing and crafting educational, STEAM-based learning
experiences for elementary school-aged children.
Atulya Ganesh Studio, Boston, MA
Artist Assistant Intern, 2016
Assisted the artist with her creative work and studio management. Introduced to a
professional ne art practice through assisting with budgeting, funding, artist promotion,
website management, and gallery communication. Contributed to the artist’s work by
sourcing inspiration from contemporary art. Fabricated sculptural pieces under the guidance
of the artist.
Art Administration Experience
Americana, Grin Gallery, 2018
Triennial, RISD Painting Department, Woods Gerry Gallery, 2017
LACE Fellowship, RISD, 2017
RISD EFS Triennial Exhibition, Woods Gerry Gallery, 2015
Student Honor Roll, RISD Academic Affairs, 2015–2018
Awards & Exhibitions
Maria Santos
RACHEL MACNULTY
CINEMATOGRAPHY & VIDEO PRODUCTION
moviesbymacnulty.com / rmacnulty20@risd.edu
/ 333.100.9999
To the Happy Pancake Production Team,
I was so excited to see your position for a Digital Video Producer on the RISD ArtWorks platform. I have
been a big fan of your content since you launched in 2015. I deeply connect with your mission to produce
media that explores life’s big questions, celebrates humanity, and champions creativity. In fact, I vividly
remember the first time I watched your YouTube series Metaphysical Milkshake. I was delighted and
impressed by the way the show blended humor, philosophy, and feel good vibes. In a world that can
sometimes feel chaotic, the content that Happy Pancake produces creates some very welcome positivity.
As a recent graduate of the Film/Animation/Video program at Rhode Island School of Design (RISD), I feel
I have the background and skill set needed to contribute to the great work happening at Happy Pancake.
In addition to my education, I have five years of freelance and in-house production experience developing
content for clients across a range of industries. I managed the entire process, from scripting in pre-
production to editing in post-production. Through these experiences, I’ve honed my ability to create and
pitch concepts, manage production logistics, and deliver compelling video content on deadline.
Beyond my freelance work, I also was a Creative Intern with the socially-focused production agency,
Impact Films. In this role, I generated original short-form videos to be used for the agency’s social media
accounts. This involved extensive coordination with senior producers to organize shoots in the agency’s
studio space, as well as collaboration with staff motion designers and animators to finalize the finished
media content.
I am enthusiastic about the opportunity to join the creative team at Happy Pancake and contribute to
producing the fun, inspiring, and hopeful message you put out in the world. As a BIPOC individual, it meant
a lot to see that the company has a commitment to hiring diverse creatives and telling stories that elevate
the voices of traditionally underrepresented communities. I hope to get the chance to be a part of that
storytelling moving forward.
Sincerely,
Rachel Macnulty
Cinematographer & Video Producer
moviesbymacnulty.com
rmacnulty20@risd.edu
RACHEL MACNULTY
CINEMATOGRAPHY & VIDEO PRODUCTION
moviesbymacnulty.com / rmacnult[email protected]
/ 333.100.9999
SELECTED CREDITS
“PRISM” (2020)
Independent Film
Director / Editor /
Cinematographer
“THE SNOWFINCH” (2020)
Independent Film
Gaffer / Cinematographer
“JUMP” (2019)
Feature Film
Gaffer / Cinematographer
“PERSPECTIVA DE LA
PAOLA” (2018)
Documentary
Director / Editor /
Cinematographer
SKILLS
Software: Adobe
Photoshop, Adobe
Lightroom, Adobe Premiere
Pro, AVID Pro Tools, DaVinci
Resolve, Capture One
Film & Video:
Screenwriting, Directing,
Nonlinear Video Editing,
Steenbeck Film Editing,
Sound Design & Mix
Studio Equipment: Sony A7
III, Sony X-70 , Lumix GH5,
Bolex Camera, BlackMagic
Pocket Camera, Panasonic
HMC 150, Zoom
Microphone, Boom Pole +
Microphone, LED DMX,
Panel Lighting, Studio
Lighting
EDUCATION
RHODE ISLAND SCHOOL OF DESIGN / PROVIDENCE, RI
BFA in Film/Animation/Video (FAV) / 2020
PRODUCTION EXPERIENCE
FREELANCE PRODUCTION / PROVIDENCE, RI
CINEMATOGRAPHER / PHOTOGRAPHER / 2015 - PRESENT
Produce video and photography for clients in education, media,
commercial products, and cultural institutions. Manage
preproduction through post production including concept,
schedule, locations, budget, camera, lighting, retouch, edit, color
grade, sound mix & deliverables. Utilize expertise in multiple
technical roles on set ranging from camera, sound, and lighting.
Selected Clients include: Brown University, Luxurious Leather,
Mystic Maritime Museum, Impact Films, RISD Media
IMPACT FILMS / BOSTON, MA
CREATIVE INTERN / 2019
Assisted with in-studio production and marketing of media
content for this socially-focused creative production agency.
Generated original studio content to be used for the agency’s
social media accounts. Coordinated with producers to organize
and direct shoots in the agency’s studio space for various non-
profit clients.
“PERSPECTIVA DE LA PAOLA” / SAN JUAN, PR
DIRECTOR & PRODUCER / 2018
Independently produced, directed, filmed, and edited a short
documentary exploring the impact of Hurricane Maria on the life
of a young girl in Puerto Rico. Conducted initial interviews, casting,
and location scouting. Developed film treatment, budget, and
crowdfunding campaign to finance film. Coordinated travel
arrangements and equipment needs. Filmed 50+ hours of media
content.
RISD MEDIA / PROVIDENCE, RI
PHOTOGRAPHER & JOURNALIST / 2017 - 2018
Documented 20+ RISD community events through photography
and writing. Conducted live interviews with event hosts and
attendees, capturing quotes and photographs in real-time.
Generated journalistic content to be published in RISD XYZ Alumni
Magazine and Our RISD blog. Created content on deadline and
presented final selections to editor.
[email protected] 912.814.0900 jalessaadamsdesign.artJALESSA ADAMS
To the Colossal Design Team,
As a recent graduate from the Industrial Design Department at Rhode Island
School of Design, I have focused my studies on exploring the principles of user
experience design and front end web development. I am passionate about using
research, design, and technology to find solutions to diverse problems. For
these reasons, I am excited to apply for the User Experience Designer role at
Colossal Design.
I had first heard about Colossal through my friend Zoe Winston, who was a
Design Apprentice in the Brooklyn oce. She told me that her co-workers
were not only extremely talented but were also great listeners, which
ultimately allowed the work environment to be open and collaborative. I believe
great design is achieved not only with talented people, but also with great
communication. This is the kind of an environment I strive to be a part of, and
why I hope to join Colossal Design.
Through internships during my time at RISD, I’ve developed the skillset needed
to be an eective user experience designer. Most recently, I was an Experience
Design Intern at Digitech, a creative agency in Boston. In this role, I worked on
projects for clients across industries by creating user journeys, wireframes,
and UI prototypes to build meaningful end-to-end experiences. Prior to that, I
gained significant experience in user research as an intern at Centra Aircrafts.
While there, I investigated the needs of small aircraft travelers and created
corresponding user personas. At the conclusion of my internship, I provided
sta engineers and designers with insights into the physical, digital, and
ergonomic needs to improve the experience of flight for Centra customers.
I believe I can build upon these experiences as a part of the Colossal
team. Thank you for reviewing my application and considering me for the
User Experience Designer position. I hope to speak with you further about
contributing to the amazing work at Colossal!
Sincerely,
Jalessa Adams
[email protected] 912.814.0900 jalessaadamsdesign.artJALESSA ADAMS
Rigorous research, collaboration, and exploratory solutions to create interactive
experiences that bridge the connection between people and our technologies.
I BELIEVE IN
I STUDIED AT
Rhode Island School of Design (RISD), 2018
Bachelor of Fine Arts, Industrial Design
General Assembly, 2017
Front-End Web Development Winter Course
I AM SKILLED WITH
Software
Sketch – XD – InVision – Principle – Balsamiq
Illustrator – Photoshop – InDesign – Final Cut – Lightroom – Keynote
HTML – CSS – Javascript
Design
Prototyping – Wireframing – Usability Testing – User Research – Information Architecture
Interaction Design – Data Visualization – Brand Identity
I WORKED AT
Digitech, Boston, MA
Experience Design Intern, Summer 2017
Optimized digital platforms for a productive user experience and to increase
conversion rates for major companies in manufacturing, banking, food and
beverage, and health industries. Developed interactive designs, user journeys, and UI
specifications to build meaningful end-to-end experiences. Created visual assets for
campaign materials, promotional media outputs, comprehensive layouts, and decks.
Centra Aircrafts, North Kingstown, RI
Research Assistant Intern, Summer 2016
Researched performance requirements and ideal environmental conditions for a new
aircraft model. Investigated the needs of average small aircraft travelers through
primary research. Created various user personas. Provided insights into the physical,
digital, and ergonomic needs to improve the experience of flight for travelers.
I LED
RISD Student Alliance, Providence, RI
President, 2017-2018
The Alliance is a platform that represents all student voices in order to facilitate and
advocate ideas and solutions within the RISD community. As President, manage team
of six Executive Committee members and 23 Academic Department Representatives.
Respond to current campus events and act as a general link between administration
and the student body.
RISD Residence Life, Providence, RI
Resident Advisor, 2015-2018
Served as a student guide and mentor for a residence hall of 39 students. Organized,
advertised, and hosted monthly educational and cultural events. Mediated between the
residents, the Department of Public Safety, and the Oce of Residence Life. Act as a
resource for students in need of assistance.
