How to Start Your Professional Artistic Career

Virtually all artists want to be, or wish they were already enjoying the benefits of being, represented by a top-notch art gallery. That seems to be the pinnacle to which most artists aspire. A few set their sights on a museum exhibit and major financial gains through large sales. But getting to any of these ends seems a long and arduous climb. Just like all occupations, there are tools to help you achieve the goals you set and ways you can make a professional presentation that will give you the best possible chance of being exhibited or sold.

Three elements are essential when it comes to gallery exhibition opportunities. First is your portfolio demonstrating your expertise. Second is a resume that shows your dedication and accomplishments. Third is the determination and courage you show by forging ahead and meeting with gallery owners. And without number three, the first two are useless. You could be the next Van Gogh or Picasso and no one will know it if you don't get out there and "show your stuff."

Portfolio

As fledgling artists, we are often remiss about recording our best works. Early works are often sold or given away before proper documentation is completed. Most professional artists agree that a complete record of works is essential. This record is beneficial because it helps you keep track of your progress and keeps you on track towards the long-range goals you have set. Your portfolio may be comprised of several components: slides, photos, and an accumulation of actual art pieces. Slides are the most frequently used documentation done by professionals and are the tool used in the submission of images for competitions. They also represent the most popular visuals used when contacting galleries, agents or commercial clients.

Bear in mind that no gallery owner will be able to visualize works that you know you are capable of doing and intend to do. They want to evaluate your place within their space, and the fastest way to do that is with high quality, sharp, well-lit slides of works you've already completed and would have available for exhibit. After the gallery owner reviews your slides, he/she may request that you come by with actual works. This is a very important step. Your work should be the very best you have, and it should be completely finished. Some galleries want the works framed when they are presented and some do not. Ask. Show the work that you feel best meets the atmosphere of the gallery.

Resume

Building a strong resume takes a while, but even beginners can offer a gallery owner a statement about their work or a list of educational accomplishments. Even if you have never won or placed in a competition, have never displayed publicly prior to this attempt, or perhaps are only beginning your artistic career, the formality of a resume is important. On the other hand, a resume that is inflated with details unimportant to artistic applications will not help.

Artists work their entire careers to build strong resumes. Initially, all exhibitions are listed, but as their careers build, they select premier exhibitions in which they placed. In many cases, being accepted into an exhibition, whether or not you win a prize, is reward enough. Eventually, only the most prestigious exhibits are listed. Remember, like any resume, the most current accomplishment is listed first and then others are noted chronologically.

Courage

What a scary thing! You are trying to build the courage to approach a gallery owner about a display of your paintings. How do you start? Do you call first? Do you just casually drop in? What information should you take on the first contact? What should you ask? What should you offer?

There are two different schools of thought about gallery contact. A telephone call is easily dismissed or put off. For gallery owners, a call from an artist seeking an exhibit is a type of solicitation call. The preference of most artists is the direct approach. Some start by building a relationship with a gallery owner. Visiting, looking, talking--then some time later ask about the possibility of a portfolio review. Other artists simply build their courage and cold-call galleries. A quick survey of the style they display, of the surroundings in general, allows the artist to decide if the work "fits" the gallery. The only thing left to do is to ask for an appointment to show your portfolio. After the review (which may or may not be done in your presence) and if the gallery's interest is piqued, inquire about the possibility of an exhibit of your work.

Many exhibit spaces fill their exhibit calendar for two years into the future. Regrettably, that might mean a long time must pass before your exhibit becomes a reality. A lot of things can happen over time. Keep in touch with the gallery, at least quarterly, to help keep you in their thoughts. It will support your professional attitude and help you keep track of the success of the gallery. One note: Professionals suggest that your first gallery contact NOT be your most desired exhibit space. Do a trial run on a second or third choice to build your self-confidence and skills at self-promotion. Always look your best and present yourself with the most professionalism you can muster.

Yes, this can be scary. Yes, it is "business," but with a bit of practice, you will hit your stride. Good luck!

September has rolled around quickly and students are now back to school. When selecting art supplies, please be sure to see the fine products from those companies that bring you ARTtalk each month--our advertisers!

