Emptyeasel

As soon as you have about a month’s worth of posts published on your art blog, it’s time to start promoting it. And one of the easiest, and cheapest, forms of blog marketing is to jump on the social networking bandwagon.

Social networking is essentially a group of individuals who are connected to one another through a common interest. They meet up to discuss their likes and dislikes about a particular subject, they share insight into achieving certain goals, they lift up others, and as a byproduct, they promote their unique set of skills and/or businesses.

In today’s society there are two types of social networking: offline (face-to-face) networking and online networking. For the purpose of this article, we’re going to stick to online social networking.

Below are 6 simple steps for socializing online using social networks.

Step 1. Use your blog as your home base

When you sign up for social networking sites, always enter your blog URL as your website, not your online portfolio, slideshow, or gallery page.

By doing this, you make sure that the people you’ve met on your social networks immediately get the latest updates, the most current artwork, the most current schedule, etc.

Step 2. Create a landing page for each social network

Even better, don’t just direct social networking visitors to your blog’s homepage. . . send them to a specific “landing page” on your blog that you’ve created just for them.

Not only will creating a landing page make it easier to track your online marketing efforts (with Google Analytics) but if done correctly, you’ll reinforce the relationship you’ve started on that social network and give even more incentive for checking out your products and/or services.

To help you get a better idea of how landing pages work, check out these Twitter related landing pages from various bloggers around the web, myself included:

The ArtBizCoach (Alyson Stanfield)

ProBlogger (Darren Rowse)

The Dabbling Mum (me)

Crow Information Design (Charlene Kingston)

Step 3. Fill out your profile

Social networking sites, like Ning.com and Facebook.com give you ample room to sell yourself. Use the space provided wisely, and include a headshot of yourself or, at the very least, a logo of your company.

And of course, fill out every field. . . tell your followers, and visitors, who you are, what type of art you create, and what type of services you offer. Let them know where to find you outside of the social networking site and where they can buy your art.

Step 4. Be genuine

Your goal for networking online should be to build genuine relationships, not to make a hard sale. If you sound like an advertisement every time you open your mouth or type a few lines, you will alienate everyone on that social networking site—and quite possibly, get banned.

Take the time to make real connections by commenting on the posts of others, asking questions, acknowledging answers to those questions, and sharing advice that shows others your expertise.

Step 5. Don’t ignore your followers

Believe it or not, social networking is not “all about you.” The beauty of social networking is that it is not one-sided, it’s interactive. So interact with your followers—not just those you choose to follow.

Step 6. Balance your posts

Yes, it is okay to mix business with pleasure, just do it carefully. The beauty of social networking is the ability to get to know the person behind the brand, the person behind the art, the person behind the business.

So go ahead, tell your followers a funny story that happened while standing in line at the grocery store, tell them what you did on your vacation, or share a praise about your husband getting a promotion. Just don’t tell them what you are eating for dinner unless you’re asking for a recipe.

At the same time, share recent blog posts, tell your followers when you’ve been featured on another site, distribute links to cool information and/or videos you’ve found online, and throw in an announcement about an up-and-coming art workshop, an original piece of art you have for sale, or some other press worthy news.

Naturally, there will always be self-promotion within social networking. . . but when in doubt, remember to look out for others’ interests as much as your own and I guarantee you’ll do just fine.

As a child I would spend hours drawing fanciful floor plans and landscapes, then try to imagine myself having adventures within them. What a delight to find fellow artist, Stefan Bleekrode who still creates these imaginary worlds with ink and watercolor.

Since the age of ten, Stefan has been an avid artist, drawing imaginary cities with pen and ink. Eight years ago Stefan added the element of watercolor to his urban environments. Currently living in Europe, he travels the world constantly searching for new subjects to fill his detailed landscapes.

After a visit to Paris at a young age, Stefan became obsessed with the city’s complex details. Looking for a way to express this fascination he began drawing bird’s eye views of the architecture, streetscapes, and bustling people.

Though he is inspired by many cities, most of his drawings are not replicas, but instead are truly unique cities conjured up in Stefan’s head. He’ll often describe a drawing, like the one above, as “Somewhere in Paris,” to keep it elusive.

I am absolutely amazed by the detail of Stefan’s drawings. The years he has spent perfecting his perspective skills have obviously paid off. I find myself mesmerized by the implied life seen in his imaginary cities. . . they’re so realistic that it seems inconceivable that they’re NOT real.

Interestingly, for many years Stefan fought the use of paint, until a trip to Rome changed his mind. Now he finishes some pieces in watercolors, using the dry brush method (applying paint to a dry surface).

And even though this final piece was not painted while looking at any specific place, his skill has created an environment that you’d swear was taken from life.

If you have a moment today, I would encourage you to visit Stefan’s website to experience more of his amazing artwork. . . and to simply let your mind wander down the streets of his complex, imaginary cities.

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:

Let’s get started

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.

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.

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.

Today I’m going to be talking about Foliotwist.com, my other website for artists. For those of you who aren’t interested, no worries, just skip this post. :)

Earlier this year in April, on the one-year anniversary of Foliotwist.com, my business partner and I sent a survey to over 100 Foliotwist artists and asked for feedback.

It wasn’t a standard survey with little bubbles to fill in—instead, there were 10 questions that each required a full answer.

Naturally, the feedback we got was fascinatingly varied. For example, when we asked what we could do to improve foliotwist, nearly every artist responded with a different idea—if not more than one! That was great, because it gave us a long list of suggestions to chip away at.

But there was one question which got the same response from nearly everybody. When we asked what the most difficult or “frustrating” thing about selling art online was, the majority of responders said:

Getting more visitors—traffic—to their websites.

No other response was anywhere NEAR as close. . . it was like a sign from the heavens, and it was just what we needed.

