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Art director (A.D.) is the title for a variety of similar job functions in advertising, marketing, publishing, film and television, the Internet, and video games.^[1]

General role and job description[link]

Various artists may create or develop specific parts of an art piece or scene; but it is the charge of a sole art director to supervise and unify the vision. In particular, the art director is in charge of the overall visual appearance and how it communicates visually, stimulates moods, contrasts features, and psychologically appeals to a target audience. The art director makes decisions about visual elements used, what artistic style to use, and when to use motion.

One of the most difficult problems that art directors face is to translate desired moods, messages, concepts, and underdeveloped ideas into imagery. During the brainstorming process, art directors, coworkers, and clients are engaged in imagining what the finished piece or scene might look like. At times, an art director is ultimately responsible for solidifying the vision of the collective imagination while resolving conflicting agendas and inconsistencies between the various individual inputs.

Interfacing between information technologies and marketing activities[link]

A coordination among the different professionals in the mentioned areas is wanted, under the supervision of an experienced leader who will decide the last characteristics of the final promotional products in the services companies. The art director activities and responsibility will avoid the possible loops in the development of the products, with some wasting of time and productivity, throughout the statement of some guidelines defining the most suitable features of that products.

In advertising[link]

Despite the title, an advertising art director is not necessarily the head of an art department. In modern advertising practice, an art director typically works in tandem with a copywriter. The team usually works together to devise an overall concept (also known as the "creative" or "big idea") for the commercial, mailer, brochure, or other advertisement. The copywriter is responsible for the textual content, the art director for the visual aspects. But the art director may come up with the headline or other copy, and the copywriter may suggest a visual or the aesthetic approach. Each person usually welcomes suggestions and constructive criticism from the other. Ideally, the words and visual should not parrot each other; each should enhance or enlarge the other's meaning and effect.

Although a good art director is expected to have graphic design judgment and technical knowledge of production, it may not be necessary for an art director to hand-render comprehensive layouts (or even be able to draw), now that virtually all but the most preliminary work is done on computer.

Except in the smallest organizations, the art director/copywriter team is overseen by a creative director, senior media creative, chief creative director. In a large organization, an art director may oversee other art directors and a team of junior designers, image developers and/or production artists, and coordinates with a separate production department. In a smaller organization, the art director may fill all these roles, including oversight of printing and other production.

In film[link]

An art director, in the hierarchical structure of a film art department, works directly below the production designer, in collaboration with the set decorator, and above the set designers. A large part of their duties include the administrative aspects of the art department. They are responsible for assigning tasks to personnel such as the Art Department Coordinator, and the Leadman, keeping track of the art department budget and scheduling (i.e. Prep/Wrap Schedule) as well as overall quality control. They are often also a liaison to other departments; especially Construction, Special FX, Property, Transportation (graphics), and Locations Departments. The Art Director also attends all production meetings and tech scouts in order to provide information to the set designers in preparation for all departments to have a visual floor plan of each location visited.

In the past, the title of art director was used to denote the head of the art department (hence the Academy Award for Best Art Direction). On the movie Gone with the Wind, David O. Selznick felt that William Cameron Menzies had such a significant role in the look of the film, that the title Art Director was not sufficient, and so he gave Menzies the title of Production Designer.^[2] The title has become more common, and now Production Designer is commonly used as the title for the head of the Art Department, although the title actually implies control over every visual aspect of a film, including costumes.

In publishing[link]

Art directors in publishing typically work with the publications editors. Together, they work on a concept for sections and pages of a publication. Individually, the art director is mostly responsible for the visual look and feel of the publication, and the editor has ultimate responsibility for the publication's verbal and textual content.

In Japanese animation[link]

In Japanese animation productions, the role of art director (美術監督, bijutsu kantoku) refers specifically to the background artist in charge of producing background art for the animation, either personally or by directing a team of artists.

See also[link]

• VFX Creative Director

References[link]

1. ^ http://catandbee.onsugar.com/33-things-I-know-about-Art-Direction-19040343
2. ^ Preston, Ward (1994). What an Art Director Does. Silman-James Press. pp. 150. ISBN 1-879505-18-5. 

