Issue link: http://digital.copcomm.com/i/1241865
The industry has come a long way since I first began designing graphics for feature films in 1992. Back then it was a new job in the Art Department and there were very few of us doing it. During the first several years I worked in the industry, I saw that the Art Directors and Production Designers often had to battle to get the position funded. Even when approved, the Graphic Artist usually wasn't part of the salary line budget like other Art Department members. Money for the role had to be cobbled together from the budgets of construction, set decoration and props. It was often the case the number of weeks approved did A T e a m o f G r a p h i c A r t i s t s T a k e s o n T H E P L O T A G A I N S T A M E R I C A B Y E R I C R O S E N B E R G , S U P E R V I S I N G G R A P H I C D E S I G N E R not reect the actual work needed, leading to a second set of negotiations funding the graphics for the remainder of the show. y the late 1990s, the position of Graphic Artist began to be more firmly rooted and accepted, and our numbers grew. In today's productions, our contributions as visual artists have become an integral part of the design process. My role on The Plot Against America as the upervising Graphic Designer is the culmination of a 28-year ourney through the industry. ust as this role has grown for me, so will it for others what Graphic Artists offer to a production's design is always expanding. A B