You see, we’d sent out that survey because we were looking for the next big thing to work on. And there it was, plain as day. What our artists wanted—and what we needed to give them—was MORE TRAFFIC.

Yes, there were also a lot of individual requests for new features, but it was clear those had to take second place. The majority had spoken. The only question we had, was, “How are we going to do it?”

And that’s when it got really interesting. :)

While we were brainstorming ideas, Zac (that’s my business partner) and I came up with a real humdinger. It was the kind of idea that makes you scratch your head and ask, “Waitaminute. . . is that even realistically possible?”

In fact, this idea was so far out in left field that we couldn’t get it out of our heads. And the more it nagged at us, the more we wanted to figure out a way to make it work.

So for the last few months, that’s what we’ve been doing: making it work.

And now it’s ready. Well, almost. Our current Foliotwist artists will have access to the new Foliotwist in September of 2010. We’ll fix any last minute bugs as they test it out, and then have a grand re-launching this Fall, probably in October.

If you’re getting a sinking feeling that I’m not going to tell you exactly what this new idea IS, or how we’re changing Foliotwist, you’re right. :) I’m sorry; I’ve just got to keep some secrets for the re-launch.

But at the very least, I DID want you to know that something big is coming soon, and once we get closer to October I promise I’ll tell you exactly what it is that we’ve built.

So until then, if you have any questions about Foliotwist (that I can answer) please don’t hesitate to contact me. I promise I’ll do my best to get back to you as quickly as possible.

David Weiss created his first piece of art at the age of three, when he drew Tippy the Turtle from an art school’s newspaper advertisement. But despite that early inclination, it wasn’t until 1986 that he became a professional artist.

Now he holds three jobs. . . he is a graphic designer and pastor by day, and a painter by night.

In this interview, David shows us how to balance our personal beliefs with our love of creating art .

Alyice: What prompted you to start creating the type of art you create today?

David: That’s a long story but I’ll try to make it short. In the beginning of my career I was obsessed with becoming a famous artist, to the point that everything else was suffering.

I realized art had become an idol in my life, so I made one of the most painful decisions I have ever made. I quit creating art. I laid it down and told God that I would only pick it up again if I was creating it for Him.

About that time I received a call to ministry. As I began working with the youth in my church, I realized I needed a way to make my teaching stick, but wasn’t sure what it was.

Then one night, at vacation Bible School, I heard a verse from 1 Peter 4:10 which reads, “Each one should use whatever gifts he has received to serve others,” and everything clicked. All of the sudden I had all these ideas rolling through my head, all these ways to use art in ministry and A.M.O.K. was born.

Alyice: What does A.M.O.K. stand for?

David: It stands for Arts Ministry Outreach for the Kingdom. From the first days of A.M.O.K., the idea was to create a group for artists of all disciplines. It would be a community of artists that would gather to do exhibitions and performances in the local community; exhibitions and performances that would share the Gospel of God with the audience.

Alyice: Aside from using your art to teach the gospel of God, what does your art ministry do?

David: Through the ministry I create art videos for YouTube with a Gospel message attached. I host workshops and seminars to show people in the church how to find and use their God-given gifts. And I create a video blog and newsletter for artists who want to use their artistic gifts to serve others.

I am also a firm believer in going beyond the walls of the church and using what I have to help and serve those outside the church. One of the main manifestations of this so far has been my work with a local community theater, Alpha Omega Players, where I do all kinds of design work.

I paint nearly every week in the church that I pastor. It’s really fun and challenging to try to come up with a piece I can fully finish in 20 minutes or less. Strangely enough it has really stretched me artistically.

Alyice: I read on your blog that one of the things your ministry does is challenge Christian artists to find ways to create art that is not overtly Christian? Can you tell us more about your philosophy on this?

David: First let me say I’m not opposed to doing overtly Christian work and I do a lot of it. I always try to follow the Spirit and encourage all the artists I work with to do the same. That being said, when I work in public I try to do images that are not overtly Christian because I want the work to make people ask questions and inspire conversation.

I find that I really don’t do a lot of art for art’s sake anymore. The motivation for what I do is to draw people a little closer to God. If an image of Jesus is going to be a barrier to conversation with someone who does not yet believe, I’d just as soon do a less threatening image that gives me the opportunity to share what Jesus has done for me; the Jesus who loved me enough to meet me right where I was in the midst of all my mess.

As Eric Samuel Timm says, “I’m trying to repaint Jesus. I don’t want them to see an image that reminds them of some high and mighty religious person who turned them off.” I want them to see Him as He is and a lot of times that works best in a conversation.

Alyice: Aside from your art ministry, you’re also a full-time illustrator and a designer for a non-profit organization, and a freelancer. How do you make sure that your love of sharing the gospel doesn’t interfere with the needs of your employer or the needs of your freelance clients?

David: I basically try to remember that at this point my job finances my ministry, not to mention the needs of my family. When I am there I need to be faithful there. Whether it’s freelance or as an employee, I need to meet the client’s needs.

Alyice: When working with a new client, how do you make sure you’re on the right track?

David: Because of the busyness of my life, I don’t spend a lot of time pursuing new clients. The ones I do work with, however, are already familiar with what I do.

Once I get a new client, I talk about their needs, work up some sketches, and create really simple mockups to make sure I am headed in the right direction. Once I get the okay, we go from there. It is better to have the piece changed in the planning stages than redoing a completed piece of work.

Alyice: What is your process like once you get the okay to begin work on a design?

David: I’ll give you two examples. Right now I am working on the stage set for my denomination’s District Conference. The conference moderator approached me with the theme for the year. The theme is “The Saving Gospel and the Serving Gospel, Perfect Together.”

The first step in this case was to come up with the conference logo. As we discussed the theme, I got this idea of two roads coming together and forming a highway. He liked the idea and so the logo began.