New Color Match Sourcebook Available from AMACO

AMACO has announced that the third edition of the TCS Decorative Painting Color Match Sourcebook is now available. It is designed to assist craft artists in selecting matching colors from various brands, and new additions include: 86 Genesis Artist Colors, the revolutionary heat-set oil paint from AMACO; 20% more oil and acrylic conversions; 560 color swatches; and digital color wheel CD-ROM for creating color schemes.

This new Sourcebook provides quick access to color matches in an easy-to-use format. Twenty-one brands of oil, acrylic, and fabric paints are featured in the TCS Color Match System, and 11 brands are indexed. Genesis Artist Colors are the only paints that include the TCS number on each label for easy reference for artists and craftspeople. See www.genesisartistcolors.com and www.amaco.com.

New Raphael Brush Sets from Savoir-Faire

Savoir-Faire has introduced 15 new Raphael Brush Sets in blister packs. Raphael has taken their most popular brushes and packaged them together: Oil sets include Paris Classics, Interlocked Bristle, and Kevin Mongoose Oil and Acrylic; Acrylic sets include Sepia for Heavy Bodied Acrylic and Kaerell for Light Bodied Acrylic; Watercolor sets include Professional--Extra Fine Hair and Starter--Short Handle Kaerell Watercolor; and Hobby & Craft sets include Sepia for Heavy Bodied Acrylic and Golden Kaerell. In addition, three sets--Introductory, Intermediate, and Advanced--were made especially for the renowned watercolorist Tom Lynch. See your retailer and make your selection!

New Picture Journal from Strathmore

A great new item for students is the Picture Journal from Strathmore. An excellent teaching tool for the classroom, the Journal contains 20 pages. The top 2/3 of the page is blank for illustrating, while the bottom 1/3 is ruled for writing stories or assignments. Also see Strathmore's extensive line of sheets, pads and books for drawing and sketching. Be sure to pick up Strathmore Project Sheets from participating retailers and you will have fun creating the Pure Paper Travel Journal and Back to School Photo Card. See www.strathmoreartist.com.

In the Spotlight: Color Wheel Co.

Color wheels are tools that teach color relationships by organizing colors in a circle so that you can visualize how they relate to each other. The Color Wheel Company has a variety of products available to assist artists, interior designers/decorators, web page designers and more in their endeavors: Color Wheel (9-1/4")--also available in French, German, Portuguese or Spanish; Pocket Color Wheel; The Big Wheel (26-1/4"); Watercolor Wheel; Colorsaurus (for children); Create-A-Color Wheel (Black & White); Interior Design Wheel; Process Color Selector Wheel; Pocket Guide; Gray Scale and Value Finder; The Web Wheel; and CMY Primary Mixing Wheel/Primary Workbook.

Primary Colors -- Part 1
By Bev Harcus and Patricia Jaster

When you work with color, two of the most important things to learn are:

1. How to mix colors so that you can get exactly what you want.
2. How to control color values so that your pictures don't look too flat.

Primary means "first," and primary colors are therefore the first colors you need in order to mix a variety of other colors. Knowing your primary colors is the first step to achieving proper color mixing.

What are primary colors?

Color is actually a component of light. Light travels in waves, and these waves have different lengths and speeds. When the waves reach our visual receptors (our eyes), we experience the sensation of color. These wavelengths of light can be broken down into three (primary) categories:

1. The longer, slower wavelengths produce red light.
2. The shorter, quicker wavelengths produce blue light.
3. The middle range wavelengths produce green light.

An equal mixture of these wavelengths produces pure white light.

Red, green and blue are called the primary colors of light. These colors are used to project images in television screens, computer monitors, and anything that transmits light from a light source.

But, as artists, we are using pigments (paints, inks, dyes, etc.), not light. So what does light have to do with primary colors? Actually, everything! Colors of pigment are produced by reflecting and absorbing certain wavelengths of light.

