News Blog

Visit this link for details: http://bit.ly/dcrYaB This offer is open to residents living in all countries we ship to. Deadline to enter is midnight October 14, 2010.

Do your homework:
Check out the gallery on their web site or even better in person, to see what kind of art they carry. If you paint impressionist, oil landscapes and they have a big selection of pop art, chances are good that you should move on to the next gallery on your list.

Make arrangements:
Gallery owners are busy people, and you should respect their time. Being interrupted by "cold calls" is a distraction and these well meaning interruptions could really mess up a day. Not a good way to start a relationship. If a gallery will not see you in person, ask if you can send a CD and bio package that may be more convenient for them. Be sure to direct them to your web page.

Presentation is everything:
Make sure your work is presented in a professional way. Use quality materials, the outcome can be subtle but make the world of difference. Make sure your work is well matted and/or framed. A gallery will not want to hang obviously flimsy or scratched frames, it reflects badly on them. Take the buyers perspective, when they purchase a piece of work they want it to stay in one piece and look good for a long time, so quality counts. If you can't afford frames, at least have works on paper well matted and paintings well wrapped to avoid wear and tear.

Be confident:
If you have self-doubt, leave it at home. Speak about your work with confidence and never apologize or point out mistakes or shortcomings. If a gallery agrees to show your work, they will look for a long-term relationship, of mutual benefit. They want to represent artists who truly want to be engaged in the business of making art. It's OK to be new to the gallery environment, everybody has to start somewhere, just don't speak about your work as though it were a pastime. Decide your prices ahead of time and don't waffle, but remain open for negotiation.

School of hard knocks:
Be prepared for "rejection". Not all art is for every gallery. Your timing may be off or the gallery owner is planning something else. In any case, try not to take it personally. Just because they can't or don't want to show your art, does not mean you or your work is a failure.

Stick to it.

Fireworks, staring up at night skies and too many sci-fi films have given me a deep love of stars and the interplay of light against a dark background

This may prove to be in the bizarre but when I want to go to sleep and I cannot, I require a little incentive to get me on my way into lala land. They say if you eat chocolate before you go to bed you end up experiencing gruesome nightmares. Well, what happens when a person lays down with a notebook and watches women lick each other in every which way possible... not necessarily focusing on the imagery but the sound. It is odd that I cannot stand the sound of my bird chirping or my dog licking his self but the sound of women licking is my favorite drug-puts me to sleep just like that. The thought has crossed my mind that I grow bored of such venues. I hope that is not the case because that would mean that I am hollow inside and that I cannot be coerced with passion or regret of performing unspeakable acts with bombshells. For the moment, I only dream of such acts. I'm a Gregorian. I just like to watch as Babylon is reborn. *In the photo is of course, yours truly and behind me is an oil painting of Jewel De'Nyle. It is half way complete and once it is finished, I shall be selling it for $500 plus shipping and handling. So, let the blood bath begin because I am sure a few people out there want to admire this painting day and night.

12×36 palette knife, oil on canvas www.alisonvernon.com

In today’s tutorial I’ll be using pastels to create a realistic portrait of a dog.

I like to use soft pastels for blocking in color, and hard pastels (combined with pastel pencils) for creating detail. Specifically, the pastels that I use are hard Conte pastels, soft Ashby pastels, and Derwent pastel pencils.

As far as paper goes, I like to use a paper called “velour” which has a velvet-like texture. This helps greatly in creating soft fur effects.

Here’s my source photo:

I began with a very basic drawing, and then started working on the eyes. The eyes are difficult in this case, as they are basically only black spheres, but I put a touch of blue in them to give colour variation.

Once the eyes are looking good, I block in the basic colors, very lightly, and gently smudge the colors with my finger to give a soft, blended look:

With the foundation in place I now pay attention to the nose. Once the nose is in place, I start adding solid color to the face, always moving the pastel in the direction the fur is growing.

It’s getting there, but it needs more work. I need to make the darks much deeper and I also need to add shadows to give depth.

The last step is to add some fine detail fur, including the long fur hanging from the tips of the ears, and to subdue the blue shadows a touch.

Here is the final portrait:

Of course, depending on your particular situation you may decide to add a background as well. For this piece, a simple centered portrait was all I wanted.

To see more of Ronnie’s step-by-step tutorials please visit RonnieTucker.co.uk.