From there I got the idea of road signs. These road signs became the set. As each person gives their report, one of the road signs will be stripped away until a new image is revealed. I made an image of Christ out of the road signs, revealing the ultimate truth. When the saving Gospel and the Serving Gospel work together, they reveal Jesus.

So that the planning committee would really get the concept, I built a scaled-down model. Once the committee sees the model, we can go from there.

Similarly, I am about to set out on a new project designing a set for a production of Disney’s The Jungle Book Kids. At this point the director and I are kicking around set ideas, and soon I will bring my sketchbook in with some sketches. He’ll look at them, and fine-tune the sketches; probably bringing me back to budgetary reality, and then we will begin the design stage.

For this project, I not only have to come up with something I can do, but something my team of volunteers can do. I will have a team of volunteers who will be helping me carry out the plans so I have to be more detailed so they can look at the plans and see clearly what needs to be done.

Alyice: How do you know when a design is done and ready to show a client?

David: With much of what I’ve been doing lately the client has been seeing it all along. As far as when I know it’s done, it’s done when I start to tweak it too much. There comes a point in every design where doing anything else is just going to wreck it. I try to put it away and not look at it again at a certain point before I begin to nitpick.

Alyice: Are there any tools you feel a designer should not be without?

David: This really depends on the designer. I personally would be lost without my iMac and scanner. I use it for everything from coloring cartoons to editing my videos. I set type with it, make letter stencils, scale my designs, do all my research, etc. It is also the tool I use to broadcast all my stuff to the world. I am so thankful to live in this age. Of course I know not everyone can afford one of these, but I can’t imagine doing what I do without it.

On a much simpler note, every artist should have a sketchbook. I used to have sketches flying all over the house and was never able to find them when I was looking for them. Now, I fill two or three 100 page books a year and it’s been great. I always have one with me, and I have a shelf in my studio where they all sit, waiting to be called upon again.

Alyice: Can you tell us what makes a great design?

David: A great design tells a great story. It can stand alone, without words, and everyone will get what it’s saying. So many people want their art to be mysterious and deep. We artists whine and cry about always being misunderstood and yet we take pride in creating work that’s hard to understand.

Maybe it’s because so much of what I have done is about message, but that’s just not where it is for me. I want people to look at my work and get it. I don’t want them to have to spend a lot of time wondering what I am trying to say, unless my intent is to be right there to explain it.

Alyice: Any last minute word of advice for our readers?

David: If I could add one thing to all the artists that might read this, it would be this: Be there. Don’t get so caught up in your work that you miss out on all the great things God has given you.

We artists tend to be visionaries and that’s great except for the fact that we spend so much time looking forward that we spend very little time looking around.

I am an artist and I love what I do, but I also love my family and my church and my God. I need to spend time with everyone I love or art will leave its rightful place in my life and become an idol. Be careful and do all you do to the glory of God.

To learn more about David Weiss and his work, please visit AMOKarts.com

It has always intrigued me how artists are inspired in various ways. Midwest artist, Tim Nyberg, draws his inspiration from live jazz—and it shows in every aspect of his striking acrylic paintings.

Tim’s artistic journey goes back more than thirty years, starting with his work in illustration and graphic design. Then in 2005 he moved to a Wisconsin tourist town and began exploring writing, painting, and even entertaining.

Tim usually paints a “series” of images including beverages, trees, abstracts or seascapes. Though he sells the originals, these series are also intended to be reproduced as posters, prints or greeting cards.

Every Saturday during the tourist season Tim hosts an event called “Art and Music Jam.” These showcase his exploration of art through music. Guest musicians, often accomplished jazz players, play their initial notes while Tim stands in front of an empty canvas, eyes closed. . . then paint flies.

The shapes and colors evolve from what he hears in the music. As Tim puts it, “a low tenor sax with rich warm tones may translate to a violet color and the bright sound of a cymbal may bring about a yellow or off-white”.

Working quickly, Tim often uses more than just brushes and paint. He’ll occasionally scrape the canvas with a small piece of wood, or use the opposite end of the brush to write in the paint.

“Bistro Beverages” is Tim’s most recent painting series. It is a beautiful set of images that will be marketed to a retail clientele in the form of greeting cards, poster prints and canvas reproductions. Subjects such as coffee, tea, wine, beer and mixed drinks are all included in the series.

Though these are not painted to music, they still feel jazzy. I can just imagine them hanging in a bistro while sipping on a cocktail.

I invite you all to visit Tim’s website to experience more of his jazz-filled acrylic paintings, especially his current series, Bistro Beverages.

Please note: the artwork featured in today’s article is @ Tim Nyberg / g42art.com.

In this tutorial I’m going to show you the quickest and easiest way to create a nice moody black and white portrait with charcoal.

I’ll be using a source image from http://www.historicalstockphotos.com which has some really nice (and free to use!) black and white photos.

Here are my tools of the trade

- Battery powered eraser (optional)

- Tortillon (a paper stick used for smudging—make your own tortillons here)

- Charcoal pencil (or you could use a charcoal stick)

- Kneadable eraser.

If you’ve got those or something similar, you can follow right along.

Now let’s get started!

First, apply some charcoal dust to the center of the paper. I just scrape a stick of charcoal over sandpaper, which puts charcoal dust on the page.

Now, take a paper towel and gently rub the charcoal dust into the paper. In small circles, start from the middle of the page and work outwards, almost in a spiral shape. By the time you reach the edges of the page you should be running out of charcoal dust and fading out.

Now it’s time to sketch. Make sure you do the sketch in very light pencil. Don’t put too much work into the sketch, as you’ll soon be covering it with charcoal.

At this point, some people start with the darks, but I prefer the lights. I take my kneadable eraser (sometimes called a putty eraser) and begin removing charcoal dust to reveal the highlights of my sketch. Start with the brightest, whitest areas and then move on to the light grays.

