The Business Of Art

Promote Your Artwork!

Many artists do not consider self-promotion a part of their career; but it has been proven that without vigilance, no artist will become hugely successful. The time involved does erode the creative time that artists want to devote to their work, but it may be more important than you think.  Promotion is the one sure way you get out there in front of the people who buy art and support artists.

Since hiring an agent is out of the question for most artists, there are a few important yet quick things that you can do to get started.  Begin by writing a list of goals for the next 12 months, then the next 3 years, and then 5 years.  Group them in urgent, important and non-urgent/important columns.  Review the list frequently and alter as needed, especially when an urgent item is accomplished.  This might include an increased exposure of your work, making a greater portion of your living using your creative skills, accessing more or better opportunities, perhaps teaching or lecturing on your specialty or seeking commissions.  Less urgent (though still important) might include studio improvements such as painting your studio front door.

Explore new and different venues for exhibits and approach them for a booking.  Investigate art/cultural associations and centers in your area and consider membership.  Many hold annual member exhibitions, and this is a good way to expose/promote your artwork as well as network with other artists.  Outdoor art shows abound from spring through fall and participation can result in new contacts/leads as well as sales.

A huge goal might be to attract a large number of viewers to an exhibit of your paintings, which would obviously increase your chances for sales.  Always carry a small packet of information about yourself, to include a resume, a few photos or slides of your work, recent exhibits and all contact information.  Be prepared to leave this packet with a gallery owner or curator with no expectation of its return.  In the long run it is fairly inexpensive and might net you a solo exhibit but will definitely start a relationship that is worth the time and money.  No artist can have too many contacts.

Delve into the idea of finding your “perfect client type” and go for that group with gusto.  It might include direct contact, calling or mailing brochures and cards about the different exhibits you hold.  The best way to get that group list started is to create a client list of everyone you know who might be interested in seeing your work.  This should include previous customers, new clients, new acquaintances and friends.  One never knows who might buy or know someone who is in the market for your particular type or style of artwork.

Electronic promotion has become an essential venue for artists, as it opens up exposure worldwide.  Explore the Internet and find sights that offer low or no-cost online exhibits of your work.  There are dozens of opportunities and you are bound to find one that fits your style and budget.

Whether you work alone or in groups, a Web site can have long-reaching results.  With an ever-changing exhibit of new works and information, you can build a large audience that will result in more potential clients seeing your work.  And you can exchange hyperlinks with other sites for the benefit of all. (Visit arttalk.com for a FREE hyperlink to your Web site at http://www.arttalk.com/freeartists.htm.  You will also see a “Featured Artist Web Links” page that requires a fee for listing.) It may be time to “Web up” and add the electronic advantage to your self promotion!

Art Competitions & Workshops

—Photography – Photographer’s Forum Magazine presents the 28^th Annual Spring Photography Contest sponsored by Canon.  Cash grants totaling $4,000 plus two Canon cameras will be awarded.  Winning photos will be published in the November issue of Photographer’s Forum magazine and all contest finalists will be published in the Best of Photography Annual 2008.  See entry form/info at www.PFMagazine.com.  Deadline:  May 12.

—200 Varied Workshops and Art Materials Exhibition – The second annual Learning & Product Expo:  ART! will be held at the Hickory Ridge Marriott and Conference Center, Lisle, IL, from July 11-13, with classes beginning July 10.  At this unique experience for artists you can visit two exhibition halls packed with art material manufacturers and choose from 200 art classes in every medium and technique imaginable—from acrylic to watercolor.  Artists 18 and over are eligible to enter the Juried Art Show, with a deadline of June 6.  For more information and to register, visit www.learningproductexpo.com.

—Oil/Acrylic – The National Oil & Acrylic Painters’ Society presents the 18^th Annual Fine Art Competition and Exhibition, The Best of America! 2008, at the Dunnegan Gallery of Art, Bolivar, MO, from Sept. 28 – Oct. 19.  The competition is open to all living artists 18 years and older who create original works of art utilizing oil or acrylic media. Awards, including $5,000 Best of Show, and more.  www.noaps.org.  573.348.1764. Deadline:  July 18.

—Various Workshops - The Women’s Studio Workshop Summer Arts Institute 2008 offers a truly hands-on experience—either at the studios in Rosendale, NY, or their Italian workshop site in Tuscany.  Choose from printmaking, hand papermaking, book arts, photography and ceramics.  www.wsworkshop.org.  845.658.9133.