External links[link]

• ADG Art Direction Wiki Online community and knowledgebase relating to new and classic technologies relevant to the art of film design

Daniel Dociu is a video game art director and concept artist. He is the chief art director for NCsoft North America and also works for its subsidiary ArenaNet.

Dociu was born in Cluj, Romania.^[1] He obtained his master's degree in industrial design at the Fine Arts Academy in Cluj in 1982. Throughout the decade, he taught at the academy as an assistant professor and later worked as a graphic designer in Athens, Greece, a product designer and a freelance artist. He moved to the United States in 1990.^[1] From 1992 to 2003, Dociu did work for various video game developers including Square, Electronic Arts, and Zipper Interactive.^[2]

His face was also used for reference for the character Father Grigori in the critically acclaimed video game Half-Life 2.^[3]

Works[link]

• Crimson Skies: High Road to Revenge
• FIFA Soccer 95
• FIFA Soccer 96
• FIFA Soccer 2002
• Guild Wars 2
• Guild Wars: Eye of the North
• Guild Wars Factions
• Guild Wars Nightfall
• Guild Wars Prophecies
• James Bond 007: Everything or Nothing
• James Bond 007: Nightfire
• Half-Life 2
• MechWarrior 3
• MechWarrior: Pirates’ Moon
• Need for Speed: Hot Pursuit 2
• Recoil
• ReBoot
• Secret of Evermore
• Shadow Madness (as Worlds Within)
• SOCOM: U.S. Navy SEALs
• SSX Tricky
• SSX 3
• Triple Play 2003

References[link]

External links[link]

• Daniel Dociu Official website
• Daniel Dociu's Gallery with biography and artbooks on Inside Your ART
• Daniel Dociu's Official Facebook Like his page here

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This article may be expanded with text translated from the corresponding article in the German Wikipedia. (July 2009) Don't speak German? Click here to read a machine-translated version of the German article. Click [show] on the right to review important translation instructions before translating. Google's machine translation is a useful starting point for translations, but translators must revise errors as necessary and confirm that the translation is accurate, rather than simply copy-pasting machine-translated text into English Wikipedia. Do not translate text that appears unreliable or low-quality. If possible, verify the text with references provided in the foreign-language article. After translating, {{Translated|de|Heinz Edelmann}} must be added to the talk page to ensure copyright compliance. For more guidance, see Wikipedia:Translation.

Heinz Edelmann (20 June 1934 – 21 July 2009) was a German illustrator and designer. He was born in Ústí nad Labem, Czechoslovakia, into a Czech-German family of Wilhelm Edelmann and his wife Josefa née Kladivová. He was a well-known illustrator in Europe, but is probably most famous for his art direction and character designs for the 1968 animated film Yellow Submarine.

From 1953 to 1958 Edelmann studied printmaking at the Düsseldorf Academy of Fine Arts. He began his career as a freelance illustrator and designer for theatre posters, and German advertising. From 1961 - 1969 he was a regular illustrator and cover designer for the internationally renowned youth magazine twen. During 1967 - 1968 he worked on Yellow Submarine. Between 1968-1970, he was a partner in a small animation company in London but his desire to work on more feature films did not come about. In 1970, Edelmann moved to Amsterdam and designed posters for plays, films and book jackets. His last deliberate use of the style of Yellow Submarine was for illustrating a book, Andromedar SR1 (1970), which was about a voyage to Mars. He also designed the cover for a German edition of Tolkien's The Lord of the Rings. Also known are his numerous illustrations for Kenneth Grahame's children's book The Wind in the Willows.

From 1972–1976, Heinz Edelmann taught industrial graphic design in the Department of Applied Sciences Duesseldorf. After that he was Lecturer of Art and Design at the Fachhochschule Köln. (Cologne factory schools) and in 1999, he became professor of illustration at the State Academy of Fine Arts in Stuttgart.

He also designed Curro for the 1992 Seville World's Fair.