Yesterday began the official day of my public showing. Sure, I know I've had my artwork hanging in virtual galleries across the land but now people can see my art for what it really is up close and personal. They can see all of the brush hairs that I never bothered to remove or pieces of crud that just happened to be in the paint at the time. Nothing is perfect and I don't strive to be perfect. And my art shouldn't really be looked at up close anyway. I don't need people dissecting my artwork with x-rays or chemicals to determine what I used to make it. I know there are flaws in it but that is what makes them so wonderful. There is something about a piece of art being too good that it is said to be made on a computer or something. Well, I saw something just like that at the gallery. The owner of the place said that the painting looks fake because there were no brush strokes like there were on mine. I told him that the other guy was planning on trying to sell some of his prints so perhaps that is what it is... a print. Honestly, I cannot stand prints or even Giclee for that matter. Prints and Giclee just cheapens the originals. And then there is that problem with keeping track of all of that extra stuff. World Famous knife painter Leonid Afremov is discovering that his paintings are being heisted and sold by other people as their own or some crappy knock up as his own. I told him time and time gain to cut the crap. One painting, "the original", is all you should have and nothing more. It is so much easier to keep track that way. Of course, that would mean that the two Giclee prints that I have are completely worthless. The letter of authenticity said they are both worth around $1500 in gallery, well, bull. I don't believe that. I believe the original is worth that much because I only paid less than $120 for the both of them and they were through his auction site. Anyway, moving on, I have returned to the paintings that I did when I first decided to begin painting once again and I notice how much they suck in comparison to what I am doing today. So, I decided that I would fix them up a bit and reshow them as something else with a different name and maybe a different frame or whatever. I think that is what pharmaceutical companies do with "new" drugs that have been on the shelves for years.

There are some very persuasive statistics and reasons to get out there and blog. The comment I get the most is "I have nothing to blog about." followed directly with "I don't have time to blog." The actual keyboard time involved in blogging is minimal, it's the subject matter we blank out on.

Imagine...you are exhibiting in a gallery or Art Show, what are the most FAQ from viewers? Inquiring minds really do what to know. It makes them feel like they know you or have an inside track on you and your work. Buyers are much more likely to purchase original art if it has a story attached to it. Every time you upload a new piece on your artid site, there is a button that says "blog about this art".

Here are 10 "Starter" tips to get any artist blogging...

1. "Where is that?" If it's a city or landscape write a paragraph about the location, the weather and why you were there.

2. "How long does it take you to complete a work?" Be honest, time spent does not equal quality in any line of work.

3. What kind of blah-di-blah do you use? Mention brand names you do or do not like and why. Write about a new material you are using or why you are sticking to the tried and true.

4. "Where do you get your ideas?" Well, where do you? What sparks your creative energy?

5. "Where did you study?" Once again be honest, did you go to art school, night classes, read books, hang out with other artists and watch?

6. "Do you ever get artists block?" Write about it and what you do to combat it.

7. "Do you teach classes?" Write about your students and classes or, the reasons you don't teach.

8. "My 3 year old could do this, why is it so expensive?" Write about how a 3 year old can't do it and how you price your art. You don't have to be defensive, just explain.

9. "Where else can I see your work?" Write about your show schedule and web site(s).

10. "Can people visit your studio?" This can be fun, write about where you create, on the kitchen table at night, in your giant custom built studio, a room of your own, or your lap... where you create can be as interesting as why you create.

These are a precious few subjects you can write about. A paragraph or two will suffice. You can write about your opinion, your process, your "aha moments", your cat, anything. It's up to you how much of your soul and/or personal information you want to share. Once you get going you will have plenty of ideas.

Blogging. It's good for you.

Hi friends,

There are various states of mind which we could find ourselves at any moment of our life. Yet, which is the one we can control and act upon in our reality? The past, present, future or dreaming?

In my opinion, the past and future are useful states of mind only when referred to as needed, not lived in. Dreaming (day or night) is another form of escaping this moment of reality, avoiding what's real.

With that said, I present this new painting to you. Title: Present, Past, Future or Dreaming
Size: 20'' x 24''
Medium: Acrylic on Stretched Canvas

I chose rubix cubes because I feel it represents how our minds are nearly always in flux while there are moments when things may feel connected either just because or something was achieved. The rods connecting the four cubes reflect that.

Have you tried solving a rubix cube, think you solved it when you see one side was solved only to turn it around to find that a color was out of place? Another area to be resolved. That is represented here by the colors on the front of the cube matching. In these various states on mind, we are achieving something or getting something out of it (to escape, pulling references to help with a situation, remembering what it is that we want to look forward to). In a way we are rationalizing that train of thought and perhaps not recognizing that the nothing can be acted on in these other states, but at least the colors match from what I'm allowing myself to see.