Kyeu Eun Kim
7 Defoe Place
Providence, RI 02903
To Dr. Allison van Gogh,
I was incredibly excited to see the posting for a Program Coordinator at the Universal
Health Institute (UHI). I am a socially-oriented artist and designer who is eager to use my
hybrid abilities in visual art and science toward solving public health issues. Your mission
to reduce the incidence of infectious diseases in underserved populations and empower
these communities through education resonated with me deeply. I believe my experiences
have prepared me to contribute to the vital work you are doing at UHI.
Collaborating with the communities I hope to serve, I often use textile design to bridge
the worlds of art and science. For example, as part of Rhode Island School of Design’s
Maharam STEAM Fellowship, I created cotton prints with vivid imagery to spread health
messaging during a campaign for women’s reproductive health in West Africa. This
project involved a long-term partnership with the African non-prot National Vaccine
Foundation, and also required deep understanding of disease prevention as well as the
cultural norms of the local community in Mali.
In addition, I’ve further bridged the worlds of art and science through experiences as a
Graduate Research Assistant at RISD’s renowned Nature Lab as well as being an Artist-
In-Residence at the Marine Biological Research Center. Through these experiences I’ve
learned how to collaborate with physicians and scientists, practice various research
methodologies, and coordinate educational projects and initiatives.
I see myself as a unique candidate with the ability to bridge the worlds of healthcare,
science, and the arts. I am passionate about public health, and my training as an artist can
be a valuable asset in exploring new ways to understand and empower the populations
you work with at UHI. You can nd my resume attached, and I invite you to see images
from the textile project I mentioned by visiting www.kekart.com . I look forward to the
possibility of working with you and eagerly await the chance to speak with you further.
Sincerely,
Kyeu Eun Kim
555.351.7012
Kyeu Eun Kim
7 Defoe Place
Providence, RI 02903
I am seeking to bridge expertise in textiles and visual
art with strong knowledge and experience in science
and healthcare.
Rhode Island School of Design
Providence, RI, 2017-2019
Masters of Fine Arts, Textiles
Textile Graduate Scholarship
Education
Print Design
Experience developing repeat
patterns and compositional patterns
using silkscreen, intaglio, stenciling,
block printing, Photoshop and
NedGraphics. Competent in hand
and machine-sewing, embroidery
and needle-felting.
Fibers and Dyeing
Hands-on experience with ber
identication, spinning, felting, and
dyeing; including dip-dyeing, shibori
resist, and batch dyeing using MX,
acid, disperse and direct dyes.
Knitting and Weaving
Skilled hand-knitter. In-depth
experience knitting swatches
and garments on a single-bed
machine. Experienced weaver on
4-harness loom and computer-
assisted 24-harness dobby loom
using Weavepoint.
Computer
Photoshop, InDesign, After Eects,
NedGraphics; Weavepoint, Keynote,
Powerpoint
Skills
RISD Maharam Fellow, 2018
National Vaccine Foundation, Mali, West Africa
Working with the Africa-based non-prot, National Vaccine
Foundation, developed an educational textile pattern that
serves to promote knowledge of cervical cancer and the HPV
vaccine. West Africa has one of the highest rates of cervical
cancer in the world, primarily due to lack of information and
access to screening and vaccination. The goal of the textile
pattern is to show the connection between HPV and cervical
cancer and provide an important visual reminder that women
can share with each other.
Graduate Research Assistant, 2017-2018
RISD Nature Lab, Providence, RI
Assisting faculty and students in class projects involving
Nature Lab tools and technology. Provide training on the use
of Nature Lab equipment. Maintain equipment and ensure
proper lab procedures are followed.
Artist-In-Residence, 2017
Marine Biological Research Center, Woods Hole, MA
Collaborating with the scientists and researchers of the lab,
created pieces in response to ongoing research exploring
organismal adaptation and resilience in the face of global
climate change and rapidly changing ecosystems. As part
of the lab’s mission to educate, co-led undergraduate level
workshops focused on communicating complex scientic
data and concepts visually.
Art and Science Experience
Leadership of Social Change, 2017
RISD Liberal Arts Department
Reecting on historical and contemporary models of
leadership, this course examined individual leadership
potential by exploring how personal anities can be
focused and developed into eective strategies for solving
problems, advancing ideas, and making change. Explored
the ways artists and designers practice leadership.
Relevant Coursework
555.351.7012
Social Impact Artist & Designer
www.kekart.art
Emily Tan
www.tandesign.com | etan01@risd.edu
Dear Ms. Tyler,
As someone who has been following the work of Tyler Architecture & Interiors for some time, I was
ecstatic to see an opening to join the team as an Interior Designer. Ever since I came across a profile of
your projects featured in Metropolis Magazine, I became an admirer of your “transterior" approach,
blurring the edge between indoor-space and nature. Not only do your projects successfully integrate
natural elements into the design, but they also unite architectural aesthetics with cutting edge
sustainable technology to create resilient and efficient buildings that are optimized for their South
Florida environments.
I am drawn to this position not only because of the great match for my skill set, but also for the range
of projects I would be able to contribute my abilities to. I am excited by the chance to offer unique
design perspectives on office buildings, resorts, libraries, airport concourses and residences. In fact,
my previous roles at New Concept Studio gave me the chance to design interior spaces for varying
scales of residential and hospitality projects. In these projects, I led multiple team concept
development sessions, and worked closely with senior designers on spatial planning and design
development. I am well-equipped to help prepare client presentations inclusive of plans, elevations,
drawings and material selections. This experience, along with my academic focus on adaptive reuse,
has proven useful in my ability to offer new design perspectives when engaging in a variety of interior
design challenges.
Beyond my commitment to interior architecture, I am also a firm believer in the creative potential of
collaboration and community. I have always sought to engage with and learn from other creatives that
surround me. During my undergraduate studies, this led me to pursue roles as a Student Government
Representative for my department, a Resident Assistant, and a Content Coordinator for the leading
student-run design conference in the nation. Taken together, these roles have helped me develop skills
as a leader and communicator while also reinforcing my belief in the power of diverse perspectives in
problem solving. Speaking further to the value of diversity, I also believe I can contribute an original
viewpoint on design due to my experiences growing up in China combined with pursuing higher
education in the United States.
I look forward to the chance to join your team and support you in carrying forward exciting design
concepts. I am a designer who is passionate about great design and I also care deeply about the people
I work with. I hope to demonstrate this as an Interior Designer for Tyler Architecture and Interiors.
Sincerely,
Emily Tan
Emily Tan
www.tandesign.com | etan01@risd.edu
INTERIORS | SUSTAINABILITY | COMMUNITY
EDUCATION
RHODE ISLAND SCHOOL OF DESIGN (RISD)
PROVIDENCE, RI
BFA, Interior Studies: Adaptive Reuse | 2019
EXPERIENCE
NEW CONCEPT STUDIO INC.
ATLANTA, GA
DESIGNER | AUGUST 2019 — MAY 2021
Assisted project leads with site research, spatial
planning, developing design intents, and
sourcing
FF&E items.
Led concept development sessions on
selected projects. Created final interior 3D
renderings for multiple projects. Contributed to
client presentations and pitches.
Selected Projects:
Hadid Hotel | Doha, Qatar
Three Lions Resorts | London, England
Independence Square Residences | Washington, DC
INTERIORS INTERN | JUNE 2019 — AUGUST 2019
Provided design assistance on hospitality and
residential projects, including large-scale hotels
and multifamily residential developments.
Contributed in multiple phases of design with a
focus on schematic design, product sourcing, and
design documentation.
CABELLO ADAPTIVE DESIGN
AUSTIN, TX
DESIGN INTERN | JUNE 2018 – AUGUST 2018
Worked alongside firm principal to develop design
ideas and schematic drawings for various small-
scale adaptive reuse projects. Produced 3D models
and presentation materials.
SKILLS
ARCHITECTURAL
Concept Development, Schematic
Design, FF&E Specifications, Space
Planning, Hand Drafting, Product
Sourcing, Design Documentation
SOFTWARE
AutoCAD, Revit, Rhino, VRay,
Illustrator, Photoshop, InDesign
LANGUAGES
Mandarin (Native), English (Fluent)
LEADERSHIP
RISD INTERIOR ARCHITECTURE
PROVIDENCE, RI
STUDENT REPRESENTATIVE | 2019
Co-organized and facilitated monthly
meetings to maintain constructive
communication among student body,
faculty, and school administration.
RISD RESIDENCE LIFE
PROVIDENCE, RI
RESIDENT ASSISTANT | 2017 -2019
Served as a resource for first-year
college students. Fostered an inclusive
community and designed programs to
cultivate holistic student development.
A BETTER WORLD BY DESIGN
PROVIDENCE, RI
CONTENT COORDINATOR | 2018
Researched expert speakers for a
conference that convenes a global
community of socially-conscious
innovators. Coordinate travel logistics,
presentations, and tech support.
S A M A N T H A S M I T H
1776 Colonial Way | Boston, MA 02020 | 617.001.5678 | samantha@glime.art | www.samantha.glimeart.art
4 March 2018
Timothy Richman
Principal
Island Architectural Collaborative
0 Main Street
Nantucket, MA 20112
Dear Mr. Richman,
I was recently speaking with Jack Larsen of Larsen & Larsen Associates, and he recommended that I
contact you regarding a potential opening in your firm for an architect. I have worked with Jack on a free-
lance basis for nearly 5 years and he has spoken highly of your work at Island Architectural Collaborative.
