Renee White
Jamie Brockardt
Barbie SmithSquint at it. Paint large shapes. Forget about the details. Exaggerate the light. Have fun. Don't even think about painting an apple, flower, coffee pot or tea cup. Paint what you see as you SQUINT!
Sunday, April 11, 2010
ART CLASS
Renee WhiteJamie BrockardtBarbie SmithSquint at it. Paint large shapes. Forget about the details. Exaggerate the light. Have fun. Don't even think about painting an apple, flower, coffee pot or tea cup. Paint what you see as you SQUINT!
Monday, April 5, 2010
More Fine Art Views Worth Reading......
The Wiper
by Keith Bond
This article is by Keith Bond, Regular contributing writer for FineArtViews. You should submit an article and share your views as a guest author by clicking here. http://fineartviews.com/
Nearly eleven years ago, I took a workshop from one of my favorite plein air artist, Matt Smith. It was my first workshop and I had just taken the leap of faith to pursue art full time. I sought out Matt because he painted the subject matter that I was interested in and did it in a way that was similar to my sensitivities and tastes. I could relate to his subject and style. At the workshop, I was like a sponge, soaking everything in. I learned many valuable things from him, as well as from the other artists I studied under in the following years.
One thing that I did not anticipate learning was one of the most important lessons.
Matt Smith was painting a demo of the Grand Teton Mountains in Wyoming. The afternoon light was perfect. The Tetons loomed larger than life as the Snake River carved a gentle bend in the foreground.
I watched as Matt divided up his canvas into major shapes and values. As if by magic, the painting began to take shape as he worked the forms, edges, colors, values, drawing, etc. We students were in awe. Drool was pooling beneath our feet. The painting was simply magnificent; even majestic. It was even delicious.
At least I thought so.
The following day, someone asked about that demo. Matt said that he wiped it off. We were all aghast! How could he destroy something that seemed to be so perfect? To me, it was a wonderful work of art – and the other students seemed to agree.
Yet to Matt Smith, it represented less than what he was capable of. He knew he could paint better. The painting wasn’t up to his standards he set for himself; standards which continued to inch higher year after year. So, that painting will now live only in memory, thanks to the handy paper towel and a bit of thinner.
He explained that when he first started out painting, a huge percentage of his paintings were ‘wipers’. He didn’t want mediocre work out there. He continued to wipe off anything that he wasn’t completely excited about. (This practice also saved him money as he was able to reuse the canvas panels.)
This was a great lesson to me. The reason he had reached such a high level of recognition was because he was willing to accept the fact that not everything was a winner. He wiped them off and started over. He learned from each failure. He could have easily sold that painting of the Tetons to someone. There were a few students who bought some of his demo paintings, and I am sure that painting would have sold as well. But rather than making a quick buck, he had maintained his integrity. He simply wouldn’t sell anything that wasn’t his best work. It is no wonder that he is a highly sought after artist whose prices continue to climb.
Another artist friend of mine shared a similar story about Jim Wilcox. My friend had taken a workshop from Jim and during one of his demos, he wiped the canvas clean – right there in front of all the students. He taught his students an important lesson. Sometimes you need to recognize when things aren’t working. Sometimes you need to be willing to wipe it off and start over. Recognize your failures and learn from them. Don’t be afraid to admit it when it isn’t working.
It has been said that John Singer Sargent would wipe an area repeatedly and repaint until he was satisfied with the results. I have read many articles and commentary by a number of other master artists, both living and dead, who would do the same things. It is hard for those of us who admire the works of these great artists to accept – let alone watch – a piece become scrapped. Yet, this very practice is what makes them masters. They self critique. They hold to the standards they set for themselves. They don’t settle for less.
On the other hand, there are many artists who send out everything that falls of the easel. I would venture to say that most of these less-exacting artists seldom reach that same level of demand and reputation.
I find myself somewhere in the middle ground. I certainly have wiped plenty of canvases. But I have also exhibited many that never should have left my studio. I am getting better at it, though.