Now what's the deal the the scrambled brains? Well I asked earlier in this post, which state of mind is the one we can control and act upon in our reality? I hope your answer was the present, this is where your brain, your mind, is in a state to be of most use or at its near full potential. Could it reach that in any other state of mind? The other images are then representing the mind in its non-actionable state. Whatever was sought after in the part, escaped from in dreaming or looking forward to in the future aren't useful if you are not either immersed, aware, or enjoying the present.

An example would be riding the train. What's going through your head? Thinking about where you are coming from, where you are going, what you are going to do when you get there, daydreaming, etc. What does any of all that though have to do with the present? Are you able to be present and just enjoy the ride?

~Michelle Hunter

Contact info! My personal website: http://hunterart.com
My blog: http://hunterart.blogspot.com
Hunterart Line: 646-504-5034
Twitter: Artcoholic
GTalk: mkh9781 or uniqueh
Aim: uniqueh9781

Jose Acosta visits Boston Museum of Fine Arts

On Saturday August 28, 2010 I had the great pleasure of visiting Massachusetts to deliver my painting "Hudson Valley Landscape" to its new owner. While in the area I decided to visit Boston as I had never been to Boston before. I visited the Boston Museum of Fine Arts and found the collection to be remarkable and most memorable. I enjoyed the Art section the most with Modern Art and the Impressionists paintings being my favorites. I enjoyed seeing paintings by Max Beckman, George Rouault, Matisse, Gauguin and other great artists that I admire. My favorite painting was "Ravine" by Van Gogh. The Boston Museum of Fine Arts is a must see if you are ever in the Boston area and I am glad I was able to spend most of the day viewing the fantastic collection of art that is available. I seen lots of renovations and other work going on so hopefully I will be able to see even more art when I visit again (hopefully soon). Congratulations to everyone from Boston on your beautiful Boston Museum of Fine Arts.

Cuban American Artist, Jose Acosta

I have just delivered 15 new prairie landscapes to my gallery in Winnipeg, Canada. They are all for sale and I am excited with my new palette. Moody and evocative of the vast Canadian prairie, they are painted unconventionally without brushes using a mix of acrylic and sprays and water.

The gallery is Woodlands Gallery. Contact the owner Jenny Tasker Delury for details at 204 947 0700 (Canada)

In today’s video tutorial, you’ll see how easy it is for acrylic painter Hugh Greer to quickly test out his ideas mid-painting, without the risk of ruining everything he’s done so far if his idea doesn’t pan out.

You can do the same thing. . . and as you’ll see in the video, all it takes is a clear sheet of plastic. Take a look:

NOTE: You can get Hugh Greer’s full DVD tutorial at Creative Catalyst.

A sly devil known only as Dr. Heske played a trick on his classroom one day. Audibles and visuals are like the forest creature Pan-full of trickery and deceit. He told his class to watch him closely and to do as he said. Okay, I'll bite because I was in his class as well. He said, "Take your right index finger and touch your right ear." While he was saying, he did so and we were supposed to mimic him. Then he said, "Take your left index finger and touch your left eye." While he was saying, he did so and we were supposed to mimic him. He then said, "Take your right index finger and touch your right ear." While he was saying, he did so and we were supposed to mimic him. But, something was different this time. Half of the students in the class touched their right ear while the other half touched their lip. This happened because half of the class was listening to him and the other half was watching him. I brought this to your attention because I have been working on painting for a good week or two now and it was somebody to be of a certain person who I was first thinking about at the time. But now, I notice it is no longer that person. What the hell? Needless to say, don't be thinking about food when you are painting trees otherwise those butterflies sucking nectar are actually going to be cheeseburgers dripping with ketchup. Photo: Andhema_by_yayashin

Really enjoyed the coruscating color in this Cezanne at MoMA today. Love the maroon walls in the cafe: like a quiet Bauhaus hug. Enjoyed the way Les Demoiselles and Matisse's goldfish give the picture frame a run for its money. Want to see Miles's show at the Half Gallery and visit the Clocktower Gallery.

It's easy to get overlooked among the millions of other artists and their work on the Internet. Search Engines like Google work with words, not pictures, so describing your work accurately will give you an edge.

1. Describe your work as though there were no picture with it: If someone is searching for a "horizontal oil painting+yellow roses+vase and your description is "a recent painting of my garden" then the search engines have nothing to match.

Example: Ellen Sullivan Farley described her gorgeous painting of lilies this way:
"These are beautiful Casablanca Lilies that I grow in my garden. I love the gestural lines in these flowers and the interesting negative shapes generated between them."