I understand that one of your architects, Jennifer Tyme, may be leaving her position and I would like to be
considered for this possible opening.
I am quite familiar with your projects and have greatly admired your careful integration of green design
and contemporary aesthetics with the beloved historical architecture of Nantucket. Your recent renova-
tion of the Captain Jacob Hotel was especially impressive with notable sensitivity to the historic details
while doubling the size of the existing structure with the addition of the spa facility. The reproduction of
the original hand-blown window glass in the new high efficiency windows is outstanding. My own commit-
ment to green design and historical preservation has significantly impacted my work for the past 5 years
and I’ve been fortunate to address these issues throughout my projects with Torque Associates in Boston.
In my current position, I have gained extensive experience across a range of projects from residential,
office and corporate facilities. I especially enjoy the master planning phase of my work and always remain
focused on exceptional client relationships. I played an integral role in the design of the Charles River
Condominium Development which also won the Boston Architects Design Excellence Award, and our work
on the AITech Headquarters in Dallas achieved the American Green Lead Honor for Outstanding Design.
Recently, Torque Associates has been involved in the design of a 25,000 sq/ft project for Montefalco Es-
tates in Montefalco, Italy and this has proven an ambitious and exhilarating experience for both its scale
and international scope. It also has marked my return to Italy nearly 10 years after my studies in Rhode
Island School of Design’s European Honors Program.
After 6 years of working in Boston, I am focused on relocating to Nantucket or Martha’s Vineyard. Your
potential opening at Island Architectural Collaborative is of great interest to me and a perfect fit for my
background and this change. I hope this letter reflects my enthusiasm for your firm, and I appreciate
this advance consideration for the position of architect. I will follow up on receipt of these materials and
contact your office to see if an interview can be arranged. I can often flex my schedule on Fridays and this
would be an ideal day to take the ferry and travel to Nantucket. Thank you.
Sincerely,
Samantha Smith
S
A M A N T H A S M I T H
SUMMARY
T
en plus years of extensive experience with high-end residential projects with an emphasis on green design
and historical preservation. Exceptional skills managing client relationships and establishing strong
communication with consultants and contractors. Proven ability in architectural visualization to successfully
complete challenging projects. Global perspective and commitment to international clients.
PRO
FESSIONAL EXPERIENCE
T
orque Associates | Boston MA
Architect | 2010-present
Design residential, office, and corporate spaces from master planning and programming to finished details
and punch lists. Focus on integration of green design construction elements in coordination with contractors
and code consultants. Manage construction administration; record meetings; review drawings; and provide
project timetables. Oversee all financial aspects of projects from pricing and change orders to payment
applications.
S
elected clients include: Montefalco Estates, Montefalco, Italy - 25, 000sq/ft | AlTech Corporate
Headquarters, Dallas, TX - 18,000sq/ft. | Cambridge Housing Development Charles River Condominiums,
Cambridge, MA - 35,000sq/ft. | Tucker, Smith & Johnson LLP, Boston, MA - 7,000sq/ft.
Charlie Golden Associates | Ne
w York NY
Project Manager + Architectural Designer | 2007-2010
Design and layout of corporate offices, religious facilities and private residencies. Coordinated structural
contractors and furniture and lighting consultants for cohesive construction documentation. Provided space
planning and specified furniture and finishes. Reviewed contracts, developed project budgets, and analyzed
vendor bidding.
S
elected clients included: Johnson & Johnson Residence, Saratoga Springs, NY - 5,000sq/ft. | Temple New
Town, New Town, NY - 6,000sq/ft. | Feelgood Residence, White Plains, NY - 3,800 | Solid Rock Insurance
Company, New York, NY - 8,000sq/ft. | Hyper Genetics, Tenafly, NJ - 9,200sq/ft.
G
reen & Green | Providence RI
Architectural Intern | 2006-2007
Contributed to project teams with preparation of construction drawings, space planning and specifying
furniture and finishes. Managed architecture design library. Prepared marketing presentations for prospective
clients. Created models with high attention to detail and materials. Projects included law offices, residences,
retail spaces, and educational facilities.
COMPUTER SKILLS
Macintosh + PC | Revit, Form Z, AutoCAD, 3D Studio Max, InDesign, Photoshop, Illustrator, Filemaker Pro, Excel
E
DUCATION
A
WARDS
Rhode Island School of Desi
gn | Providence RI
Bachelor of Architecture | 2006
Bachelor of Fine Arts, Architecture | 2005
European Honors Program | 2005
Syracuse University Florence Study Program | Florence Italy
Architectural Studies Exchange Program | 2006
Boston Architects Design Excellence Award | 2013
American Green Leaf Honor for Outstanding Design | 2013
National Architectural Forum Competition Best in Show | 2011 Architectural Society Athena Award | 2010
NAAF Residential Professional Team Award | 2007
Thompson Award for Innovative Solutions in Assisted Living | 2005
D
ESIGN + VOLUNTEER
Cambridge Housing Initiativ
e | 2011-present
Boston Architects: Affordable Housing Planning Committee | 2013-present
Long Island City Green Design Fund Raiser | 2010
Suburban Urban Fall Event NYC | 2009
LING CHEN
Educator | Architect | Designer
ling.chen@arch | www.lingchenarch.portfolio | 100-703-0000
T
o the Syracuse University Search Committee:
I am wr
iting to enthusiastically express my interest in the Assistant Professor – Architecture
teaching position at the Syracuse University School of Architecture. As a recent graduate of the
Master of Architecture program at Rhode Island School of Design, and recipient of the school’s
Certificate in Collegiate Teaching in Art and Design, I am eager to contribute to Syracuse
University’s long history of guiding the next generation of successful and responsible architects.
I h
ave long known of the program at Syracuse University to be of high quality. It is consistently
ranked among the top architecture programs in the United States, having been noted as a top ten
program for the past twenty years. The scope of educational offerings at Syracuse University is also
a major asset and personal draw for me. The university offers a choice of more than 200 majors
and 100 minors along with a student population from all 50 U.S. states and 123 countries. As a
former international student, it is incredibly meaningful to me to be a part of an institution that is
committed to diversity, both in thought as well as through representation amongst the student body
and faculty. The study and practice of architecture thrives when it can be explored from various and
divergent perspectives.
D
uring my time studying at RISD, I have cultivated valuable teaching experience. I have held
multiple Teaching Assistant roles at RISD, supplementing the learning experience for students in
classes such as Introduction to Architecture, Spatial Design, and Site Structures. Beyond that, I
seized the opportunity to independently design and instruct a new course for undergraduates in the
department, entitled Ancient Gardens. We explored microscopic biological organisms as an
inspiration for architectural design. I managed all aspects of the course, including leading lectures,
organizing studio activities, and providing feedback for student project development.
I a
lso dedicated time during my study at RISD to complete an additional program focused on
exploring teaching pedagogy. Through this, I learned various models of teaching to develop a
personal teaching philosophy and acquired important skills that prepare me to excel as a faculty
member at the collegiate level.
A
dditionally, it is clear this role will require skills not only in the classroom, but also in individual
academic and career advising to students. My experience as a Graduate Assistant Peer Career
Advisor will prove incredibly useful when advising students at Syracuse. In this role at the RISD
Career Center, I advised students with a variety of career concerns. I collaborated closely with
students to review their application materials, offered suggestions for improving them, and shared
valuable advice on career development and the pursuit of professional opportunities. I know well
that students need professors to not only be excellent classroom educators, but also to provide
guidance on their individual academic and career path.
I thank you for considering me for the Assistant Professor position. My background, values, and
philosophy align perfectly with this role. It would be an honor to join the esteemed faculty at the
Syracuse University School of Architecture, and I look forward to the chance to discuss this
opportunity with you soon.
Sincerely,
L
ing Chen
LING CHEN
Educator | Architect | Designer
ling.chen@arch | www.lingchenarch.portfolio | 100-703-0000
EDUCATION
Rhode Island School of Design (RISD) | Providence, RI
Master of Architecture | 2020
Honors: RISD Fellowship | 2020 & RISD Grad Scholarship Award | 2018
Certificate in Collegiate Teaching | 2020
University of Massachusetts, Amherst (UMASS) | Amherst, MA
Bachelor of Arts | 2017
Dean’s Honor List | 2017
TEACHING EXPERIENCE
RI
SD Architecture Department | Providence, RI
Instructor of Record, “Ancient Garden” | Winter 2019
Created and designed the curriculum for a new class in the Architecture
department. The concept of the class explored microscopic biological
organisms as an inspiration for architectural design. Prepared class materials,
held lectures, organized studio activities, provided feedback for project
development, evaluated students’ projects and performance.
Teaching Assistant, “Spatial Design I” | Spring 2018
Assisted professor with preparing teaching materials and post-class
communication to students. Aided in organizing and implementing classroom
activities. Managed student attendance and participation tracking, graded
homework assignments, and provided demonstrations to students for studio
projects.
Teaching Assistant, “Site Structures” | Fall 2019
Assisted professor with classroom activities, attendance, and participation
tracking. Prepared teaching materials and held weekly TA open hour sessions
to answer questions from studio work.
RISD Continuing Education | Providence, RI
Teaching Assistant, “Introduction to Architecture” | 2018
Assisted instructor with organizing and running class activities. Guided students
and professor with model photography and documentation for every project.