Primary Colors of Pigment

A primary color of pigment is a color that reflects equal parts of any two of the (primary) colors of light (red, green and blue). (Diagram A, which can be viewed online at http://www.arttalk.com/color%20wheel%20tips%20page.htm illustrates the result of projecting red, green and blue lights onto a white surface in overlapping fashion.) Where any one light reaches the surface, it is reflected back from the surface. Where two lights overlap, they are both reflected from the surface, resulting in a mixture of those two colors. Here's how it works:

• Where red and blue lights overlap, they combine to produce magenta.
• Where blue and green lights overlap, they combine to produce cyan.
• Where green and red lights overlap, they combine to produce yellow.

And where all three lights overlap, they combine to produce white.

These three resulting colors--cyan, magenta and yellow--are the three primary colors of pigment. These are the purest colors and cannot be produced by mixing other pigment colors. Using these three colors, you can produce a vast number of other colors. When white or black are added to your colors, the range is even greater.

Look for "Primary Colors Part 2" in the next (October) issue of ARTtalk where you'll find a basic guide for mixing colors using cyan, magenta and yellow as well as creating tones, tints and shades.

To locate retailers who carry Color Wheel Co. products and find answers to Frequently Asked Questions,

The Art of Inlay

What can be done when you select a frame that has a very shallow amount of acceptance in the channel and it must hold the art, double mat, backing and glass? Consider using a simple, yet elegant method of double matting (or the look thereof) - inlay.

Materials needed for an inlay: two coordinated colors of mat board cut to the exact same size, a tabletop mat cutter, and a pencil.

To create an inlay mat, you will need a tabletop mat cutter or any mat cutter that has a base and rail system to aid in precise cutting. Trim the top mat and the bottom mat to the exact same size. There can be no difference in their dimensions. This is true because the outside shape and size of both mats will be used to create a single layer, two color mat; and in order to make the two elements meld, exact sizing is essential.

Step 1

Set the cutting rail/mat depth guide to the desired border widths for your top mat. Mark and cut the top mat. Reserve the fallout for another project. With the measurements set exactly in the same location, cut the bottom mat. The outer border, that piece that looks exactly like the top mat you cut first, will not be part of this project. What you need is the "fallout," the inside piece, the one that is cut away from the large 11" x 14" size. The outer border can be used to mat another art piece.

Step 2

Attach the fallout from the bottom mat into the window of the top mat. The fallout should fit into the opening of the top mat evenly and lie perfectly flat. Tape the fallout to the top mat on the back side. (Place the tape barely over the cut line so it will not interfere with the next step).

Step 3

Reset the depth guide to the finished mat width and then mark and cut the four sides of the pieced mat as though it were a solid sheet. The result will yield a narrow strip of "bottom mat" color firmly attached to the top mat color. The look is very close to that of a true double mat, but requires just half the space.

For impact and striking appeal, use this technique to create one-of-a-kind mats. These are easily done by carefully spattering paint, doodling, or perhaps sponging acrylic craft paints (metallics are especially striking) onto the outer edges of the bottom mat window just before you attach it in the opening of the top mat.

Consider the neat looks you can achieve with this easy and expressive mat cutting method. Your art and photos will never look the same again!

Explore This! is the Second Experimental Art Show sponsored by the Colored Pencil Society of America and will be held at the Court House Cultural Center in Stuart, FL, from Feb. 1 March 15. It is open to all artists 18years of age and over. Juror: Ruth Grim. Slide Deadline: October 1. Call 901.861.0225 or go to www.cpsa.org.

The Pastel Society of America's 30th Annual "Pastels Only" Exhibition will be held Sept. 8 29 at the National Arts Club, 15 Gramercy Park South, in New York City. An Art of Pastels Materials Fair will be held Sept. 21, and a free Critique Clinic and Weekend Demos by outstanding pastel artists are scheduled. For further info, call 212.533-6931. See www.pastelsocietyofamerica.org.

The 7th Annual Art Methods & Materials Show, sponsored by American Artist magazine, will be held October 11-13 at the Pasadena Conference Center in California. Participants may choose from 175 workshops, demos, and lectures taught by the nation's leading artists. The Show floor will include exhibits by over 80 art materials manufacturers, demo area, "experience" areas to try a wide variety of art materials, and the Painting Event where you can paint a square on the world's largest canvas! The AM&M Juried Exhibition is open to all artists. Works must be hand-delivered to the Center on Oct. 9 framed and ready to hang. For more information or to pre-register, go to www.artmethods.com. To receive information by mail, call 866-263-4463.