Clay

The Ceramist’s Studio

One of the greatest joys of a creative clay artisan is the opportunity to set up a working studio.  There are so many directions you can go with your materials and equipment, but for sure there are some things you must have.  Additional items can be acquired as needed, but the basics will allow you to hit the road running.  Once you have the fundamental pieces of equipment you will be good to go.

Many consider the kiln you select of greatest importance and it’s suggested that you buy this before your potter’s wheel.  Kilns come in every size from small test kilns to huge car kilns that can accommodate huge quantities of work.  Somewhere in between is where the most interest lies.  This is also the most comprehensive group from which to choose.  Electric and gas fired kilns are available and each is very useful.  Research and then decide on your preferences and needs. Your choices are pretty wide.

One “rule” is to always buy the largest kiln you can afford.  Even if you think you will always work small, making miniatures, jewelry or small figurines, buy bigger than you think you will need.  That way when the almost inevitable happens and you want to do larger work, you’ll be ready to do so.  And, initially, you’ll be able to fire large quantities of work at any time you want.

Wheel-thrown pottery is a joy but there is a learning curve that can be rather substantial.  But, after you learn how to center the clay and create symmetrical ware, you will be able to create lots of work quickly.  Conversely, hand building is therapeutic, calming and very rewarding.  Once you learn to throw pots, you can create a personal style, but with hand building, you do it almost automatically.  Every touch of fingers to clay is a personal statement and can be a creative addition.  So, whether you use the potter’s wheel or hand build, you can make very desirable pottery to sell and be treasured by buyers.

Selecting your clay, glazes and all the additional materials used in the creation of pottery can be daunting.  One suggestion is to locate a local potter who might share insights with you as to sources, qualities, costs and performances of different clays.  Or perhaps she would lend you some samples to try.  That way you have a working potter’s opinion and guidance to start.  But you might want to explore all the options on your own.  In that case, find a good source of different clays and try them until you find those clays that work best for the items you create.

The glazes you use are very personal choices.  The combination of colors, the way the chemicals react with one another and the methods of application make glazing a sort of science of its own.  But pre-made glazes such as those sold by American Art Clay Co. (AMACO) are great for beginning clay artisans.  They are creamy smooth, dependable, repeatable and easy to work with.  Their consistency and ease of application make them a wonderful choice until you feel secure enough to formulate your own glazes.

Application of these glazes is best achieved with good quality, swab-shaped, bushy-tipped brushes.  Those that can be charged with lots of heavy fluid are the best.  FM Brush Company (www.fmbrush.com) makes several types of brushes that would be very useful in the ceramist’s studio, including a family of camel hair brushes that work well.  Super quality artist’s brushes are best used for fine detail work and do not have the industrial strength for long-term clay studio work.  But if you clean and store brushes properly, they will work well in glaze application and last a respectable length of time.

Hand modeling tools come in a huge selection of shapes and configurations.  Select the tools that work best for the work you do, trying to collect a good number so you’ll be ready for any situation.  These tools are not expensive and many can be made from materials around the home.  Trimming and reducing tools are perhaps the most important because they aid in shaping and fine-tuning the clay.  Check out the basic tools at any art material dealer and you’ll find just what you need.

Work surfaces such as canvas covered boards are very helpful in the studio.  They allow the movement of damp ware, the transport of dry ware for kiln stacking and are great to do hand work on.

Lots of miscellaneous tools are helpful:  sponges, mops, clay bins for scraps, tubs for re-saturating old clay, etc.  As you work in clay, you’ll find easy solutions to the challenges presented and have great fun doing so.

Do try clay as a new medium.  It is one of the most free-form and self-expressive art forms around. And be sure to visit the American Art Clay Company’s Web site at http://www.amaco.com/.  You’ll find kilns, potter’s wheels, ceramic clays, glazes and underglazes and tools as well as lesson plans, technique sheets, and Power Point presentations—a wealth of information at a click of your mouse.

The Artist’s Marketplace

—New Strathmore Inkjet Iron-On Transfer Sheets

With Strathmore’s new Inkjet Iron-On Transfer Sheets, artists and crafters can express themselves on fabric without the limitations of traditional transfer sheets.  Draw or paint directly on the sheets using many different media such as markers, crayons, oil pastels, watercolor and soft watercolor pencils, or use an inkjet printer.  These can be used on cotton, synthetic materials, poly-cotton blends, linen, canvas and denim, and the transfer withstands multiple washing cycles with no special wash instructions.  The transferred image stretches with fabric and feels soft; it’s not stiff or shiny and will not crack or separate from fabric.  These sheets are great for sophisticated crafters and artists and are perfect for creative kids’ projects as well.  Five sheets per pack measure 8.5” x 11.”  www.strathmoreartist.com.