ADVISING EXPERIENCE
RI
SD Career Center | Providence, RI
Graduate Assistant Peer Career Advisor | 2018 - 2020
Advised a wide range of art and design students around a variety of career
concerns during assigned drop-in service hours and scheduled appointment
office hours. Reviewed student career application materials, offered feedback
and suggestions for improving them, and shared relevant online career resources
that can help initiate job/internship searches.
UMASS Architecture Department | Amherst, MA
Student Mentor | 2015
Met students weekly during office hours by appointment; gave advice to
students on specific works and portfolio documentation methods.
WORK EXPERIENCE
R
ichard Bern Construction | San Jose, CA
Architectural Design Intern | 2018
Contributed to project teams with the design and development phase and
construction development phase of residential projects. Works focused on
topographic design, space planning, structure layout, and specifying materials,
furniture and finishes. Assisted associate architects with preparing graphics
presentation and producing construction drawings.
E
lite Landscape Design | Guangzhou, China
Urban Design Intern | 2017
Participated with the design team on ecological site analysis and coming up with
site plans. Focused on the integration of green design construction elements in
coordination with existing site topography. Assisted the associate landscape
architects in preparing and producing construction drawings and graphic
presentations.
SKILLS
Computer | Revit, Rhino, Grasshopper, AutoCAD, Sketch Up, Adobe suite,
ArcGIS, Maya
Design | Hand Drafting & Model Making, 2D Diagrammatic Graphics & 3D
Construction Details, Conceptualization & Problem Solving
Studio Equipment | CNC, Laser-cutting, 3D Printing, Bandsaws, Chop Saw,
Track Saw, Scroll Saw, Wood Modeling
Language
| Mandarin (native), English (fluent), Spanish (beginner)
OBLOT BOZZONO
Associate Professor of Film & Art / Celluloid University / Boston, MA 02020 617-
001-1776 / oblot@celluloiduniversity.edu / www.greatfilmmaker.art
Graduate & Undergraduate-Level Teaching Experience • Program and Curriculum Creation & Development • Award-
Winning Filmmaker Media Design & Production • Extensive Public Speaking Experience
EDUCATION
THE SCHOOL OF THE ART INSTITUTE OF CHICAGO / Chicago, IL / 2006
Master of Fine Arts, Film - Full Merit Trustee Scholarship
RUSSIAN STATE INSTITUTE OF CINEMATOGRAPHY / Moscow, Russia / 2003
RHODE ISLAND SCHOOL OF DESIGN / Providence, RI 2002
Bachelor of Fine Arts, Film/Animation/Video - President’s Scholar
TEACHING EXPERIENCE
CELLULOID UNIVERSITY / Boston, MA / 2011 - present
Associate Professor - Filmmaker & Studio Art
• Instituted the college’s new professional Filmmaker curriculum within the Art Department, overseeing program
budget, events, adjunct hires and course development.
• Created and taught courses in Studio Drawing, introductory and advanced 16mm Film Production and Video
Production for undergraduate course levels.
• Organized a university film society and film series; created and oversaw a juried public student film festival.
• Developed various public screenings and events, bringing notable guest speakers to campus and the region at large.
• Organized operational procedures including film checkout and ordering; wrote the student film handbook for all
majors/minors; purchased all equipment and supplies; maintained/repaired all equipment; and provided technical
support.
MOTION PICTURE INSTITUTE / Columbus, OH / 2006 - 2011
Assistant Professor - Filmmaker & Film Studies
• Developed and instituted the university’s professional Film Production program, including the filmmaker
curriculum.
• Created and taught courses in American Cinema, Russian Cinema, Religion and Cinema, World Cinema, introductory
and advanced 16mm Film Production and Video Production for the graduate and undergraduate levels.
• Responsible for fund-raising and securing donations of money and equipment to the Department; managing
program budget and accounts with various laboratories, stock and equipment suppliers.
• Featured in regional radio, television and print promoting the film program in addition to design and content of the
department’s website.
• Awarded competitive university-wide teaching grants for curriculum development, course enhancement and
professional activities; regularly selected to give trustee, faculty and alumni event presentations.
• Created and designed a DVD of student media work distributed to 2,000 national liberal arts colleges as part of the
president’s initiative to increase visibility of university academics and the undergraduate film program.
• Advised and directed graduate and festival award-winning senior honors thesis projects.
TEACHING COMPETENCIES AND INTERESTS
Filmmaker: Production Techniques • Studio & Field Cinematography • Low & No-Budget Film Production Methods
Directing for Film (Actors and Non-actors) • Fiction and Non-Fiction Filmmaker • Digital Video Production • Non-
Linear Post-Production • Analogue Animation • Sound Design • Screen writing • American Cinema • Religion and
Cinema • Russian/Soviet Cinema, Culture and History • Experimental/Avant-garde Film Aesthetics, Techniques
SELECTED SKILLS
• Working experience in narrative and non-fiction video, 16mm sync-sound cinematography and lighting; grip/
support, spot/incident meters; Aaton, Arri-S/M/BL/SR-2, Bolex Rex-EBM, Eclair, ACL, NPR, Scoopic, CP-16, Konvas,
Quartz, K-3; Intervalometer, HD, DVCam, Beta; Conforming-negative-cutting; Animation on Oxberry and Mitchell
stands; timing and contact printing on Bell & Howell Model; Media software including Photoshop, Flash,
AfterEffects, DVD Studio Pro, GoLive, Word.
• B/W photo processing and printing; medium-format photography; printmaking (photo-litho, etching) & drawing
skills.
• Knowledge of Russian history and culture, especially Orthodox Icon Painting and Russian Cinema; Avant-garde and
Experimental film History. Russian Language Fluency.
SELECTED CINEMATOGRAPHY
UNDERGROUND / 120 Minutes / Color / DV / In-Progress
A narrative feature-length film about a man whose life is subterranean
Rockefeller Media Arts Fellowship / Feature Film Grantee / 2013
Bellagio Study & Conference Center Residency / Rockefeller Foundation / 2013
Sundance / NHK Award / Nomination for United States Region / 2012
Annenberg Foundation Film Fellowship / Sundance Institute Production Grant / 2012
John Simon Guggenheim Memorial Foundation Fellowship / Filmmaker / 2012
25 New Faces of Independent Film / Filmmaker Magazine / 2011
Creative Capital Foundation / Film Production Grant / 2011
STRATUS / 8 Minutes / 35mm Film / 2010
A series of short films exploring the dynamic undulations of weather systems.
Rotterdam International Film Festival / International Short Film Competition / 2012
International Bunker Film Festival / Ventimiglia, Italy / 2012
Sundance Film Festival, Frontier / International Short Film Competition / 2011
Chicago Underground Film Festival / Nature Studies Program / 2011
Portland Institute of Contemporary Art / Time-Based Art Festival / 2011
Cinematexas / Opening Night Film / International Short Film Competition / 2010
Virginia Film Commission / VA Film Office Completion Grant / 2010
Sowell Fund Research Grant / Film Production / 2010
UPROOTED / 84 Minutes / B&W / 35mm Film / 2009
A documentary film that considers the isolation of migrant workers.
Southern Circuit Tour / Clemson / Sweetbriar / Millsaps / Columbia Colleges / 2011
Pacific Film Archive / Berkeley Art Museum / Alternative Visions / 2011
Edinburgh Film Festival / Official Selection / Black Box / 2010
Stockholm International Film Festival / American Independent Film / 2010
Calgary International Film Festival / American Independents / 2010
Jeonju Film Festival / Indie Vision / 2009
Emerging Filmmaker Special Jury Prize / Minneapolis-St. Paul Film Festival / 2009
Ceres Foundation / Film Production Grant / 2008
ACADEMIC AWARDS & GRANTS
College Faculty Research Grant / Filmmaker / 2013
Herta Freitag Legacy Award / Professional Accomplishment / 2012
Teaching Innovations & Curriculum Development / Motion Picture Institute / 2011
Research and Travel Grant / Motion Picture Institute / 2010
Sowell Fund Project Grant / Studies Production / 2010
Verizon Technology Grant / Verizon Communications / 2009
Experimental Learning Grant / Motion Picture Institute / 2009
Moviemaking Monograph & DVD / Academic Enhancement Grant / 2009
Kodak Target of Opportunity Grant / Graduate Thesis Product Grant / 2008
Eastman Product Grant / Kodak Student Filmmaker’s Stock Grant / 2008
MEMBERSHIPS & SERVICE
Chair - Budget/Finance Committee / Motion Picture Institute / 2012 - 2013
Association of Independent Video & Filmmakers / Individual Member / 2010 - present
College Art Association / Faculty Member / 2010 - present
Society for Cinema and Media Studies / Faculty Member / 2010 - present
University Film/Video Association / Faculty Member / 2009 - present
Electric Light House Student Film Society / Founder/Advisor / 2006 - 2010
Pennsylvania State Media Fellowship / Jury Member / 2010
PUBLIC PRESENTATIONS & INVITED LECTURES
RISD Experimental Techniques Class / Visiting Artist Lecture / 2013
Montclair University / Film Forum: Visiting Filmmaker Series / 2013
Playwrights Horizons, NYC / Staged Screenplay Reading / 2012
George Mason University / Art & Visual Technologies Advanced Course / 2011
Environmental Film Festival / Presentation at Eckherd College / 2010
RISD FAV Senior Class / Alumni Presentation / 2010
Lucas Pierre
Artist Statement
My work explores the potency, malleability, and mystery of memory. Through the prism of
reminiscence and recollection, my paintings depict abstracted personal moments from my
childhood experience. Figurative imagery, vibrant color, and abstract shapes mix together to
reflect the complex nature of recalled scenes from my past. Collectively, these abstract painted
scenes reflect my connection to and expression of my Haitian cultural heritage.