He died from heart disease and renal failure in Stuttgart, aged 75.^[1]

References[link]

External links[link]

• Graphis: A tribute to Heinz Edelmann
• Spencer Leigh, Heinz Edelmann: Illustrator who helped to create the psychedelic landscape of the Beatles film 'Yellow Submarine' (Obituary), The Independent, 5 August 2009
• Edelmann Disembarks from the Submarine: Memorial Article for Heinz Edlemann by Dr. Bob Hieronimus

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This article may contain improper references to self-published sources. Please help improve it by removing references to unreliable sources, where they are used inappropriately. (April 2011)

David R. Colman (January 4, 1949 – June 1, 2011) was an American neuroscientist who served as Director of the Montreal Neurological Institute and Hospital (The Neuro) at McGill University and McGill University Health Centre until his death in June 2011.^{[1] [2]}

Under his leadership, The Neuro maintained its position as a world-renowned integrated research and clinical academic medical centre that has been dedicated to neuroscience since its founding in 1934. Colman's research centers on the role of cell adhesion molecules in the formation and maintenance of the myelin sheath, and in adhesion between pre- and post-synaptic membranes. His research group studied regeneration of neural connections after spinal cord injury.

Early life and education[link]

Colman was born in New York City and grew up in the Washington Heights section of Manhattan. Inspired as a boy in the 1950s by movies and TV science and science fiction shows such as Gateway to the Mind, Watch Mr. Wizard, and Rocky Jones, Space Ranger, he attended The Bronx High School of Science and earned his undergraduate degree in Biology from New York University. Colman was awarded a doctorate in neuroscience from the State University of New York, Health Sciences Center in Brooklyn, New York in 1977 and completed a post-doctoral fellowship in the laboratory of David D. Sabatini at New York University School of Medicine.

Career in academia[link]

In 1983 he was appointed Assistant Professor at NYU School of Medicine, and in 1987 left NYU to become an Associate Professor in the Departments of Anatomy and Cell Biology, and Pathology at The College of Physicians and Surgeons of Columbia University (New York). In 1993, Colman moved to Mount Sinai Hospital to become the first Annenberg Professor of Molecular Biology and Neuroscience. In 2000, he was named Scientific Director at the Corinne Goldsmith Dickinson Center for Multiple Sclerosis and Vice Chairman for Research in the Department of Neurology at Mount Sinai School of Medicine. In 2002, Colman accepted a Tier 1 Canada Research Chair and moved to McGill University as the Wilder Graves Penfield Professor in the Department of Neurology and Neurosurgery, and Director of the Montreal Neurological Institute and Hospital.

NeuroEngineering, one of Colman's academic initiatives at McGill, is a consortium of neurobiologists, physicists, chemists and engineers who are conducting research on regeneration in the nervous system by creating a biological interface with artificial matrices to restore function after spinal cord injury. Colman also committed to new clinical programs at The Neuro such as the Neuropalliative Care Program to provide care for patients with life-threatening neurological disease. In recognition of its contribution in basic, clinical and translational research under Colman's leadership, The Neuro was recognized by the Canadian government in 2007 as a Centre of Excellence in Commercialization and Research.

In service to the professional community, Colman was a member of the Medical Advisory Board of the Gairdner Foundation, and a consultant to the National Science Foundation (US) and to the Ministry of Research and Innovation of Ontario, Canada, and a member of grant review panels and editorial boards of scientific journals. In service to the public, Colman committed The Neuro to regular educational outreach activities for young people to inspire their curiosity and interest in science. To support this effort, he initiated a partnership with the National Film Board of Canada and international partners to produce a 3D giant screen film on the brain which will be completed in 2012.

Awards[link]

• Canadian Institutes of Health Research Establishment Award (2002)
• New York State Spinal Cord Injury Trust Award (2001–2003)
• Jacob K. Javits Neuroscience Investigator Award, National Institutes of Health (1990–1997)
• Basmajian/Williams and Wilkins Award (1993)
• The Lamport Award for Excellence in Basic Science Research (Columbia University, 1992)
• Career Award, Irma T. Hirschl Charitable Trust (1985–1990)
• National Research Service Award (National Institutes of Health, 1979–1981)

References[link]