Once the highlights are visible, I go for the darker tones. These are the sections that are darker than mid-tone, but not quite dark black. For this I use the side of the pencil and put in some charcoal marks.

Then, using my finger, I blend the new charcoal which effectively adds another layer and further darkens that section. Many people say not to use your greasy finger to smudge charcoal but I ignore those people. If you’re concerned about grease on the paper you can always rub with paper towel instead.

So now that we have the highlights and mid-tones, it’s time to add the darkest parts. This mainly involves scribbling charcoal, slightly darker this time, in the required places, but here I use the tortillon to smudge the black.

Why not my finger? Because now I’m having to work a bit more carefully on the eyeball and around the eye. The tortillon lets me be more exact and use the charcoal on the tortillon to create details.

It is important to remember the tortillon retains some of the charcoal you’re rubbing, so be careful when applying it to lighter areas. You might contaminate them!

Once my darks are dark enough for me, I’m done! I’ve purposely paid attention to the face and not put much detail in the hair, beard or hands, I’m only interested in the face in this particular portrait. I used the battery powered eraser to get sharp highlights on the bridge of the nose, in the eyes, and on the forehead wrinkles.

Does my portrait look exactly like the source photo? No, and I don’t want it to. This is my representation of the original photo. Remember, you don’t need to make an exact copy of the source, that’s what photocopies are for!

To learn more about Ronnie or to read his blog, visit RonnieTucker.co.uk.

There are a lot of ways to add texture to a painting or collage, but today’s video is probably the simplest, easiest explanation I’ve seen in a while.

Claudine Hellmuth uses very few materials and ends up with a nice texture that is both flexible (so you can use it in book-like applications) and visually appealing. Watch until the very end for a couple tips on value and composition as well:

You can find Claudine’s full tutorial on collage and texture at Creative Catalyst.

Monday in Video Tutorials - The video that I’ll be posting tomorrow is probably the clearest, most concise demonstration of how to create easy texture that I’ve ever seen. Do stop by to watch if you’re looking for a simple way to add textured backgrounds to paintings, collages, or. . . anything, really!

Tuesday in Drawing Tips - Ronnie Tucker will be sharing how he uses charcoal to create realistic black and white portraits. (I especially like how he starts off with a medium value background.) More on that, Tuesday.

Wednesday in Featured Artists - Make sure to drop by on Wednesday to see some very cool, jazz-inspired acrylic paintings by Tim Nyberg. And as always, if you’d like your own artwork to be featured on EE, let us know!

Thursday in Artist Interviews - Art can be more than just a career or hobby. . . it can be a calling, too. Don’t miss this Thursday’s interview with painter, designer, and pastor, David Weiss.

Friday in Selling Art Online - It’s been several months since I posted an update about Foliotwist, my other website for artists, so on Friday I think I’ll do that. I’m actually working on a BIG new feature for Foliotwist right now, which I can only hint at for the time being. . . but I’ll pass along what I can at the end of the week. :)

Last week’s articles on EmptyEasel:

VIDEO: Balancing Water and Pigment while Painting Wet Into Wet

Learning How to Describe your Art: A Must Read for “Self-Taught” Artists

Myles Murphy: Perfecting an Oil Painting

How To Be A Safe Art Blogger

A Brief Introduction to Glass Mosaic Art

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.

Glass mosaic art has been practiced for thousands of years, going back to Ancient Egypt, where it was initially used in palaces and tombs. The Egyptians were the first to discover the versatility of glass, later learning to use it not only to decorate their jewelry, but also to adorn their ships. In time, glass mosaic art became a flourishing industry; it spanned the centuries and is still widely practiced today.

Creating glass mosaic art is easier than it appears to be. A few supplies are needed: glass of various colors, a design or pattern, glass cutter, hammer, pliers, safety goggles, tile snips, clear silicone glue, and tile grout or cement. These items are easy to find, and the whole assortment will probably cost you less than $50.

Designs: You can free-hand your own patterns, purchase them from hobby stores, or download them for free on many websites. Concepts for patterns are limitless, from geometric and floral designs to abstract art.

Glass: While many specialty stores and websites sell glass for mosaics, it is not necessary to buy new glass or specific glass. All forms of glass are useful, including the old glass dishes in your cupboard or those found in thrift stores or yard sales.

Tools: Although different types of glass cutters are available in specialty stores, this tool, as well as the other supplies, can be purchased from a hardware store.

Simple Project: A kitchen backsplash!

There are many simple, glass mosaic project ideas for beginners. A popular one is the kitchen backsplash, an easy and inexpensive project that will personalize your kitchen and give it a modern look. It will also showcase your talent!

The first step is to take the exact measurements of the backsplash area to cover. Then, buy backer board and cut it according to the measurements, taking note of the electrical outlets. Check to ensure that your backer board fits precisely into the area before gluing the glass to it, as it will be adhered to the wall when it is finished.

To accurately cut the glass into the desired shapes, an oil glass cutter and metal ruler are the favored tools to ensure precision. You may want to practice by cutting old plates before starting on your glass mosaic art piece.

When all your glass pieces are ready, lay the pre-cut backer board on the floor and arrange them on the board, according to your pattern. Do not forget to leave space between each piece for the grout. Once all the pieces are in place, begin gluing each one to the board. Apply enough glue to cover the entire back of the piece, but not so much that it comes out the sides when you press down on the glass. When the task is done, leave your glass mosaic art to dry for 24 hours.

Now you can spread the grout over it, allowing it to set for about 10 minutes before removing the excess off with a cloth. Allow the grout to dry thoroughly before applying the finished piece directly to the wall. Sit back and admire your glass mosaic art!

Next Project: A table top!