I draw from my subconscious and dreams for the content of my paintings. Energetic scenes
from my early childhood growing up in Haiti compose the core of my work. Moments like visits
to the local market with my grandmother, festive parades and performances during Carnival, or
folklore and stories shared by fireside serve as raw imagery for my work. These memories
explode from the canvas in a swirl of references to my past and the collective experience of my
fellow Haitians.
My process reflects the sometimes deceptive and fluid nature of memory. My work is often
constructed in layers, reacting to the imperfect and changing qualities of my recollection. I
simultaneously build up and erase over time as I work. I sketch, paint, rub, expunge, and layer
on the canvas until an image emerges from my subconscious mind’s eye. Never truly finished,
these paintings are an evolving reflection on a moment in time, forever morphing in my mind.
J.C. Velez
Fine Artist • jcvelez.art.portfolio • jcvelez00@risd.edu • 777.100.1414
ARTIST STATEMENT
J.C. Velez creates work that explores subtle moments in nature. Their work employs elements of
biomimicry, inspired by the patterns and structures of plants, flowers and fungi. From this inspiration,
they aim to recreate the natural world’s ability to alter forms that seem familiar, but dissolve into
something unrecognizable and new. Using clay as a medium, they attempt to capture the beauty of
new growth that nature exemplifies.
EDUCATION
Rhode Island School of Design (RISD), Providence RI
Bachelor of Fine Arts Ceramics, 2021
Literary Arts Concentration
EXHIBITIONS
Uniting the People - BFA Showcase, Online, 2021
Explorers, The Reuse Art Center, Boston MA, 2021
Transcendent Figures, Ceramics Senior Show, Woods-Gerry Gallery, RISD, 2021
The Colors of This Space, Gelman Gallery, RISD, 2020
Reflections From The Studio, Woods-Gerry Gallery, RISD, 2019
The Joke is On Us, The Waterman Gallery, RISD, 2018
EFS Design Show, The Waterman Gallery, RISD, 2017
AWARDS AND RESIDENCIES
Skowhegan Summer Residency Scholarship, Madison ME, 2020
Arrowmont School of Craft Scholarship, Gatlinburg TN, 2018
Carissa Cordova Ceramics Foundation - Student Award, North Adams MA, 2018
ARTISTIC EXPERIENCE
Miles Studio, Artist Assistant, Providence RI, 2021
Assisted with design and production of ceramic decorative objects meant for residential spaces.
Worked with the lead artist to develop concepts and prototypes.
Evocative Tile, Design Intern, Augusta GA, 2019
Guided by senior staff, designed the terrazzo sample kits that highlight performance diversity of light-
interactive architectural surfaces to be used in retail showroom.
RISD EFS Department, Woodshop Monitor, Providence RI, 2018
Advised students on safe and proper use of tools, and offered guidance on effective applications for
projects.
SKILLS
Clay: porcelain and stoneware, mixing, coil & slab building, wheel-throwing, glazing
Casting: ceramic, cement, plastic, silicone, sterling, bronze, cast iron
Software: Rhino, Adobe Illustrator, Adobe Photoshop, Final Cut Pro, Microsoft Excel,
FINN ARTISTE
000 BROADWAY, NEW YORK, NY 10001 • 212.001.4040 • FINNARTISTE@FINNARTISTE.ART • WWW.FINNARTISTE.ART
Born • New York, NY
EDUCATION BIBLIOGRAPHY
PUBLIC COLLECTIONS
SOLO EXHIBITIONS
REVIEWS BY ARTIST
LECTURES
AWARDS/GRANTS
RESIDENCIES
TEACHING EXPERIENCE
SELECTED GROUP EXHIBITIONS
Rhode Island School of Design • Providence RI
Master of Fine Arts • Painting
Pratt Institute • Brooklyn NY
Bachelor of Fine Arts • Painting
Art in Review Magazine, July 2016, p. 30, Smith,
Jane. “Water Water”.
The New York Times, October 16, 2016,
p.E40 Hock, Jack. “3 Boxes”.
Art Pulse Magazine, December 2016, p.20, Cutter,
Michael. “Popped”.
Boston Globe, February 2, 2015, p.C15
Bocagrande, Andrea. “New Art”.
Bostonia Magazine, May 2015, p.55, Pious,
Heather. “Gold”.
The Dig, May 2014, p.10
Angus, Andy. “All That Shines”.
Vermont Times, September 21, 2014, p. D12
Reader, Jonathan. “Big Art”.
Fuller Craft Museum • Brockton MA
Newport Art Museum • Newport RI
RISD Museum • Providence RI
Warwick Museum • Warwick RI
Worcester Museum of Art • Worcester MA
Drawing Center • New York NY
PS1 • New York NY
Clayfeet Gallery • New York NY
Gallery 100 • New York NY
Virginia Lynch Gallery • Tiverton RI
New Art Center • Newton MA
Under the Radar Gallery • Provincetown MA
Jenny Fine Art • Jersey City NJ
Big Town Gallery • Stowe VT
The Barn Gallery • Kent CT
Village Voices, October 20, 2016, p. B14, “Out of
the Box”.
Time Out Magazine, December 2014, p.8, “Pop
Culture”.
The Phoenix, May 18 2013, p.22,
“Creative Mining”.
“Artists Talk”, Exit Art • New York NY
“Boxed In”, Art Society • New York NY
“Art Conversations”, New Art Center •
Newton MA
“Visiting Critic”, RISD G rad Seminar • Providence
RI
New York Foundation for the Arts
Marie Walsh Sharpe Art Foundation Creative
Capital
Leif Foundation
NEA Artistic Development Grant
Fulbright Grant
17th Century Romanian Painting Techniques RISD
Graduate Painting Fellowship
Henry Street Settlement
Vermont Studio
Skowhegan
PS1 Project Studio
Pratt Institute • Brooklyn NY
Adjunct Professor • Painting Department
Massachusetts College of Art • Boston MA
Adjunct Professor • Fine Arts Division
Rhode Island School of Design • Providence RI
Graduate Teaching Assistantship
Exit Art • New York NY
“Water Water”
Art Society • New York NY
“Box Art”
Ruth Hall Gallery • New York NY
“Popped”
LOL Gallery • New York NY
“Satiate”
Vision 5 Space • Boston, MA
“Out of Focus”
The Golden Sparrow • Boston MA
“Midas Touch “
ICA Boston • Boston MA
“Shimmering” • Curator • John Kritik
RISD Museum of Art • Providence RI
“Site Specific”
Firehouse 39 • Providence RI
“Fire Fire”
New Art Center • Newton MA
“RISD on the Road • Painting & Printmaking”
Olive’s • New York NY
“In Pursuit”
The Pier 50 Show • New York NY
“Beautiful Dreamers”
Woods-Gerry Gallery • Providence RI
“Painting Graduate Show”
2005
2003
2016
2016
2016
2015
2015
2014
2014
2017
2016
2016
2016
2015
2013
2011
2010
2010
2009
2016
2014
2013
2016
2015
2015
2014
2016
2015
2013
2013
2011
2006
2004
2015
2014
2010
2009
2016
2014
2005
2016
2016
2016
2015
2015
2015
2014
2013
2011
2010
2010
2009
2005
RESUME ACTION WORDS
Abstracted
Achieved
Acquired
Acted
Adapted
Addressed
Administered
Advertised
Advised
Advocated
Aided
Allocated
Analyzed
Answered
Anticipated
Applied
Appraised
Approved
Arranged
Ascertained
Assembled
Assessed
Assisted
Attained
Audited
Augmented
Authored
Bolstered
Briefed
Brought
Budgeted
Built
Calculated
Cared
Charged
Checked
Clarified
Classified
Coached
Collaborated
Collected
Comforted
Communicated
Compared
Completed
Complied
Composed
Computed
Conceived
Conducted
Conserved
Consulted
Contracted
Contributed
Converted
Cooperated
Coordinated
Copied
Correlated
Counseled
Created
Critiqued
Cultivated
Dealt
Debated
Decided
Defined
Delegated
Delivered
Designed
Detected
Determined
Developed
Diagnosed
Directed
Discovered
Discriminated
Dispatched
Displayed
Dissected
Documented
Drafted
Drove
Edited
Eliminated
Empathized
Enabled
Enforced
Enlightened
Enlisted
Ensured
Established
Estimated
Evaluated
Examined
Exceeded
Excelled
Expanded
Expedited
Experimented
Explained
Explored
Expressed
Extracted
Facilitated
Fashioned
Financed
Fixed
Followed
Formulated
Fostered
Founded
Gained
Gathered
Gave
Generated
Governed
Guided
Handled
Headed
Helped
Identified
Illustrated
Imagined
Implemented
Improved
Improvised
Inaugurated
Increased
Indexed
Indicated
Initiated
Inspected
Instituted
Integrated
Interpreted
Interviewed
Introduced
Invented
Inventoried
Investigated
Judged
Kept
Launched
Learned
Lectured
Led
Lifted
Listened
Located
Logged
Made
Maintained
Managed
Manipulated
Mastered
Maximized
Mediated
Memorized
Mentored
Met
Minimized
Modeled
Modified
Monitored
Narrated
Negotiated
Observed
Obtained
Offered
Operated
Ordered
Organized
Originated
Overcame
Oversaw
Participated
Perceived
Perfected
Performed
Persuaded
Planned
Practiced
Predicted
Prepared
Presented
Prioritized
Produced
Programmed
Projected
Promoted
Proposed
Protected
Proved
Provided
Publicized
Published
Purchased
Queried
Questioned
Raised
Ran
Ranked
Rationalized
Read
Reasoned
Recorded
Received
Reduced
Referred
Related
Relied
Reported
Researched
Responded
Restored
Revamped
Reviewed
Scanned
Scheduled
Screened
Set Goals
Shaped
Skilled
Solicited
Solved
Specialized
Spoke
Stimulated
Strategized
Streamlined
Strengthened
Stressed
Studied
Substantiated
Succeeded
Summarized
Synthesized
Supervised
Supported
Surveyed
Sustained
Symbolize
Tabulated
Talked
Taught
Theorized
Trained
Translated
Upgraded
Utilized
Validated
Verified
Visualized
Won
Wrote
BASIC RESUME
WHERE TO BEGIN?
