Sooner or later you’ll find your-self leading a team where one or more of your people work remotely. You can turn this situa- tion into an advantage by leverag- ing diverse backgrounds and highly motivated employees. To do this, you’ll need to avoid the possi- ble communication and effective- ness pitfalls and make sure you’re making use of all the means at your disposal to operate effectively from a distance. Interestingly enough, my experiences in P&G as both a remote manager and a remote employee have made me a more disciplined manager. Various situations, be it with remote teams who work from their homes or international employees in different time zones, bring unique characteristics to which you’ll need to adjust your management style. That said, the basics for any manager remain the same—you just have to do them better. Do them well, and you’ll have a highly energized and driven work team. The consequences of not doing so are twice as disas- trous with remote teams. What You Can Do Let me share some of my favorite must-do items for any remote leader. 1. Energize your team with a vision. To win as a team and as an organization, it’s critical to involve your remote group in the creation and deployment of a common vision. Ask yourself what your most important breakthrough will be, and set this as the direction that propels your people and your action plan. If it isn’t possible to do this face to face, take time to have a brainstorming forum, group chats, and calls with video where you come to a clear, meaningful state- ment of the accomplishment your team will be known for. 2. Engage them with a robust action plan. This is probably one of the most critical aspects of remote leadership. Each team member needs to feel engaged and have a clear understanding about what will be requested from them or their teams, how it will be mea- sured, and when you will expect it. To do this well is to set a solid foundation and clear the way for what will come. Draft an action plan with a clear link to your vision, and engage each team member individually with the objectives assigned to them. Align on the way updates will be pre- sented and on key milestones. Give examples of the way you like updates to be presented and the data you expect to see in them. 3. Be in touch with your team. You need to be disciplined about having periodic touchpoints in order to stay connected. Watch out for overly independent employees who think they don’t need direc- tion and allow the distance to grow. It’s important to align prior- ities, review action-plan progress, and talk about career develop- ment. It also doesn’t hurt to build a personal relationship that fosters trust and open communication. Though there are various con- straints, mostly financial, make sure to schedule face-to-face time as much as possible, and, again, make use of the vast array of avail- able videoconferencing te.

1. Sooner or later you’ll find your-self leading a team where one
or more of your people work
remotely. You can turn this situa-
tion into an advantage by leverag-
ing diverse backgrounds and
highly motivated employees. To do
this, you’ll need to avoid the possi-
ble communication and effective-
ness pitfalls and make sure you’re
making use of all the means at
your disposal to operate effectively
from a distance. Interestingly
enough, my experiences in P&G as
both a remote manager and a
remote employee have made me a
more disciplined manager.
Various situations, be it with

2. remote teams who work from
their homes or international
employees in different time zones,
bring unique characteristics to
which you’ll need to adjust your
management style. That said, the
basics for any manager remain the
same—you just have to do them
better. Do them well, and you’ll
have a highly energized and driven
work team. The consequences of
not doing so are twice as disas-
trous with remote teams.
What You Can Do
Let me share some of my favorite
must-do items for any remote
leader.
1. Energize your team with a

3. vision. To win as a team and as an
organization, it’s critical to involve
your remote group in the creation
and deployment of a common
vision. Ask yourself what your
most important breakthrough will
be, and set this as the direction
that propels your people and your
action plan. If it isn’t possible to do
this face to face, take time to have a
brainstorming forum, group chats,
and calls with video where you
come to a clear, meaningful state-
ment of the accomplishment your
team will be known for.
2. Engage them with a robust
action plan. This is probably one
of the most critical aspects of

4. remote leadership. Each team
member needs to feel engaged and
have a clear understanding about
what will be requested from them
or their teams, how it will be mea-
sured, and when you will expect it.
To do this well is to set a solid
foundation and clear the way for
what will come. Draft an action
plan with a clear link to your
vision, and engage each team
member individually with the
objectives assigned to them. Align
on the way updates will be pre-
sented and on key milestones.
Give examples of the way you like
updates to be presented and the
data you expect to see in them.