Monotypes and Monoprints

When an artist develops a flat unaltered printing surface and makes a single print, it is called a monotype. The image is created using two different methods. In the subtractive (sometimes called reductive) method, the surface of the plate is completely inked and then the image is wiped from the dark field. In the additive (sometimes called direct) method of making a monotype, the image is painted directly onto a light field with brushes, rollers, found objects and even fingertips.

Works that combine monotype with other printmaking methods are called monoprints. These prints might start with an intaglio print that is further enhanced with an unaltered plexi plate that is painted and then printed over the intaglio. Alternatively, the monotype might be printed first and then the intaglio laid over that base. Any methods in any number can be combined to create a monoprint, thus making it a very versatile and exhilarating means of print creation. Each work is unique, as there may be special textures and designs created spontaneously that are not repeatable. What more could a creative mind desire? Monotype offers nearly unlimited possibilities through the use of familiar materials and textures to create works that can become more and more integrated with design and expression.

To further explain the monotype/monoprint issue, the monotype is a painting that is created on a smooth plate (plexi, metal, glass and, in special cases, thin Mylar) and is then transferred to paper, cloth or another receptive surface. It is more likely to be done in series with alterations and enhancements made along the way. There is usually paint enough for only one dense, full-bodied print on the plate, but second prints are often pulled from the plate to create what are called ghost or echo prints. This second printing of the plate yields softer pastel tones that are achieved in no other way. Second printings (ghosts) can be used by most artists as the basis for monoprints, used with other forms of print embellishment or as a completed art piece without further additions.

One interesting element of monotype creation and one that is often questioned when artists begin to explore printmaking is the technique of painting on a plate and then printing the work on paper. But, after a very short period of exploration, it is clear that some of the effects achieved with monotype printing are not possible in other forms of art. It opens doors and affords options that make it a very involved and expressive media.

Some of the textures and surfaces created by pulling a print off the painted plate include a rich variety of vein-like "pulls." These pulls resemble textures of leather, stone and other low- profile textures that subtly complement the design and work to add depth and dimension to the art piece.

The materials used to create monotypes and monoprints include those usually found in every artist's paint box. Watercolor offers the option of translucency and the option of overlay to create depth and richness. Acrylic tends to be more opaque and, when applied thickly, creates textures that are diverse and compelling. Gouache tends to react between the opacity of acrylic and the translucency of watercolor and offers a more granular end result. Combining different water media is often helpful in achieving unusual textures and unexpected designs.

Oil paints and other solvent-based materials also do well in monotype creation when used on a glass plate. They have the added benefit of not drying prematurely. Acrylics and watercolor dry quickly, but oil has a wide window of activity. Experimentation with a variety of solvents and mediums is also possible with oil paint monotype. Different effects can be achieved by using alcohol or thick linseed oil in addition to the paints. A thick printmaking paper or smooth-surfaced watercolor paper is recommended for oil monotypes so that the medium has a ground into which it can meld. Of course there are oil-based printing inks that do a smashing job on monotype. They offer smooth, rich colors and yield predictable results.

As mentioned, acrylic and watercolor plate paintings often dry before they can be captured onto paper. This is not necessarily a bad thing. Many artists purposely allow drying to be a valued part of the process and use damp paper on a dry plate rather than dry paper on a wet plate. The end result is not the same, thereby offering yet another way to expand the application of monotype/monoprint. Here again, there are printing inks that are water-based. They perform and dry in much the same way as conventional acrylic paints, so working with them will be easy for those accustomed to acrylic work.

Remember, too, that you can employ techniques used in other artistic applications. Masks and stencils, for instance, are a valued part of many printmakers' "bag of tricks." Consider blocking out an area in your design so that you might come back later and add some detail without having to deal with paint or inks in that area. You can also include found object textures by placing them under a thin Mylar plate and rubbing over them to indicate their dimension.

For more information and guidance on printmaking materials, equipment, tips and techniques, visit the website for Graphic Chemical & Ink at www.graphicchemical.com.