Take a Deep Breath
Think of the resume like a blank canvas. You have to start
somewhere and the best place to start is at the top. Resumes
are all about hierarchy—information at the top is most
important and each entry further down the document is
slightly less critical to the potential employer. Always keep
this in mind because you may need to shuffle sections for
different employers based on their needs. For this reason, do
your best to learn about the employer and position you’re
interested in before you work on your resume. The more you
can match their expectations, the more likely they’ll contact
you for an interview.
Remember—the resume gets you the interview; the interview
gets you the job. In most cases, the employer knows nothing
about you prior to seeing your resume. Typically, employers
make several cuts and the first one involves pulling out the
best resumes to move to the interview stage. To prepare for
an interview, check out our Interview Advice on page 11 of
this booklet.
From the Top
It’s all about your name! They’re hiring you, and it’s essential
that they connect the information on the resume with your
name. Imagine someone reviewing 100 resumes; how do
certain candidates stick in their mind? Think of your name as a
brand and all the detailed information on the resume
supporting that brand.
Make your name pop; give it impact. Is it one of the first things
you see when you look at the resume or does it get lost with all
the other type? It doesn’t have to be billboard in scope but
consider making it a point size larger than the rest of the type
on the page. Try bolding it or adding space between the letters
to give it prominence.
Avoid placing your name and contact information in other areas
of the resume —at the bottom or along the side. There’s a very
high expectation to see your name at the top and you don’t want
the employer to go hunting for it.
Your contact information is nearly as critical as your name, and
you must keep this information up-to-date. Always double
check that your correct email address and phone number are
listed. Also, consider the kind of phone message an employer
will encounter if they call you. It may be time to change your
voicemail to something succinct and professional; remember
these are all first impressions.
Though seemingly simple, the address is important; employers
want to know where you’re coming from and this does affect
how they consider the resume. If you can, it is always a plus to
include an address that is relatively close to the employer’s
place of business, even if this is not your main address. If the
employer sees you as a local candidate, it could make it easier
for them to hire you. You can list all of your contact
information in a block style — line by line, or you can run it in a
masthead approach where the information forms one or two
long lines across the top of the page. Be sure to separate
information with spaces, bullets, lines, backslashes, etc. so it
will be easy to read.
OBJECTIVES + SUMMARIES
Objective
Yes, they can sound simplistic and overly generalized,
but they have a purpose—an objective gives an employer a
quick fix on what you’re seeking and at what level, which
frames how the employer evaluates you through the rest of the
resume. Typically an objective works best for applications
to internships or entry-level positions, or when you’re making
a career change to a different market or field.
EXAMPLE: ‘Seeking an entry-level product design position
in which knowledge of diverse materials, fabrication
techniques and innovative problem-solving can be used to
create outstanding design solutions.’
Summaries
Once someone is established in their profession, a summary
is often used to provide critical details to prospective
employers and further encourage them to review the rest
of the resume. Think of the summary as sound bites
that quickly grab their attention. This section may have
titles like ‘Summary of Qualifications’, ‘Achievements’,
or simply list bulleted details at the top after your name
and contact information.
EDUCATION
Purpose
‘Education’ usually appears at the top of the resume since
many employers require a college degree for their
positions. List all colleges you’ve attended and note them in
reverse chronological order with most recent first. Spell
out the name of the school and indicate location and dates
attended. You may want to include RISD’s acronym next to
its name if you’re using it in other parts of the resume and to
save space. Consider bolding or capping the name to make
it pop.
Name Dropping
Many details on a resume serve as markers to a prospective
employer. By listing RISD’s name, an impression of your
abilities may result which will help in their selection of
candidates. Over time, your work experience will take precedent
over the ‘Education’ category and ‘Education’ may move
down on the resume. After RISD, you’ll want to list your degree.
>>
Studio = Skills
This is an important concept to utilize on your resume, and
a way to articulate what skills you’ve gained from your studio
work. One of the best ways to start is to look in the course
catalog at descriptions of the classes you took. This text will jog
your memory, and usually provides a good synopsis of the core
skills gained in that studio.
What to Include
Sub-categories may be necessary to organize your skill sets
and allow the employer to quickly identify your abilities.
Usually the first sub-category pertains directly to the kind of
work you hope to acquire. For a graphic design position,
=this category may be ‘Graphic Design’ or ‘Design’.
The next sub-category is often ‘Computer’ where you would
list the software programs you know in order of importance (to
the employer). Start with creative software packages first
and follow with other supportive programs that may be used in
the work environment. When you’re starting out, you don’t
have to list your experience level with each program, but over
time this may be necessary depending on which industries
you’re working in. Also, the employer will definitely question you
about any software experience they need or even give you a
test/assignment to ascertain your ability.
While you’re a student, you may want to include a category
such as ‘Organizational’ or ‘Office’, which describes your ability
to function in an office—meeting deadlines, researching
materials, working collaboratively, answering phones, greeting
clients, etc. These skills demonstrate that you’re ready for a
professional work environment and show your willingness to
take on various responsibilities.
Try to keep your sub-categories limited to 3 or 4 sections, as
more than that can become confusing and take away from
your strengths. Over time, the ‘Skills’ category may diminish to
simply a listing of software and move down the resume
superseded by ‘Professional Experience’. This category is
beneficial, though, when you’re starting out, or switching
careers and need to convince an employer of your abilities,
which may be different from your work experience.
EXPERIENCE
It Takes Work to Get Work
This is one of the most important sections on a resume and
builds your case for being interviewed. As you gain more and
more professional experience, this category moves to the top
of the resume where it’s most valued in the resume hierarchy.
Basically, the employer is looking for who you have worked for,
where they are located, your dates of employment, and what
your level or title was. This is followed by a description of your
responsibilities, which more or less relates skills.
Alth
ough you can use an acronym for this, we recommend
that you spell it out to reflect its importance. If you have a few
awards/honors and want to list them with the schools, you
can do so, but a separate ‘Awards/Honors’ category may be
best. Additionally, travel courses, EHP, and workshops may
be listed with the schools.
High School or No High School?
In most cases, there is no need to list your high school.
However, if you’re job hunting in a region where you’re from,
then include your high school since there’s often strong
interest for employers to hire people who are from their
region. This may also open up networks you have in the
community. If you attended a well-known private school,
you’ll want to indicate this on your resume, too.
DATES + LOCATION
Consistency, Consistency, Consistency
Make it easy for a prospective employer to see and read your
information: a consistent layout helps! Whatever you do in
one category of the resume, try to maintain the same layout
in other areas.
Simplify employment dates by focusing on the year and
leaving out months or seasons.
Dates can be placed in many different locations but keep in
mind that they’ll draw more attention to themselves if they’re
placed in a column design. If they’re embedded in the text,
they’re not as apparent, which may be helpful if you do have
gaps in your record or changes in your career path. Also, avoid
the ‘running leap’ format where the dates are justified left or
right with some distance to the text. This can create awkward
negative spaces in resume design.
The same approach should be followed for listing locations.
Always include a location, typically a city and state, even if
you think the employer will know where a company or school
is located. You don’t need to indicate a street address.
SKILLS
Purpose
A ‘Skills’ category is especially helpful when you don’t have as
much work experience to list. Since work descriptions often
note skills, you’ll need to reassure the employer that you can
either do the work required or adapt readily to the work
environment. Think of the skills section as a pre-job check-list
for the employer. While you’re in college, it’s understood that
many of your current skills may result from experiences you’ve
had in class.
BASIC RESUME (CONTINUED)
Remember to keep your formatting the same as other sections
of the resume. Consider bolding or capping the names of
companies or your level or title in order to draw attention to
them. Also, it is standard that experiences be listed in reverse
chronological order (most recent to oldest).
Differentiating Experiences
It may be necessary to group your experiences into different
categories in order to better frame how an employer thinks of
them. If you’ve completed several internships while in school,
for example, you can title the category ‘Internships’. As a rule,
a category should have at least two items in it. So if you’ve had
only one internship, combine it under another experience title.
In general, if you’ve had a variety of experiences, then name the
category ‘Experience’ or ‘Professional Experience’. If your
experiences have been specific to the industry in which you’re
looking for work, then title the category with a name like
‘Design Experience’. This can also confirm for the employer that
they might have the right candidate for the job.
Many artists and designers freelance and wonder how this
should be listed. A separate category can be titled ‘Freelance’
with individual listings of projects and clients. Or, the
freelance work can be integrated into the ‘Experience’
category along with other job listings. In both cases, still note
dates and location, usually the current location you’re
freelancing from. If you’ve completed numerous freelance
projects, you may want to provide an overview description of
your skills and services and then add a selected client list in
order to consolidate your experiences.