—Fabriano BLOCCHI per ARTISTI from Savoir-Faire

Fabriano BLOCCHI per ARTISTI has always distinguished the Fabriano Trademark.  Unmistakable thanks to its refined cover, it is excellent for all wet pictorial techniques.  It has a cold press surface, is mould-made of 50% cotton, acid-free, of 140 lb. weight with internal/external sizing and comes in Traditional White.  The block is glued on all four sides to prevent the paper from warping when wet.  Ideal for watercolor, tempera and acrylic, BLOCCHI per ARTISTI from Savoir-Faire is available in 5”x7”, 9”x12” and 12”x18” blocks.  www.savoirfaire.com.

—New Pigma Sepia Pen Set and Gelly Roll Metallic Ink Pen Formulation from Sakura

Sakura of America’s new Pigma Sepia Set was created in response to consistent customer requests for sepia-colored ink in a variety of line types.  Sepia is a color preference of artists because it gives a warm tone to sketched images.  The four-piece set includes Brush (for bold shapes and broad washes of color), Micron 01 and 05 (for fine lines that allow for exquisite detail) and Graphic 1MM (for heavier lines).

While Gelly Roll Metallic ink pens had a unique sheen, Sakura’s research lab had a quest to create an ink that had the reflective qualities of real gold.  Researchers discovered a new raw material ingredient and reformulated the Metallic ink with an intricate balance of ingredients for optimal color and brilliant shine.  The new Gelly Roll Metallic is available in individual pens, packs of 3, 5, or 10 colors and a 16-piece collection. www.sakuraofamerica.com.

See participating retailers for all the above unique products!

Art Materials

Working with Mask and Film Products

There are many ways that knowledge of working with masks and film products is useful to the artist.  When you want to be completely sure no overspray, flicking, splattering or other application technique diminishes the white areas in your painting, masks of some type are paramount.  If you use vivid paints and wish to insure no color migration, masks will be very useful.  When working with airbrush, a lightweight, low-tack film that prevents overspray is indispensable.  And there are many other applications in which masks and films can help, too.

When you start to investigate masks you find that there are a number of liquid masks manufactured.  Liquid mask is very much like liquid rubber or rubber cement.  You brush it on, allow it to dry, work over the area, allow the paint to dry, and then rub the mask away.  Rubbing against the dry mask rolls the rubber-like material into small knots that can be easily removed.  Little or no residue remains so the artist can work over the previously masked areas with little difficulty.  Use an old brush to apply the liquid and clean it well after application with soap and water. If the fluid dries in a good brush, it is ruined.

Liquid masks do not perform well on lightweight papers but can be used on medium weight to heavyweight papers easily.  Some artists use liquid mask on canvas.  The liquid does tend to penetrate the fibers of the sized canvas and is harder to remove, but it is possible to do.  However, for canvas work, it might be easier to use a tacky-backed film.

Film products come in several forms.  Rolls are the most frequently used because they are economical—you use only the amount you need for any given project.  Several widths are available but the adhesion is similar on all.  The grip is strong enough to hold while working, yet releases with gentle pulling.  Just be sure to use the film on completely dry paper/canvas.  To insure the best control, light rubbing along the cut edges will hold the film in place while painting.  And, as long as the tacky side doesn’t fold against itself, it can be reused.  Very intricate designs can be cut from the film and then gently pressed into place on paper or canvas.  Cutting can be done with any sharp cutting tool such as a stencil knife or X-Acto knife.

Clay artisans can use both types of resist as well as a liquid wax product made especially for ceramic work.  The film, either basic or stretch film, can be used over the surface to control color placement and design intricacy.  A bit of practice and any clay artist can create unique combinations and layering just by the resist offered by mask or film products.

Special flexible materials are available for glass artisans, too.  The masks are used in sandblasting and resist deterioration over long use.  They are actually rubber-like sheets that are sticky-backed.  Many glass artists use this to create intricate/delicate etching designs on their glass items.  Wholesale dealers should be able to assist any glass artist who needs this special product.

If you have not already discovered the usefulness of masks or films, consider trying both. They can save you lots of disappointment and grief and they are fun to use.

An ultimate resource for artist’s masking mediums is Artool Products Company, which makes films that are applicable to many projects:  ARTmask, FrisketFilm, HobbyMask and STRETCHmask.  Contact your art material dealer to see the full line of Artool products and liquid masks as well; and visit www.artoolproducts.com.