Airbrushing Essentials

After you have selected an airbrush and air source, it is equally important to select accompanying accessories/equipment in order to have a successful airbrushing experience. Consider the following tips:

Air Regulator. This regulator controls the volume of air that flows to the airbrush. It is extremely important because the air produces the spray, and the regulator allows you to select different volumes of air in order to be able to produce various types of spray or to spray materials that have different air pressure requirements. The type of air source (compressor-diaphragm or piston, CO2 or nitrogen) determines the type of regulator that you will use. Most diaphragm compressors do not require a regulator because they produce a pre-set amount of air, and most piston-operated compressors come with regulators already attached. CO2 regulators are specific to CO2. They show you how much CO2 remains in the tank and another gauge shows how much is coming from the tank. Likewise, nitrogen regulators are specific to nitrogen, and they also show how much remains in the tank and how much is coming from it.

Moisture Trap. There are in-line moisture traps that are inserted into the hose of the airbrush, and there are moisture traps that are attached to the regulator. These capture the condensation that is developed from the air source and prevent it from mixing with the air that is sprayed onto the artwork. It is very important to keep moisture away from your work, particularly if you are painting with a water-soluble medium such as watercolor or gouache.

Air Hose. A variety of air hoses are available. All connect from the air source to the airbrush, so one end of the hose will have a standard ¬" thread that fits air compressors and air regulators, and the other end will have a nut that is particular to the specific brand of airbrush. Hoses are available braided, which are heavy duty; vinyl, which are much thinner but surprisingly durable; and coiled, which are handy in the studio because they are retractable and have less tendency to become tangled. These are available in various lengths. To prevent leakage of air, the nut threads can be covered with Thread Sealant Tape.

Quick Disconnect Connectors. These are handy for connecting the airbrush hose to the regulator or the hose to the airbrush, or anywhere that you connect an air hose to a piece of equipment. They allow you to almost instantly connect and disconnect a hose without unscrewing and replacement of Thread Sealant Tape when reattaching. So when going from airbrush to airbrush, you can quickly pop one off and connect the next.

Airbrush Holder. Holders are available in a variety of styles, with or without regulators or moisture traps, and normally hold two airbrushes--because most airbrushers use more than one. These are little vinyl-covered wire holders that the artist slips the airbrush into when not in use so it is out of the way in an upright position, which prevents paint spillage from the color cup. These are available from all airbrush manufacturers and are a MUST in the studio.

Lighting. Today, can anyone work only when the sun is shining? It is ideal to have north light and the luxury of an unlimited time schedule, but in reality you need lots of light and it most likely will be artificial. This can be provided by spotlights, fluorescent lights, halogen lights or tungsten lights (which are very bright but produce a lot of heat). Try to use daylight bulbs if available. There can never be too much light!

Airbrush artists work on everything from a wall to a sculpture stand and anything in between--drawing or drafting tables, workbenches, and the floor! It is highly recommended (although rarely achieved) that these surfaces be kept as clean as possible. Overspray from the airbrush can coat items lying around the work surface and is easily transferred to the artwork when reapplying a stencil or a straightedge that contains wet paint.

Unlike a paintbrush, the airbrush is a mechanical apparatus and must be properly hooked up to ensure a satisfactory experience.

For an ongoing conversation about airbrush techniques and experiences, visit and sign up for your FREE subscription to AirbrushTalk at www.airbrushtalk.com. Professionals/experts in the field share their knowledge and expertise in various airbrush disciplines in this bimonthly e-newsletter.

Recovery Funds Awarded--The New York Foundation for the Arts led a fund-raising effort to aid artist and cultural groups in New York City after the 9/11 terrorist attacks. Over 350 artists and 135 arts groups will share in the $4.6 million raised.

Visitor Center Planned--A new 24,000 square foot visitor's center and museum is scheduled for construction adjacent to Olana, once home to Hudson River School painter Frederic Church. It will house educational programs, gallery exhibits and storage of art, documents and furniture. Restoration of the house designed and built by Church is also planned.