Another easy glass mosaic art project is a table top; whether it is displayed indoors or outdoors, it will surely become the main topic of conversation. The method is similar to that of the kitchen back splash, except that the top of the table is used as the backer board. Choose any table you wish to embellish, clean its surface well, and glue the glass pieces directly to the top. Thereafter, follow the instructions given for the backsplash.

Glass mosaic art can be created on various distinct surfaces: wood, cement, tile, plaster, linoleum, pottery, and even glass. Common projects include tabletops, ornate sidewalks, vases, and a variety of wall décor. A glass mosaic project is an artistic creation and, like all other forms, should be the product of the artist’s imagination.

As simple as the process may be, wear safety goggles at all times when working with glass, cutting tools and chemicals. Furthermore, have a first aid kit handy in case of accidents. Remember the basics of safety and enjoy your hobby!

Donovan Gauvreau is an art historian and art therapy speaker. You can read more of his articles at www.AaronArtPrints.org.

As you grow an online presence for your art business through your blog, it can be easy to fall into a false sense of security. Don’t forget that strangers still read your blog and that cyber-criminals scan the web for information they can use to steal your identity, or cause harm to your family.

Below are 8 tips for making sure that you stay safe while blogging.

1. Avoid lawsuits

Whenever you post information about another person or company, it’s important to remember that what you say can hurt you. Libel and slander lawsuits exist as much on the web as they do in real life, so choose your words wisely.

If you must say something negative about a person and/or company, choose to speak in general terms without naming names or giving detailed specifics. Always stick to the facts; don’t allow your personal feelings to obscure the truth.

2. Don’t share confidential information

Whether it’s the personal life of a close friend, or the inner workings of company you’ve partnered with, make sure you get the okay to share information that would otherwise be deemed private and/or confidential.

3. Keep some things private

Once you get in the habit of sharing more than just your art, it can be easy to forget that some things should remain private. Before you post anything of a personal nature, ask a close friend or spouse to do a read through.

4. Don’t suggest your readers do something illegal

Copyright laws exist for a reason. Don’t suggest that your readers make copies of someone else’s work (photographs or art) to use in their own artwork without going through the proper channels. Instead, encourage your readers to take their own photographs or use royalty free images and/or clipart.

5. Follow FTC disclosure regulations

If you receive monetary compensation for something you wrote about, fess up. If you were given a sample of a product to test and it was used in your tutorial, let your readers know.

All it takes is a statement at the end of your post to avoid trouble with the Federal Trade Commission. To learn more about FTC disclosure statements, take a look at their website.

A sample disclaimer could be something as simple as: FTC Disclosure—The reviewer received a complimentary copy of the DVD. Another example: The craft thread used in this tutorial was provided, free of charge, by Company Name.

6. Only post your business contact information

Avoid sharing your home address or phone number online. If you work out of your home, get a post office box. If you can’t afford a separate business line, consider using an affordable toll free number. (Kall8.com offers toll free numbers for as low as 6.9 cents per minute and $2 per month.)

7. Don’t announce when you’re home will be empty

Sure you want your readers to know when you’ll be teaching a workshop and where your next art exhibit will be, but don’t announce when your entire family will be vacationing away from home. Instead, share your vacation stories when you return from your vacation. That way, there’s no chance of an unlawful entry while you’re away.

8. Don’t share the layout of your home

As an artist it is only natural to want to share how your art expands beyond your sculptures and paintings into your personal space. It’s okay to share that artwork, but do so with your personal safety in mind.

If possible, section off part of the home with your artwork and avoid photographing priceless heirlooms as you showcase the art. There’s no reason to give potential robbers easy access to your home.

Myles Murphy was born and raised in Ireland, and now lives in Indiana. He spent twenty years in the field of engineering before refocusing his life towards painting, drawing and raku pottery in the 1980’s.

Recently, Myles has expanded his repertoire to include oil and watercolor painting, oftentimes en plein air. Besides his lovely paintings, what I enjoy most about Myles is his willingness to share his learning processes.

He uses his blog as a platform for sharing his struggles, experiments, and successes. After so many years of painting he confesses: “I am striving to establish an identity as an artist, but I still struggle to find that elusive unique identity that all artists strive for.”

Just from reading through his blog, I know that Myles isn’t afraid to go back to the basics to make sure his paintings are the best they can be. He often does value studies beforehand, and analyzes his works in progress to make sure he’s correctly translating what he sees to the canvas.

In this next painting, Myles experimented with the background and finally chose the one you see, with floating clouds, rippling waves, and movement of hair. Though the focus is on the children and dog, he wanted the background to also have character and “atmosphere” rather than a simple pebble beach.

This last painting posed a color challenge to Myles. As he was planning it out, he discovered that the closeness in color between the sand and girl’s skin would be a problem. After some changes, the colors ended up perfect, and the final image is quite endearing. It illustrates how important it is to think about composition, color choices, texture and focal point if you want a great finished product.

I encourage you to visit Myles’ website and blog to learn more about his painting process. While you’re there, take in all the captivating images tweaked over and over again by his discerning eye.

So, you’re a visual artist. . . but for some reason you seem to have a hard time expressing verbally what your art is all about.

Perhaps this is just because you haven’t had the opportunity get a formal education in the arts. Or maybe you’re just not used to talking about what you’re creating.

Whatever the reason, when someone comments that your paintings remind them of Picasso’s work, you’re probably flattered, but not totally sure why the comparison was made. Or, perhaps a potential customer remarks that your work seems “cubist” and you wonder if that’s really a compliment.

If any of that sounds familiar, I would challenge you to learn about some of the artists and art movements of the past. This will not only give you more knowledge about who you are as an artist, but also how to discuss your art in the future.

Here’s how I would suggest you go about it:

Step 1: Research one or more art movements

Start by looking up several art movements online, or elsewhere. Be sure to read good definitions of these genres and try to grasp what they’re all about. Take note of the key artists, who they are, who they were, who pioneered the movements, and how their work fits into that era.