You may find that you have other experiences that don’t fit
neatly into one of your categories, but that you know are worth
including. These may be grouped with titles like ‘Relevant’,
‘Other’, and ‘Additional’. If these experiences are focused on an
area of interest, then the category may reflect this with a title
like ‘Photography Experience’. Or, if you’ve devoted your time to
volunteering, then a category may be used such as ‘Volunteer’.
Studio = Experience
Although your studio experiences may be best listed under a
skills category, there are times you may want to note
‘Studios’ as its own category and list the titles of classes
and possibly a brief description of each. This method is
valuable when you have little work experience outside of
school. Another option is to describe studio experiences
separately when they relate to sponsored studios, in which
a company is working with your class.
Film/Animation/Video students may also want to list their
productions as a new category in order to imply experience.
Using a title like ‘Films’, ‘Selected Films’, or ‘Filmography’, list
the name of the production, dates, and running time along with
specific roles you had and a very brief description of the film.
Action Words
All of your experiences should include at least brief
descriptions and it’s important that you begin each description
with an action word. This is a common and expected element of
resumes, and it places your skills in an active context. Avoid
beginnings like ‘Responsibilities included...’ and cut-to-the-
chase with verbs like ‘Created’, ‘Designed’, ‘Assisted’, ‘Managed’,
etc. These action words make you seem like a doer—a person
who can accomplish things on the job. Be careful, though, not to
use the same verbs repeatedly or they will lose their impact.
To find a list of action words that will help you get started,
check out page 28 of this booklet.
As you write your descriptions, emphasize skills and
accomplishments that would be most valued by prospective
employers by placing them early in the description.
Occasionally provide concrete details or projects, and if you’ve
worked with specific clients, integrate a ‘Selected Clients’ list in
the description. One to three sentences are typical for
descriptions but they should vary depending on how important
the experiences were to you.
EXHIBITIONS, AWARDS + HONORS
Icing on the Cake
For a job resume, these categories usually appear lower on the
page and are supportive of the other categories. Depending on
your accomplishments, each of the three can be listed
separately or combined. If you have a couple of awards and
honors that are connected directly to your educational
experiences, you may want to forgo a separate category and
combine them under the ‘Education’ category.
Try to be more succinct in the amount of information you
provide for these categories. Formatting may also be adjusted;
for instance, it may be overkill to bold all exhibits or awards
even though you’ve bolded other information. For awards and
honors, list titles, dates and possibly the sponsoring
organizations or institutions. If there were unique or notable
aspects to the award, such as famous jurors or a highly
competitive selection process, then describe this, too.
Exhibitions
Depending on the job you’re applying for, an exhibition record
may be important to some prospective employers. This is
especially true for fine artists considering positions in arts
administration and with non-profit arts organizations, as
well as artist’s assistant positions.
Although you can submit a separate exhibition resume, it may
be beneficial to expand this category on your job resume.
Doing so can result in a two-page resume, but this length is
acceptable in these circumstances. Please see the ‘Exhibition
Resumes’ section if you need to create a separate document.
>>
List the name of the show, the gallery or space where the
exhibition took place, its location and dates. As with awards,
include prominent jurors or selection process details if
they’re notable.
OTHER CATEGORIES
More Options
If you think of other categories or titles that enhance your
background, then consider including them on the resume.
These might include options like the ones described below.
• Professional organizations, affiliations, and certain
memberships can proclaim your commitment to your field
and suggest a further base of knowledge you may bring
to a job.
• Conferences, workshops and training sessions also
demonstrate your professional commitment and imply your
willingness to learn and adapt in your field.
• For fine artists, categories such as grants, residencies,
fellowships, commissions, and public art projects
be necessary additions to your job resume, as well as
including them in your exhibition record.
Hobbies?
This was a common category of past resumes that has all but
disappeared from current versions. These days it’s best to
list more relevant information in the skills section or under
other categories.
References
This category also has all but disappeared from current
resumes. The preference seems to be for an employer
to contact you for your references’ phone numbers or email
addresses if needed. Always have this information ready
as you job hunt. Although noting ‘References Available Upon
Request’ is redundant and takes up valuable space, in
certain professional fields and job listings, references may
still be required for inclusion on the resume.
FORMATTING + TYPE
One page?
Yes! Really! For most jobs, the prospective employer is
expecting to see a one page resume and there is a belief that
all important details of your background can fit in this format.
Many experienced professionals may find the need to extend
their credentials to a second page. When this is necessary, try
not to fill the second page entirely as this can seem like
information overload; aim for a 1/2 to 2/3 proportion of text to
page coverage. If you only have a small section carried over
to the second page, you should examine the formatting on the
first page and consolidate the information to this page only.
Additionally, fine artists and arts administrators may
need to expand the resume to 2 pages when they include their
exhibition records with the other categories.
Always update and edit your resume as new experiences occur
in your career.
When in doubt, keep the resume simple and straight-forward.
Avoid integrating other visual elements into the design except
for a small logo or similar image. In general, save your work
for the portfolio. Images screened in back of text can distract
from the information at hand.
Use plain white or off-white paper for your resume if a hard
copy is requested. Keep the design consistent throughout the
resume and carry over formatting to other documents like your
cover letter. Be sure to utilize the white space of the page and
consider the impact of negative space in improving readability.
Always use spell check and re-read your resume several times
for errors. Misspelling names of people and companies can be
a critical mistake. It’s helpful to have other people review your
resume before sending it out.
Type
Choose a typeface that is legible and doesn’t distract from the
content of the resume. Limit your font selection to one or two
typefaces and try to choose fonts that complement each other.
Type size is very important! Keep the size legible and avoid
microscopic type for the sake of the design. Depending on
what font you’re using, the point size should range between
8-12 points.
Bolding, capping, and italicizing are all effective in capturing
attention but stick with one or two methods to avoid overkill.
Also, be consistent throughout the document with the method
you select.
Indentations, tabs and bullets provide further methods
for organizing information but follow the same rules above for
usage and consistency.
BASIC RESUME (CONTINUED)
FIRST IMPRESSION
Employers and recruiters are typically very busy people. Their
first review of job applicants can be fast-paced, quickly reject-
ing those who are clearly not qualified to arrive at a shorter
list of preferred candidates to spend quality time with. For
this reason, keep your cover letter concise and to the point in
order to make a bold first impression before losing the reader’s
attention.
Where to begin: If you could only share 2 or 3 specific reasons
why you are the ideal candidate, what would you say? The an-
swer to this question is the basis of an effective cover letter.
BACK UP YOUR CLAIMS
Anyone can give praise for an employer’s work or declare
that they have the skills and experience to do a job, but is it
believable? Make your cover letter stand out from the crowd by
providing specific examples and justifications for your claims.
For example, if an employer is an industry-leader, convince
them by offering specific details on how their products are
superior to the competition. Or, if you explain your proficiency
with a given tool set or technique, back up your claims with
specific examples seen in your past work.
Bonus points: Draw direct connections between the employer’s
work and your skills and experience!
KEEP IT SHORT AND SWEET
As mentioned above, you want to be focused. Therefore, it is
usually not appropriate to share your childhood origins, to copy
and paste content from your resume, to describe your unre-
lated hobbies or to otherwise drift away from defending your
candidacy for a job.
A good length for a cover letter is 3-4 paragraphs and less than
one full page. Remember that the goal of a cover letter is to
earn an interview, not to tell your life story.
COVER LETTER
PRO TECHNIQUES
Formatting
Use the header and footer from your resume on your cover
letter if submitted as a PDF. The type and graphic treatment of
your name and contact info should be consistent for the best
professional appearance.
To Whom It May Concern
Whenever possible, the cover letter should be directed to a
specific person. You can search for the company’s “Hiring Man-
ager” on their website or on LinkedIn. The last resort is either
to call the company’s general phone number to ask for a name
associated with the job or simply address the letter, “To Whom
It May Concern.”
COVER LETTER STRUCTURE
First Paragraph - The Introduction
Explain who you are and the specific job title you’re applying
for. If you’re a student, state your department, year in school
and spell out RISD’s name. Optional: If you have any connec-
tions to their internal staff, this would be a great time to men-
tion the name and how you know the person.
Second to Third Paragraph – The Pitch
This is your chance to make the reader’s job easier by connect-
ing the dots between the company and yourself. Share your
passion and enthusiasm for their work and give them praise
with specific examples. Draw connections to your own work
and skills while defending your specific abilities to fulfill the
requirements of their job description, with examples. Share
brief stories of how you utilized the skills they need in studio,
internships and/or past jobs.
Last Paragraph – The Valediction
Close your letter on a positive note restating your enthusiasm
for the role and offering your availability for an interview. You
do not need to list any contact info in this paragraph as it
should already be available in your header.
If you want to take a more assertive approach, state that you
will follow up on the receipt of your credentials and explore
whether an interview can be arranged at that time.
The cover letter works in tandem with your resume and serves as an introduction to a prospective employer. It is a chance to share
your most compelling and unique story in an effort to achieve the next step in the process, a job interview. When a cover letter is
required* it can be sent as a PDF for a web-based application or typed as a message in an email application. (*Some employers do
not want a cover letter so if it is not requested, don’t send one.)
Never duplicate a cover letter for multiple applications, instead, conduct research on the company, products and news. Show you care
and personalize your cover letters for each application by highlighting your most relevant skills and experience.
FIRST STEP
Be
sure to read through the information on the ‘Basic Job
Resume’ as many of the details noted there apply to the
‘Exhibition Resume’, especially tips on formatting and type.