Famine Memorial Dedicated--The new Irish Hunger Memorial was recently dedicated in Battery Park in Manhattan. Devoted to raising public awareness of the events that led to the Great Irish Famine and Migration of 1845-52, New York sculptor Brian Tolle recreated an Irish potato field on a slab of concrete. Included in the ¬ acre replication of an Irish hillside are potato furrows, stonewalls, indigenous grasses and wildflowers by landscape architect Gail Eileen Wittwer, and a donated ruined fieldstone cottage imported from County Mayo.

Museum Receives Major Gifts--Trustees of the Whitney Museum of American Art have jointly given 86 works of postwar American paintings, sculptures and prints to the museum. Including works by Johns, Lichtenstein, Newman, Pollock and others, the $200 million gift will be on display Oct. 24 to Jan. 26.

Milestones--Famed designer of kinetic sculpture George Rickey has died at the age of 95. He was one of only two 20C. artists who focused on movement in his works.--Dolores Olmedo, a model for Mexican painter Diego Rivera, has died at age 93. A patron of Rivera and his wife, painter Frida Kahlo, she converted part of her home at the edge of Mexico City into a museum that holds 137 works by Rivera and 35 by Kahlo.--Pop artist Larry Rivers has died at age 78 in Southampton, NY. Rivers was also an actor, sculptor, filmmaker, teacher and cartoonist.

9/11 Memorial Portraits Planned--The Portrait Memorial Foundation was established to secure the production, preservation and permanent display of a work of art consisting of portraits of the victims of the attacks of September 11, 2001. Artist Michael DiMinico, from Tampa, FL, will produce all the 9"x12" portraits in oil on linen. See www.portraitmemorialfoundation.org.

Exhibitions:

OK Harris Gallery, New York, NY -- Angels and Outlaws features a new series of paintings by New Jersey artist Robert Anderson. These new works are an extension of his vibrant style and combine images of the Old West with Hollywood cowboys, pin-ups and characters from pulp fiction covers of the 1940's. Opening Sept. 14 (Reception 3-5pm) through Oct. 19. Preview the show at www.robertandersonart.com.

San Francisco Museum of Modern Art, CA -- Ellsworth Kelly in San Francisco brings together for the first time 22 major works recently acquired from the artist's personal collection with paintings, sculptures, collages and drawings from private collections throughout the Bay Area. Through Jan. 5.

Parrish Art Museum, Southampton, NY -- The Stamp of Impulse: Abstract Expressionist Prints includes 100 prints by as many artists that provides a new and comprehensive survey of the diverse stylistic and technical experimentation that revolutionized American graphic arts at mid-century and features Jackson Pollock, Willem de Kooning, Nell Blaine and Louise Nevelson, among others. Also included are 15 paintings by artists who have or had homes on eastern Long Island, including Franz Kline, Lee Krasner, Louise Bourgeois, Cy Twombly, and more. Through Oct. 13.

Chesterwood, Stockbridge, MA -- Contemporary Sculpture at Chesterwood 2002 includes the work of 33 sculptors who have been chosen to participate in this annual juried exhibition. The sculptures have been fabricated in varying contemporary media and style. Through Oct. 14.

Los Angeles County Museum of Art, Los Angeles, CA -- Bartolome Esteban Murillo (1617-1682), Paintings from American Collections features 34 paintings that represent the stylistic development and thematic variety of Murillo's oeuvre and illustrate an important chapter in the history of taste and collecting in America. Through Oct. 6.

ARTtalk.com Gallery at the Square Box 900 • 18 East Main St. Beacon, NY 12508 Presents ARTtalk Workshops "Basic Airbrush Techniques" "Intermediate Airbrush Techniques" Saturday, November 2 Instructor: Robert Paschal, MFA www.arttalk.com/workshop/workshop.htm 845.831.4458

In Memoriam   Victims of 9/11/01

The Art Institute Online is looking for graphic designers interested in learning additional skills, or in getting their bachelor's or associate's degree in graphic design. Make yourself more marketable in the graphic design industry. Click here to find out more. (http://quinst.com/clk/kittedatoukumushiigyo)

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Copyright ARTtalk Vol. 12 No. 11 -- September 2002