Step 2: Create artwork in the style of that movement

Next, choose a style you find particularly intriguing. Then, pick a subject and approach it in that style, as though you were an artist of that particular movement. After you have completed the painting, or even during the project, see if you can articulate how and why your appreciation for this genre has grown.

Step 3: Compare your artwork

Try to compare your work to the work of those artists who put it on the map. These thoughts can be extremely helpful in describing the creative process of your work and could be included in your Artist Statement.

Step 4: Continue your education

If you feel the experience was worthwhile, keep going. Choose another art movement and repeat the process. Keep exploring and discovering new styles you love.

Whatever style you choose to work in, you are training yourself to approach your subject with the awareness and focus necessary to express what your art is, and what you are intending to accomplish. You’ll also have a perspective on how your style of artistic expression relates to what others have done in the past.

In the end, when you tell someone you’re a “self-taught artist”, you can do so with the confidence that you’ve taught yourself well!

Like every other painting medium, watercolors have their own set of quirks that you’ll have to learn if you’re going to successfully control them. One of those quirks in particular is the tendency for pigment to spread into other sections of your paper than you originally planned on. This is especially problematic while painting wet-in-wet.

Take a look at the video below to see how Mark Mehaffey deals with this problem:

NOTE: You can get Mark’s full watercolor tutorial at Creative Catalyst.

Monday in Video Tutorials - Tomorrow, watch as watercolor painter Mark Mehaffey demonstrates how important it is to control the amount of water and pigment on your brush when painting wet-into-wet.

Tuesday in General Art Advice - Ever wish you were more knowledgeable about different styles of art, so you could more accurately describe your own? Well there’s a solution for that—come back on Tuesday to learn what it is.

Wednesday in Featured Artists - Drop in mid-week to see some beautifully crafted paintings by oil and watercolor artist, Myles Murphy. And while you’re here, feel free to submit your own art to be featured as well.

Thursday in Art Marketing Tips - Alyice Edrich will share some tips for being a safer art blogger, both in what you write and in the images you decide to post online. Whether you’re a new blogger or an old hand, I’d recommend reading this article.

Friday in Art Movements - Donovan Gauvreau has prepared a brief history and overview of glass mosaic art for the end of the week. He’ll also include some information on the tools required, and some fairly easy project ideas.

Last week’s articles on EmptyEasel:

VIDEO: How to Evaluate an Unfinished Painting. . . And then Improve It.

A (Quick) Note about EmptyEasel’s Advertising Policies

Mark McCullen: A Small Perspective on Oil Paintings

An Interview With Vicki O’Dell

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Vicki O’Dell has been featured on various television shows, including DIY, HGTV, and PBS. She considers herself “an experimenter, an explorer, and a mad scientist of creativity”. . . and her art is pretty unique, too!

As a child Vicki could entertain herself for hours with just a pencil and paper in hand. Today, she spends hours being entertained by life itself. It is her life, and the life of other artists, that influences her artwork and allows her to reach outside her comfort zone to turn ordinary finds into extraordinary works of art.

Alyice: One of the areas I love most on your blog is the “Thrifting” Thursdays. How did this come about? And have you always been a thrifty shopper?

Vicki: I’ve always loved going to flea markets, estate sales, tag sales and thrift stores. I started as a little girl going out and about with my mother. I enjoy digging through things, getting my hands dirty, smelling the old musty smells, and the excitement of a good find. I love to look at a vintage item and make up stories about who owned it, where they wore it/used it, and how it ended up where it is.

When I started my blog I didn’t have a clear idea about what I wanted to write about or what I wanted it to be. I just knew I wanted to start a blog-to start writing somewhere other than in my journal.

One day while I was digging around my computer files for inspiration, I came across a huge file of photos I had taken of my “thrifting” finds and realized I had enough photos to keep me posting “regular” thrift spots every week, for a few weeks. And so the blog began.

Sometimes I’ll just post a photo of what I found that day. Other times, I’ll do a whole blog post about something I found a few weeks ago and what I did to change it-to create art out of it.

Alyice: When you visit thrift stores in search of objects that can be transformed into works of art, what do you look for?

Vicki: Really I don’t look for anything in particular. The things find me. I know that sounds silly, but I’ll illustrate with a story.

I found a miniature vintage greenhouse at a favorite spot not too long ago. I walked by it several times but I didn’t buy it. The metal was rusty and the Plexiglas was very yellowed. It needed lots of TLC. I went home with a few other little goodies but not the greenhouse.

That was really silly because I had told myself for ages that if I saw one, it would be mine. I had seen one on a television show and loved it. I didn’t love what the owner did with it, but I loved the little building and I knew I could do something I would really like if I had one. Oh, the possibilities! But then I left without it. D’oh!

I thought about that greenhouse for two days until I could get back to the shop. I went in and I looked and looked but I couldn’t find MY greenhouse. I even asked the owner if she had seen it but she didn’t know what greenhouse I was talking about.

THEN two weeks later I went back to that shop because it’s one of my favorite places. (It’s all dingy and dirty and it has rooms off of rooms that ramble on forever. It’s one of those places you can wander around in and get lost in your day dreams.)

I walked around a corner and saw it—MY greenhouse. I couldn’t believe my eyes! I snatched it up, headed straight for the cash register, paid for it, and went straight home. It waited for me to return!

I have cleaned it up some and replaced the Plexiglas but that’s as far as I’ve gotten, for now. I have three competing ideas for it and until I settle on one, it will sit. When my ideas have simmered long enough and a concrete plan bubbles to the top, I’ll act on it. Not until then.

Who knows, there may be a piece out there waiting for me that needs to be a part of that project. It just hasn’t found me yet.