5. 3. Be in touch with your team.
You need to be disciplined about
having periodic touchpoints in
order to stay connected. Watch out
for overly independent employees
who think they don’t need direc-
tion and allow the distance to
grow. It’s important to align prior-
ities, review action-plan progress,
and talk about career develop-
ment. It also doesn’t hurt to build
a personal relationship that fosters
trust and open communication.
Though there are various con-
straints, mostly financial, make
sure to schedule face-to-face time
as much as possible, and, again,
make use of the vast array of avail-

6. able videoconferencing technolo-
gies. It isn’t a requirement, but a
leader with a personal touch is
very effective and builds trust. I
remember Bud Kulesza, former
IMA Chair and leader of an IMA
volunteer group to which I
belonged, being aware when my
father passed away and also con-
gratulating me when I told him my
wife was pregnant. We made it a
point to try to meet up once a year
to have a beer and a laugh. He is
By Esteban Quiros, CMA
LEADERSHIP
Remote Leadership
Can Bring Out
Your BestDepending on the situation,many employees are able
to
work remotely these days. If you

7. find yourself managing such
teams, be sure to create the right
atmosphere.
1 6 S T R AT E G I C F I N A N C E I J u n e 2 0 1 2
1 8 S T R AT E G I C F I N A N C E I J u n e 2 0 1 2
one of the leaders I most admire,
and he has impacted my own style.
4. Celebrate success. As action-
plan goals and objectives are
accomplished, make sure to take
time to recognize your team.
Involve your immediate supervisor
in periodic updates, and get the
right exposure for your team or
individuals. Pay special attention to
communicating effectively and cel-
ebrating breakthrough results and

8. contributions. Above and beyond
shouldn’t be invisible. Make sure
your immediate supervisor is aware
of what you’re doing, is involved,
and knows your team. He or she
needs to be able to represent them
well during performance appraisals
or promotion recommendations.
5. Build a team identity.
Schedule regular team meetings
where you discuss and review rele-
vant topics with team members.
Encourage them to create sub-
teams to work on organizational
development items that benefit the
group and, if possible, the entire
organization, such as training, Web
information-sharing portals, pro-

9. cess improvements, network, etc.
6. It isn’t for everybody. The
advantages of having a remote
team are possible only if the indi-
viduals have strong ethical values
and principles. Micromanaging is
much harder and rather unproduc-
tive in these situations. Monitoring
when an employee logs in or out, if
he or she is connected from a cer-
tain place or another, or simply
monitoring daily productivity just
isn’t effective in many businesses.
Having the right people and behav-
ior is crucial, so take time to pro-
vide honest and effective feedback.
You need to point out behaviors
that aren’t acceptable, and be espe-

10. cially careful when people are
falling behind. This might require a
strong intervention.
Contrary to common beliefs,
people working remotely often
end up putting in more hours
than those who are in the office.
Make sure you stay aware of this
situation, and avoid overloading
the person who is out of sight. A
good work/life balance is as
important here as anywhere else.
Stay on top of career interests and
morale to ensure you maximize
productivity and minimize costs.
Setting a Good Example
One of the best remote managers I
have seen in P&G was managing a

11. small team of financial analysts
out of Cincinnati while many of
his peers were doing so locally.
Tom Kennedy was adored by his
group. He was on top of their
development plans, engaged in
career and progression discus-
sions, and always had time to set
direction and follow up with his
people. It wasn’t unexpected for
him to drop by my desk when he
was in the country to chat about
his team, recognize them in local
events, and have some face time
together. It was no accident that
he came out on top of all his peers
during our annual coaching
assessments. He used to tell me

12. how happy he was with his group
and how lucky he was to have
them. He showed genuine interest
and cared for his people, which
was quite an inspiration.
As many of you have already
experienced, being an effective
leader and setting direction is very
hard work that takes skill, time,
and dedication. It’s also one of the
most rewarding things you can do.
You have a unique opportunity to
make a difference in people’s lives,
and, if you are truly dedicated,
you’ll earn their respect as a real
leader. Remote leadership isn’t a
new art—it’s the perfection of an
art you already know and have

13. practiced. If you can do it, it will
bring out the best in you! SF
Esteban Quiros, CMA, is the North
America Supply Chain F&A manag-
er, Procter and Gamble, San Jose Ser-
vice Center, San Jose, Costa Rica. You
can reach him at +1150622041167
or [email protected]
LEADERSHIP
I believe we’ve laid a firm foun-
dation for the future growth of our
organization, which, starting July
1, will be guided by a new Chair
(I’ll be moving into the Chair-
Emeritus role). This marks my
final column in these pages, so I
want to thank all of the volunteers
and staff who have made this past
year such a remarkable one of

14. learning and service for me.
Thanks to all members, too, for
giving me this opportunity to
enjoy a small part in shaping the
future of our organization. I wish
the very best of luck to incoming
Chair John Macaulay, a long-time
IMA member who embraces a
strong commitment to service, as
well as to Chair-Elect William
Knese, another devoted IMA
member and former ICMA Board
of Regents Chair.
As always, I remain eager to hear
your thoughts on this or any other
topic. Please share them with me at
[email protected] SF
Perspectives