Here is a more Search Engine friendly version with keywords pointed out in italic:
Original oil painting of three white lilies with red stamen, set against a background of bright green foliage and dark green shadows. Softly lit blossoms are close up and detailed filling the image area. 3" gilded wood frame, ready to hang. (then add) "These are beautiful Casablanca Lilies that I grow in my garden. I love the gestural lines in these flowers and the interesting negative shapes generated between them."
(You don't need to put keywords in italic on your site.)

2. Describe colors: Especially if the work is abstract. Be specific about whether colors are bold, soft, muted or bright and the overall palette. Mention if it is night or day, a season or any other mood indicators.

3. Specify materials as much as possible: canvas, paper, board, oil, watercolor, ceramic, digital, found objects, metal, stone. These are also commonly used search terms.

4. Specify the format: Vertical, horizontal, free standing, 3D, wearable etc.

5. Describe the subject: If the title is Summer Day, it is even more important to specify and describe the main subject. The more information you provide using key words about any piece will not only get it found faster but will engage the buyer to stay longer in your studio.

The categories and subject choices in your edit menu on ArtId are widely used search terms designed to aid in the search, not to pigeon hole your work, so choose something as close as possible. However if there is a category or subject missing, let us know so we can add it to the list.

This is an Acrylic Heavy Textured Video. I call it a "Cross and a Crown" It is very colorful. hope you take a look at it. Millie

How often do you, your friends, wives or girlfriends purchase bath and body products such as body butter, perfume, cologne and lotions?

I would say the Majority!

Out of the majority how many of you buy products that help to sustain the work of self representing artists?

I would say the Minority!

I have been working on a range of bath and body products that will help self representing artists as well as offer customers a beautiful range of products that do NOT contain parabens or other harsh chemicals that is often found in mass produced beauty products.

Scent By Faeries is to be a small business that will offer perfumes,lotions,scrubs and more as the business grows. The Art of many emerging self representing artists will be printed on the labels of these products.
Initially my art will be on the products, but as the business grows I will be able to offer exciting licensing opportunities for emerging self representing fantasy artists.

Currently i have just finished the testing stage of my first range of products: Perfume Oils
Body Butter
Goats Milk Lotion

I have been testing these for almost 3 months, on myself and friends/family NOT tested on Animals
NOT tested on Faeries either ;)

The response has been amazing as I have had orders already!

to contribute to this project: http://www.indiegogo.com/The-Beauty-of-Art

Those who contribute to the funding will be gifted with fantastic products including open edition and Limited edition prints, original art, gift packs plus a lot more!

Please help me to dispel the Starving Artist myth.

Monday in Video Tutorials - If you’re an acrylic painter, don’t miss tomorrow’s video by Hugh Greer. He’ll be demonstrating a great technique for testing out ideas mid-painting, using clear plastic Mylar.

Tuesday in Drawing Tips - Charcoal artist Ronnie Tucker has graciously provided a second step-by-step tutorial for us that I’ll be posting on Tuesday. This time, however, it’s on how to use pastels to create a realistic animal portrait.

Wednesday in Featured Artists - Drop in for some amazingly detailed drawings by Stefan Bleekrode, an artist whose passion for architecture can be clearly seen in each of his intricate (and completely imaginary) cityscapes.

Thursday in Art Marketing Tips - Finishing out the week early, Alyice Edrich will be sharing an excellent article on how to use social networks to promote your art blog.

Last week’s articles on EmptyEasel:

VIDEO: How to Create Simple Background Texture for Collages or Paintings

Drawing a Charcoal Portrait From Start to Finish - The Easy Way

Tim Nyberg: Jazzy Acrylic Paintings

Combining Art and Outreach: An Interview with Pastor David Weiss

Introducing a New Foliotwist: Coming Fall of 2010

Is there something you’d like to share on EE? Send it in!

EmptyEasel is proud to publish reader-submitted articles nearly every week. Please submit your own article here or learn why you might want to.

"Soul-Connections" ... that's what happens when we do art. Have just posted a new blog about Soul-Connections at www.soulistry.com Thank you for visiting and sharing a comment.

As everyone goes through life and the folks around them go through life, there are times when a person sometimes, no matter how hard they try, just feel like they are left out of everything around them. A couple of the dreams that I've had have had this as a focal point. With the economy the way it is and with unemployment the way it is, sometimes we just don't seem to have time for our good ole friends like we should. I know I am guilty of this from time to time and I know there a lot other people that are guilty of this as well. However, there is not really any blame assigned to any particular person or thing.
We as people carry on and get through it. Pull ourselves up by our bootstraps and get on with our lives.