Alyice: Aside from creating art out of thrift store finds, you also spend a lot of time “green crafting”. Can you explain how “green crafting” may differ from “thrifty crafting”?

Vicki: Gosh, I haven’t thought about that one! One difference that comes to mind is that green crafting can be harder on the wallet. These days you can purchase lots of “green” art supplies and more are becoming available every day. That’s all well and good for our planet but not so much for my budget.

“Green” products generally have a higher sticker price that the regular standbys. Thrifty Crafting on the other hand tends to be more budget friendly. I can get a whole shopping cart full of goodies for less than $20 at one of my favorite stops. That’s quite a bit of craft material!

Other than buying products that are labeled “GREEN”, I tend to think of them as being similar. Both Green and Thrifty crafting keep peoples’ cast offs from being heaped in a landfill. Thrifting IS green.

Alyice: So being a green crafter is really about reusing, repurposing, and upcycling items so they don’t end up in the city dump. Can you explain what effect green crafting has on our society?

Vicki: Green crafting has been around for AGES. Every elderly person I know who has lived through The Great Depression is a green crafter. My sons’ fraternal grandmother makes a Christmas sleigh every year from the Thanksgiving turkey carcass which totally cracks me up. She also makes Easter bunnies from milk jugs and crochets kitchen rugs from plastic bags.

One thing I’ve noticed more recently, however, is that I’m starting to see three piles of garbage on the curb in my town; recycling, trash for the dump and another pile of FREE things sometimes with a sign and sometimes just set apart from the regular trash.

The free pile is for things people don’t want but they think someone driving by might like. It’s like homeowners are inviting thrifters to stop by and take what they want.

There are also groups popping up here and there that collect refuse from interior designers, industries, and dumpsters. They’ll pile everything into a room on a given day and open the space to local creatives who drop by and browse the offerings, then take home what they think they can use.

I think that green crafting lets us do more with less. It lets us live larger and we can feel good about it because it also serves a higher purpose! I call it “Affordable Lux”.

Anyone who knows me or follows me online knows that I’m a “more is more” kind of decorator. I love layers! I can have layers of rugs or curtains in my home if I’m only paying a few dollars for them. I can have candles on every surface if I’m paying 25 cents for the candle holders and I can set a fantastic table for a party or holiday for next to nothing. All things I love doing but could never afford to do if it weren’t for thrifting.

Alyice: Do you have any tips when it comes to repurposing thrift store finds or repurposing items you already possess?

Vicki: Sometimes it’s hard to make that first move. To take the lace off grandma’s wedding dress for a mixed media piece or to whack the head off an old knick knack for a sculpture. It’s hard because we attach meaning to many of the things we have in our possession.

Either we have fond memories of how we acquired it or who it came from. But really, are you going to keep it in a drawer forever? Who gets to enjoy it then? No one; not even you.

If you put that memento into a work of art that you can put on display, maybe with several other mementos attached, then LOTS of people will enjoy it. And your memories of that little bit or bob will still be with you.

Alyice: Your zebra squirrels are an unconventional take on what is perceived to be normal, yet they don’t seem out of place on your blog, or in your home.

Any tips for helping artists follow their muse and feel confident in their decisions to create what they create without falling into the trap of worrying about what others perceive to be “true” or “acceptable” art?

Vicki: Ha ha! Thanks, I think. Like lots of creative kids, I took art classes in High School. In one of my classes there was a boy who had lots of what the art teacher considered talent and skill. That teacher let it be known that he thought Steve was a real gem - an honest to goodness artist.

That same teacher often criticized my work. He said I didn’t have much skill or talent because I did things my own way, not how he thought they should be done.

Personally, I thought Steve’s work lacked originality and imagination but who was I to criticize? This was the art teacher talking. He must know what he’s talking about, right?

Needless to say, I didn’t take art classes in college and it took a long, long time for me to start being creative again. It was there, it was always in my head, but I didn’t let it out through my hands.

Now and again, I would write a short story but I never shared the stories and I very rarely made any other kind of “art”. I suffered because I believed that teacher. I thought I lacked what it took to be a “real” artist.

Sometimes I think art school can ruin people. They are taught that only this one way is true or acceptable, only this one thing is ART. That leaves a lot of beauty out, a lot of paintings that don’t see the light of day, and a lot of people walking around feeling sad and depressed. They won’t let that beauty out because they feel like they aren’t REAL artists.

It took a lot of life (divorce, death, remarriage, many moves, trauma, happiness and love) to help me get rid of the stuff that art teacher put in my head. It also took a lot of stubbornness on my own part to finally get where I am now. Now, I say the heck with it, have fun!

The entire time I was painting my squirrels, I laughed. When I took photos of them I actually laughed out loud there in my back yard. My kids were around and I didn’t care if they thought I was weird. I had FUN! Then I made up a silly little story about the squirrel family on my blog and posted the pictures I took and I laughed some more.

It made me silly happy. I had fun!

Alyice: Who, or what, has been your biggest influence?

Vicki: Life is a pretty big influence. Look around. See the colors, smell the smells. Hurt. Cry. Laugh a whole lot. Look inside. Who are you? What do you like? Who do you want to be?

We are all influenced by what we see and hear, an ounce here and quart there. This person, that grief, insecurities, family, travel, and love all influence us. Take it all in, keep what you like, what feels right, and let the rest go.

Try things, don’t take yourself too seriously and learn from your mistakes. Be your own influence!

Alyice: Before you go, are there any “green crafting” products you can recommend to our readers and why?

Vicki: My favorite “green” crafting product is bees wax. Bees wax smells divine when it’s heating up. My whole studio smells wonderful when I heat bees wax!

It can make a humdrum collage look dreamy and soft and it’s great for attaching media to a piece. It can be made to look smooth or left lumpy and bumpy. I can scratch into it and add color to the scratches or build up layers and layers adding a bit of this or that adding depth and richness to a piece. Beeswax is divine!