15. c o n t i n u e d f r o m p a g e 6
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Chapter 4:
The Visual Elements
1) Which of the visual elements can best be described as "the
path of a moving point"?
A) Motion
B) Time
C) Line
D) Light
2) During the 20th century, which of the following became a
recognized element of art?
A) Motion
B) Texture
C) Color
D) Line
3) What element is most often used to indicate boundaries

16. between forms?
A) Contour lines
B) Ground
C) Intensity
D) Foreshortening
4) In art, shapes that suggest forms found in nature are called
________ shapes.
A) organic
B) real
C) geometric
D) environmental
5) Raphael's The Madonna of the Meadows is composed using
what implied shape?
A) Trapezoid
B) Square
C) Triangle
D) Circle
6) What two basic visual cues are used to imply depth in
the 18th-century Indian painting of Maharana Amar Singh and
others watching musicians and acrobats?
A) Chiaroscuro and hatching
B) Atmospheric perspective and foreshortening
C) Implied line and a vanishing point
D) Position and overlap
7) A black-and-white photograph of a scene eliminates the hues
and intensities of the scene's colors but captures the ________
of the colors.
A) pigments

17. B) chromas
C) harmonies
D) values
8) In drawing, the outer boundaries of two-dimensional forms
are defined by ________, while the outer boundaries perceived
among three-dimensional forms are defined by ________.
A) visual elements; principles of design
B) outlines; contour lines
C) thick lines; thin lines
D) actual lines; implied lines
9) In painting and drawing, artists often use the technique of
________ to describe the way shadows and light define the
shape of forms.
A) refraction
B) isometric perspective
C) simultaneous contrast
D) chiaroscuro
10) What technique, illustrated in Charles White's Untitled, uses
parallel lines to suggest value?
A) Hatching
B) Atmospheric perspective
C) Impasto
D) Foreshortening
11) What term describes the use of light and shadow to give
a three-dimensional appearance to shapes in a two-dimensional
work?
A) Pointillism
B) Figure

18. C) Ground
D) Model
12) In the additive process of color mixing, red light, green
light, and blue light combine to produce ________ light.
A) yellow
B) black
C) white
D) green
13) Mixing two primary colors produces a ________ color.
A) secondary
B) passive
C) complementary
D) triad
14) What term is used to describe a color lighter than a hue's
normal value?
A) Tint
B) Shade
C) Chroma
D) Palette
15) In the subtractive color process, what are the secondary
colors?
A) Orange
B) Green
C) Violet
D) Blue-green
E) Yellow
F) Blue
16) Works that use a(n) ________ harmony feature any three
colors equidistant from each other on the color wheel.

19. A) analogous
B) complementary
C) triadic
D) open
17) What technique uses dots of color to create a specific
optical effect?
A) Stippling
B) Modeling
C) Pointillism
D) Chiaroscuro
18) What are some expressive characteristics associated with
the color blue?
A) Freedom
B) Calm
C) Passion
D) Anxiety
E) Quiet
F) Love
19) What is a necessary feature of pattern?
A) Texture
B) Color
C) Modeling
D) Repetition
20) Where is the vanishing point in Leonardo da Vinci's The
Last Supper?
A) In the upper left corner of the image
B) Just behind the head of the figure of Jesus
C) Below the horizon line
D) At the top center of the image

20. 21) Art that moves is called ________ art.
A) kinetic
B) trompe l'oeil
C) directional
D) modeled
22) In Albrecht Dürer's woodcut The Draftsman Drawing a
Reclining Nude, the draftsman is using a device to help him
achieve the effect of ________.
A) foreshortening
B) chiaroscuro
C) the illusion of motion
D) simultaneous contrast
23) The use of atmospheric perspective is a prominent aspect of
which work?
A) Hidden Relief by Sarah Sze
B) Lake George by John Frederick Kensett
C) Chanter by Emmi Whitehorse
D) The Chief: He Who Sold Africa to the Colonists by Samuel
Fosso
24) Many still-life works attempt to capture what artistic
element?
A) Actual texture
B) Isometric perspective
C) Linear perspective
D) Visual texture
Chapter 5:
The principles of Design

21. 1) What is the term for the organization of visual elements in
two-dimensional art?
A) Taste
B) Composition
C) Context
D) Pictorial space
E) Visual weight
2) What features are NOT considered principles of design?
A) Unity and variety
B) Emphasis and subordination
C) Balance and rhythm
D) Texture and color
E) Proportion and scale
3) The Mandala of Jnanadakini shows what kind of balance?
A) Asymmetrical
B) Proportional
C) Radial
D) hierarchical
4) Drawing attention to an area by contrasting dark and light is
one way of demonstrating ________.
A) texture
B) scale
C) emphasis
D) symmetry
5) How is scale defined?
A) Color's relation to value
B) Size in relation to a standard or "normal" size
C) Size relation of parts to the whole
D) Repetition of objects in a work