Art Events

—Atlanta, GA – High Museum – Celebrate Mom at the High for Mother’s Day on Sunday, May 11, 12 to 5 p.m.  Treat your mother to a special day she’ll never forget by viewing extraordinary antiquities from the Louvre Museum in Paris, including those owned by Empress Josephine.  Also see special gift selections in the Museum Shop and more.  Buy one adult ticket and get one free; free for members.

—Napa, CA – COPIA – The Artisan Wine, Food and Art Festival will be held May 10 and 11 from 12 to 4 p.m.  Boutique wine and food producers come together with top Bay Area artists for a festive spring weekend.  From handcrafted wines to hand-blown glass, you won’t want to miss this celebration of all things artisan.  Admission.  www.copia.org/artisan.  707.259.1600 or 888.512.6742.

Airbrush

Hand-Cut Stencils

Stencils can be used in several ways in airbrush technique.  A non-self-adhering handheld stencil can be moved around the surface of artwork to develop specific edges and designs where desired.  Self-adhering stencils either come with adhesive already applied or the artist applies adhesive to them for application to the work surface.  One stencil can be moved around to create designs and images, while the other type remains stationary.

Handmade stencils can be made from an assortment of materials.  The simplest to deal with is paper, which is easy to cut.  Thicker paper makes sturdy stencils, but thin paper results in stencils that are translucent so that you can see a line drawing.  However, thin paper is affected by moisture of the paint and air pressure from the airbrush.  When air hits the work surface, a thin stencil may flutter and allow paint to seep underneath.

Stencil board and oil board are traditional types of thick, water-resistant paper used to make stencils.  They are ideal for multiple images, since they hold up well to moisture and are somewhat waterproof.

Acetate is a stencil material that you can see through as clearly as glass, and 5-mil thick acetate is well suited for airbrush stencils.  The edge is not so thick that it blocks spray and not so thin that it flutters from air pressure.  When cutting a stencil from this material, do not cut completely through.  Just score the surface with a stencil knife, bend the material and the shape will pop out.  Five-mil acetate is a commonly utilized material for hand-cut airbrush stencils.

Mylar can also be used as a stencil material, but it is much more difficult to cut than acetate.  However, for multiple uses, it is more durable.

To cut stencils, a sharp knife is required, usually a #11 X-acto blade or equivalent.  This can be a fixed or a swivel knife, but most importantly it must be a sharp knife, and blades must be changed often.

Stencils are used with a variety of paints—artist acrylic, watercolor, gouache, lacquer, enamel, urethane, sign paint, inks and dyes, plus more.  When using oil/solvent-based automotive paints, be sure that the stencil material is solvent-proof.

When you have the time or inclination, making your own stencils allows you to be creative and original.

ArtPourri

Laureate Named – Jean Nouvel of Paris, France, has been chosen as the 2008 Laureate of the Pritzker Architecture Prize.  Known as architecture’s highest honor, the formal ceremony will be held on June 2 at the Library of Congress, at which time a $100,000 grant and a bronze medallion will be bestowed upon the 62-year-old architect.

Process Moves Forward – The Boston Redevelopment Authority has voted unanimously to approve the Isabella Stewart Gardner Museum’s restoration and expansion plans.  This includes a new building designed by Pritzker Prize-winning architect Renzo Piano.

Spiral Jetty Update – The Dia Art Foundation has met with Utah state officials to discuss the long-term preservation of Robert Smithson’s Spiral Jetty.  It was decided to pursue the creation of a buffer zone around the sculpture that will help protect the artwork for future generations and fit within the lake’s mixed-use resource plan.

Art Crimes List Updated – The FBI has added two masterpieces stolen in Zurich on February 10 to their Top Ten Art Crimes list. Now included are Count Lepic and His Daughters, oil on canvas, by Edgar Degas; and Boy in the Red Vest, oil on canvas, by Paul Cezanne.

Exhibitions

Washington, D.C. – National Gallery of Art – In the Forest of Fontainebleau:  Painters and Photographers from Corot to Monet includes some 100 paintings, pastels and photos made in the forest from the 1820’s through the 1870’s.   Through June 8.

New York, NY – The Metropolitan Museum of Art – Jeff Koons on the Roof features several of the artist’s meticulously crafted works, including a new piece conceived for this roof garden, which offers a spectacular view of Central Park and the Manhattan skyline.  Through Oct. 26.

Pittsburgh, PA – Carnegie Museum of Art – Life on Mars, the 2008 Carnegie International, will include works by 40 emerging and established artists from 17 countries.  Opens May 3 through Jan. 11, 2009.

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Copyright ARTtalk Vol. 18 No. 7 — May 2008