And if you really want to amuse yourself listen to Persephone’s Bees while heating up beeswax. You can’t help but be happy!

To learn more about Vicki and her work, stop by her website at VickiODell.com

Some artists boast about how they were born to create and have never lived without a paintbrush or pencil in hand. Mark McCullen, however, didn’t discover his talents and love of art until later in life.

In fact, it wasn’t until his mid-twenties when he enrolled in a sculpture class that he realized he should learn how to draw before moving further. Mark quit his job, enrolled in the Pennsylvania Academy of the Fine Arts and is now a full-time artist.

Currently, Mark divides his time between teaching art courses at local colleges and art centers, painting hundreds of commissions for commercial interior designers, and providing images for art publishers and giftware manufacturers.

In the past, most of Mark’s work has been in the 36″ to 72″ size rang. More recently, though, due to time constraints, he has shifted towards painting smaller canvases (most of which are less than a foot square). The upside to this is that he can produce paintings faster, thus making them more affordable.

Mark’s paintings have a traditional feel, and yet are imbued with lightheartedness as well. This is intentional, of course, because as he puts it, “there’s no dividing line between realism and non-realism.”

Obviously, Mark’s “realism” is simply his own perspective of that subject. The image below perfectly captures the whimsy he sees in everyday objects, as a pear leans in towards two limes for a secretive discussion.

For his small paintings, Mark uses panels of plywood, masonite or whatever he has on hand, but prefers canvas for his larger pieces. Initially, the paint layers are thin and transparent, then he works his way up to thicker, more opaque paint.

Mark often uses a limited color palette, too, which can be seen in the purple and yellow composition below. He does this to stay “loose and vague as long as [he] can” without focusing on lots of other color options.

If you have a moment today, I invite you all to visit Mark’s new blog, Small Paintings, to experience more of his unique painting perspective.

Every so often (a few times a year, perhaps) someone will write me a nasty email accusing me of being a greedy money-grubber because of who I allow—or who I don’t allow—to advertise on EmptyEasel.

So today I thought I’d just list out some answers to questions that anybody could possibly have about EE’s advertising policies. If you didn’t have these questions. . . well, feel free to skip today’s article. :)

Or, if you’re curious, please, read on!

1. No, I DON’T just review companies that advertise on EmptyEasel.

Yup, I’ve had people email me and accuse me of this—but the truth is, we’ve reviewed plenty lots TONS of companies that have never before advertised on EE, and will never advertise in the future.

Go ahead, check out EE’s archive of articles on various art websites and you’ll see that this is the case.

In addition, once a company advertises on EE, trust me, they’re NOT going to get reviewed; at least not by me. At that point, I would make sure the review came from a third-party so there’s no bias.

(Coincidentally, if you’d like to be that “third-party” writer, let me know! I’m always looking for writers.)

2. Yes, I do TURN DOWN companies who don’t fit EE’s readership.

Many businesses request the chance to advertise, but don’t have a suitable product or service that would fit with EmptyEasel’s subject matter. When that happens, I turn them away.

It seems inconceivable that anyone would have a problem with me doing this, but I thought I’d just put it out there so people know.

3. I also TURN DOWN companies with sub-par products or services.

This, perhaps, is the biggest problem that (a few) people have. They see that I’ve written what they consider an “unfavorable” review of a company, and they notice that—holy smokes—THAT company isn’t advertising on EE!

Well, there’s definitely a reason for that. . . two reasons, actually.

The first reason is that many times those companies choose not to support EmptyEasel with their advertising dollars. And who can blame them?

The second reason only comes up when a company does request to advertise, despite a review that some people would consider unfavorable.

When that happens, I really only have one answer I can give them. After all, if I’ve written a review that says, “Don’t use this product!” then why on earth would I allow them to advertise? So I have to say no.

After all, if I DID allow them to advertise despite my low opinion of their company, I’m pretty sure that actually WOULD make me a greedy money-grubber. Right?

4. Yes, I DEFINITELY allow “competitors” of Foliotwist to advertise.

As many of you already know, I started my own website service for artists (at Foliotwist.com) about a year and a half ago. And, if you’ve been reading EE for that long, you’ve probably also realized that some of my advertisers could be considered “competitors” of that business.

But you know what? I like it that way.

Allowing my “competitors” to advertise keeps me honest in how I present my own business, and it gives consumers the chance to see for themselves which service will be the best fit for them.

In my heart, I really don’t view those other businesses as competitors. We’re all doing what we can to help artists succeed—and as a group, we give artists lots of choices. If Foliotwist works for you, great! If either FASO or ArtSpan work better, that’s fine too.

And when I mention FASO or ArtSpan more than other portfolio website companies, it’s simply because these are the two which are most well-known to everyone. . . not just to me! So they make the best examples when I need to mention a company other than my own.

Of course, there are many more businesses like Imagekind and RedBubble which aren’t direct competitors to Foliotwist that I’d be happy to allow to advertise on EE, and have allowed in the past. And I often use them as examples as well.

5. Finally, NO, I’m not getting rich off of these ads. :)

Amazingly, it actually takes a lot of money to run EE. Not only that; but the more money that comes in, the more writers I hire. A few months back I even hired an editor to help out—and those don’t grow on trees, folks!

So to everyone who might be wondering, no, this isn’t my retirement plan or my secret island fund. ;) In some places in the world the amount I make from EE would be enough to live on, but definitely not here in the US.

I guess to wrap it all up, let me just remind everybody that EmptyEasel exists because of the ads.

I couldn’t afford to run EE without advertising, but at the same time, I try and make sure the ads are relevant, well-designed, and helpful to you. And as long as I’m in charge, I promise I’ll keep it that way.

OK, enough business talk. . . Go read something interesting!