22. 6) With what principle of design does sculptor Claes Oldenburg
often experiment?
A) Symmetry
B) Emphasis
C) Scale
D) Balance
E) Unity
7) What object did the ancient Roman architect Vitruvius relate
to the perfect geometry of a circle and square?
A) City plazas
B) Church domes
C) Male human form
D) Constellations
E) Castle arches
8) The Parthenon and the Modulor were both designed
according to what feature?
A) The vanishing point
B) The true view
C) The silver mean
D) The golden section
E) The central plan
9) What design principle is based on repetition?
A) Rhythm
B) Balance
C) Emphasis
D) Focal point
10) By positioning the dark, dense image of death next to the
billowing, light form representing life, Gustav Klimt's painting
Death and Life demonstrates artistic use of what design
principle?

23. A) Hierarchical scale
B) Symmetrical balance
C) Unity
D) Asymmetrical balance
11) How may the appearance of balance be achieved in a two-
dimensional work with asymmetrical balance?
A) Objects mirror each other across a central axis
B) Use of ideal proportions
C) Distribute visual weight accordingly
D) Use of scale to indicate relative importance
12) Rather than depend solely upon visual unity, an artist will
sometimes create ________ unity by unifying the ideas in a
work of art.
A) proportional
B) invisible
C) conceptual
D) symmetrical
13) What design principle is exemplified in Haruka
Kojin's reflectwo?
A) Symmetrical balance
B) Radial balance
C) The Golden Mean
D) Asymmetrical balance
14) What principle is used in the Thirteen-Diety Jnanadakini
Mandala to suggest that there is a logic and order to the
universe?
A) Visual weight
B) Asymmetry
C) Proportion
D) Symmetry

24. 15) What kind of unity helps to give Annette
Messager's MesVoeux meaning?
A) Conceptual
B) Radial
C) Proportional
D) Symmetrical
16) By what method did the ancient Egyptians govern the
"correct" proportions of their drawn human figures?
A) Symmetrical balance
B) Visual weight
C) The golden mean
D) A squared grid
17) What feature must be present in a work that is
symmetrically balanced?
A) Central axis
B) Hierarchical scale
C) Focal point
D) Golden mean
18) What type of balance gives Pablo Picasso's Girl Before a
Mirror meaning, using variety carefully to depict the subject's
conscious and unconscious sides?
A) Radial symmetry
B) Conceptual
C) Hierarchical scale
D) Symmetrical
19) What is the focus of Tawaraya Sotatsu's The Zen Priest
Choka, emphasized by the artist's daring use of asymmetrical
balance?
A) Imbalance
B) Emptiness
C) The Afterlife
D) Order

25. E) Rebellion
20) What is another term for asymmetrical balance?
A) Radial balance
B) Visual weight
C) Scale
D) Informal balance
21) What aspect is manipulated to affect the balance of the
composition?
A) Golden ratio
B) Meaning
C) Modulor
D) Visual weight
22) How does Henry Ossawa Tanner's The Banjo Lesson create
emphasis?
A) Size and placement of the figures
B) Symmetrical balance
C) Unrealistic scale
D) Bright colors in the background
23) In the work, Plantoir, Claes Oldenburg and Coosje van
Bruggen created shock value through use of ________.
A) symmetry
B) repetition
C) scale
D) abstraction
E) variety
24) What type of design principle is used in the royal altar to
the hand (ikegobo), from Benin?
A) Hierarchical scale
B) Golden section
C) Asymmetrical balance
D) Mandala

26. 25) The ancient Roman architect Vitruvius associated the
perfected male form with the perfect geometry of what shapes?
A) Square and rectangle
B) Circle and square
C) Triangle and circle
D) Rectangle and triangle
26) The use of scale to indicate relative importance is known as
________ scale.
A) proportional
B) hierarchical
C) golden
D) rhythmic
E) symmetrical
27) On what feature did Le Corbusier construct the Modulor, a
tool used for calculating human proportions?
A) Repeating rhythms
B) Hierarchical scale
C) The golden section
D) Visual weight
28) What aspect forms the basis for rhythm in art?
A) Scale
B) Realistic proportions
C) Focal points
D) Repetition
E) A directional line of sight
29) Artists will often add ________ to provide interest and
enliven the unity of a work of art.
A) vanishing points
B) variety
C) golden rectangles
D) primary colors

27. 30) What feature of James McNeill Whistler's
work, Billingsgate, creates rhythm?
A) Vertical lines of ship masts
B) Wavelike, horizontal bars
C) Repeating colored circles
D) Strong use of negative space