FROM THE TOP
Include your name, contact information and website. Many
exhibition resumes list ‘Born’ below the contact information
since galleries and museums often identify an artist as ‘Amer-
ican’ or ‘International’ and note the place of birth, including
the city/state/province and country, along with date of birth.
EDUCATION
This is usually one of the first categories seen, but unlike
the job resume, you don’t need to list every school you’ve
attended. Most artists list the colleges where they’ve attained
their bachelors’ and masters’ degrees. Some artists include
workshops and residencies here, but these categories tend to
be placed later in the resume after exhibition listings.
SOLO & GROUP EXHIBITIONS
Since solo exhibitions indicate a level of achievement in the
fine art world, the category appears near the top of the resume.
Some artists will list ‘Public Collections’ and/or ‘Private Com-
missions’ before this category and younger artists will usually
begin with solo exhibitions. Many emerging artists may simply
begin with the category ‘Exhibitions’ or ‘Group Exhibitions’ as
these reflect the starting point of their exhibition record.
List the name of the exhibition, the gallery or space where the
exhibition took place, its location and dates. Provide promi-
nent juror names or selection process details if they’re nota-
ble. For Group exhibitions, you may want to include the names
of other artists in the show if their names are notable. As you
gain more experience and add more shows, you may want to
use the term ‘Selected’ preceding your category title in order
to focus on the most important exhibitions only. However,
since exhibition resumes can run for several pages if neces-
sary, you may list all of your exhibitions if you prefer
EXHIBITION RESUME
BIBLIOGRAPHY
This section includes listings of all materials published about
you. Typically, it is focused on printed items: articles and
reviews in magazines, newspapers, books and catalogs, but
it can also include radio and television interviews along with
material at websites and blogs. Information can be organized
in alphabetical order by the last name of the author or it can
be grouped in reverse chronological order by date. Within each
year, use alpha order by author to organize the information.
Information may include the following if applicable: the
year, name of author, title of article, name of publication or
material, volume number, location, issue month & date,
and page number.
PUBLICATIONS / REVIEWS BY ARTIST
Unlike the ‘Bibliography’ category, this section contains listings
of materials that you’ve written, including reviews, articles,
books, critical pieces, blogs, and other published writings both
printed and online. Follow a format very similar to that of the
bibliography, but, of course, without the author listing.
PUBLIC COLLECTIONS
This is a record of places that have your work (whether pur-
chased or donated) within their collection. This can include
museums, foundations, non-profits, libraries and universities.
Dates are not necessary, but provide the name of the institu-
tion, and its location—city, state, and country if applicable.
OTHER CATEGORIES
As in a job resume, you can create categories that reflect your
unique creative path if you believe they enhance your exhibition
record and professional development. Within each section, be
sure to keep the design and formatting similar to other parts
of the resume so that your information is consistent and easy
to follow. Possible categories include: Awards, Commissions,
Residencies, Fellowships, Grants, Competitions, Lectures,
and Exhibitions Curated (those that you’ve selected work for)
among others.
This resume serves specifically as a record of your accomplishments as an artist with an emphasis on exhibitions. It’s often pro-
vided to galleries and museums but may also be used to apply for grants, fellowships, scholarships, competitions and residencies.
Additionally, it may be submitted as part of a Curriculum Vitae for teaching jobs or included in a job resume for arts administration
and curatorial opportunities.
LENGTH
One page is the standard and usually 3 to 4 paragraphs will
suffice. Although an important reflection on your work, the
statement is simultaneously a bit of promotion and should
be long enough to have substance but short enough for a
quick read.
WHAT TO SAY
What you say can depend on the use of the statement. If it’s
submitted for a specific exhibition, then the statement may
be specific to that work. If it’s combined with grant or resi-
dency applications, for example, then it may be more general-
ized about your work and creative process.
It can be tough to summarize and articulate your creative
process in several paragraphs, so consider approaching your
statement like a critique. How would you explain and de-
fend your work in a critique at RISD? To start, jot down your
thoughts in a free-form manner so that you can begin to
get them organized for a final document.
• Focus on the work’s strengths; the things that matter most
to you such as color, mark, composition, materials, concept,
and process. Include some concrete details correlated to
the work that is to be seen.
• Note influences, if applicable, including other artists,
historical references, environmental conditions, etc.
• It’s very helpful to review the statements of other artists
before you write yours. You can often find examples of these
on artists’ websites, so check those of RISD alumni and
students at: pinboard.in/u:risdtalent or explore the
websites of galleries you admire, as many of them include
resumes and statements from the artists they represent.
• Be descriptive and personal, but clear in your reasoning,
and substantiate concepts and ideas. Use care
with artistic terms and jargon, and avoid excessively
stereotypical ‘artsy’ language.
ARTIST STATEMENT
An artist’s statement is a document often included with your exhibition resume for galleries, museums, grants, residencies and
teaching positions. Think of it as a cover letter, serving as the narrative to the details of the resume. Since it is a statement about
your work, it can also be used by those writing about you for reviews, articles and other publications.
FINISHING TOUCHES
Review your statement for grammar and spelling. Read it
aloud to check the flow of language. Have a friend or
colleague read it and ask them to point out areas they
don’t understand.
Format the statement so it’s cohesive with your exhibition
resume. Use similar margins, fonts, type sizes and
tabbing along with your name and contact information.
Consider the use of the artist’s statement in other contexts
such as postcards, your website, or part of a review of your
show. Does your statement encourage and entice the reader
to want to see your work?
FIRST STEP
As with the ‘Exhibition Resume’ be sure to read through the
‘Basic Job Resume’ as many of the details noted apply to the
cv, especially tips on formatting and type.
FROM THE TOP
As on a resume, give your name prominence on the cv, and be
sure all of your contact information is up-to-date. Keep
similar formatting, font, type size, margins, etc., throughout
all of the documents you submit including your cover letter,
artist’s statement and teaching philosophy statement.
This cohesiveness will enhance the impression of your
organizational ability and professionalism.
EDUCATION
This category includes all colleges you’ve attended and
degrees you’ve acquired. Don’t be concerned if there are
colleges and degrees that are not art-focused as these may,
in fact, enhance the range of your educational experiences.
TEACHING EXPERIENCE /
PROFESSIONAL EXPERIENCE
A critical category on a cv, include all teaching-related
experiences including teaching assistantships during college
and graduate school. This category faces great professional
scrutiny so specific titles are essential and it’s important
to learn the differences between them. Indicate whether you
were an “Instructor of Record” or a “Teaching Assistant” for
the classes you taught.
Provide a description for each experience, noting
responsibilities, skills, processes, projects, and level of
students. Begin descriptions with action verbs and make
sure that your information is understandable to those
who may not be involved in the arts, since search committee
members can come from other areas of the institution.
CURRICULUM VITAE (CV)
A Curriculum Vitae is used predominantly for teaching positions, although it is occasionally requested for grant and residency
applications. It may be identified by this Latin name or the lower case letters ‘cv’ which do not have periods. In other countries, the cv
may refer to a job resume, but in the United States the cv is considered a record of your professional academic career and may have
categories and documentation that go beyond the needs of a standard resume.
RELATED EXPERIENCE / WORK EXPERIENCE
The format and content for work experience follows the
structure of a traditional job resume.
SKILLS
Similar to the ‘Skills’ category on a job resume, you may need
to emphasize your abilities here to counter limited teaching
experience. Utilize sub-categories to highlight discipline-
specific skills that may be applied to teaching opportunities.
Focus on processes, equipment, and materials. If you’re
comfortable with more than one discipline area, it may be
necessary to juggle these subcategories in the skills section
depending on which teaching positions you’re applying for.
You may want to create a skills category for ‘Teaching’,
especially if you have limited experience, in order to
demonstrate knowledge of curriculum development, syllabus
creation, teaching methodologies, and approach to critiques.
A ‘Computer’ subcategory may be expected and you will want
to list platforms and software. Start with creative software
that would be most beneficial in the classroom and continue
listing other supportive software programs that may be used
for administrative work or other projects.
EXHIBITIONS
When listing exhibitions, include sections for ‘Solo’ and ‘Group’
shows, or organize all exhibitions together in reverse
chronological order by year. If you do this, indicate which
exhibits are solo shows.
Teaching positions typically demand an active exhibition
record and this adds clout to your candidacy along
with providing some indication of your role as a teacher and
administrator. While job hunting, you may want to pursue
gallery opportunities at the same time.
RELATED EXHIBITION CATEGORIES
Usually, the categories of ‘Public Collections’, ‘Bibliography’,
and ‘Publications’ will follow directly after ‘Exhibitions’.
Other categories like Awards, Commissions, Residencies,
Fellowships, Grants, Competitions, Lectures, and Exhibitions
Curated may be placed here as well or shifted earlier in the cv
depending on their value to the positions you’re applying for.
MORE CATEGORIES TO CONSIDER
Other possibilities for categories include Conferences,
Workshops, Visiting Artist Lectures, Professional Affiliations/
Memberships, Research, and Professional Service.
Professional Service can be an important category since
most teaching positions will require additional commitments
outside of the classroom.
COLLEGE ART ASSOCIATION
The College Art Association is an important resource for
those seeking college-level teaching positions. Membership
allows access to job listings and their annual conference
provides valuable networking and learning opportunities. It
is also worth exploring their website for information on legal
issues and professional practices, along with cv guidelines
for visual artists, art historians and museum professionals.
collegeart.org/guidelines
CURRICULUM VITAE (CONTINUED)
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