It is this an innate or learned trait? I think there is a bit of both. Just like anything else to do with art, there is something that comes from within, but there is also a lot of development through hard work. It is becoming easier for me to recognize when I need to throw in the (paper) towel on a certain painting. I am continually raising my standards and am better able to recognize my limitations and failures.
How about you? Where do you fit in? Remember, it is okay to paint a ‘wiper’, but are you in denial? Or do you accept it for what it is, wipe it clean, learn from the experience, and then move on? The more you demand from yourself, the larger the strides you will take forward.
Best Wishes,
Keith Bond
----------------------------------------------
This article appears courtesy of FineArtViews by Canvoo,
a free email newsletter about art, marketing, inspiration and fine living for artists,
collectors and galleries (and anyone else who loves art).
This article originally appeared at:
http://fineartviews.com/blog/18465/the-wiper
For a complimentary subscription, visit: http://www.fineartviews.com/
by Keith Bond
This article is by Keith Bond, Regular contributing writer for FineArtViews. You should submit an article and share your views as a guest author by clicking here. http://fineartviews.com/
Nearly eleven years ago, I took a workshop from one of my favorite plein air artist, Matt Smith. It was my first workshop and I had just taken the leap of faith to pursue art full time. I sought out Matt because he painted the subject matter that I was interested in and did it in a way that was similar to my sensitivities and tastes. I could relate to his subject and style. At the workshop, I was like a sponge, soaking everything in. I learned many valuable things from him, as well as from the other artists I studied under in the following years.
One thing that I did not anticipate learning was one of the most important lessons.
Matt Smith was painting a demo of the Grand Teton Mountains in Wyoming. The afternoon light was perfect. The Tetons loomed larger than life as the Snake River carved a gentle bend in the foreground.
I watched as Matt divided up his canvas into major shapes and values. As if by magic, the painting began to take shape as he worked the forms, edges, colors, values, drawing, etc. We students were in awe. Drool was pooling beneath our feet. The painting was simply magnificent; even majestic. It was even delicious.
At least I thought so.
The following day, someone asked about that demo. Matt said that he wiped it off. We were all aghast! How could he destroy something that seemed to be so perfect? To me, it was a wonderful work of art – and the other students seemed to agree.
Yet to Matt Smith, it represented less than what he was capable of. He knew he could paint better. The painting wasn’t up to his standards he set for himself; standards which continued to inch higher year after year. So, that painting will now live only in memory, thanks to the handy paper towel and a bit of thinner.
He explained that when he first started out painting, a huge percentage of his paintings were ‘wipers’. He didn’t want mediocre work out there. He continued to wipe off anything that he wasn’t completely excited about. (This practice also saved him money as he was able to reuse the canvas panels.)
This was a great lesson to me. The reason he had reached such a high level of recognition was because he was willing to accept the fact that not everything was a winner. He wiped them off and started over. He learned from each failure. He could have easily sold that painting of the Tetons to someone. There were a few students who bought some of his demo paintings, and I am sure that painting would have sold as well. But rather than making a quick buck, he had maintained his integrity. He simply wouldn’t sell anything that wasn’t his best work. It is no wonder that he is a highly sought after artist whose prices continue to climb.
Another artist friend of mine shared a similar story about Jim Wilcox. My friend had taken a workshop from Jim and during one of his demos, he wiped the canvas clean – right there in front of all the students. He taught his students an important lesson. Sometimes you need to recognize when things aren’t working. Sometimes you need to be willing to wipe it off and start over. Recognize your failures and learn from them. Don’t be afraid to admit it when it isn’t working.
It has been said that John Singer Sargent would wipe an area repeatedly and repaint until he was satisfied with the results. I have read many articles and commentary by a number of other master artists, both living and dead, who would do the same things. It is hard for those of us who admire the works of these great artists to accept – let alone watch – a piece become scrapped. Yet, this very practice is what makes them masters. They self critique. They hold to the standards they set for themselves. They don’t settle for less.
On the other hand, there are many artists who send out everything that falls of the easel. I would venture to say that most of these less-exacting artists seldom reach that same level of demand and reputation.
I find myself somewhere in the middle ground. I certainly have wiped plenty of canvases. But I have also exhibited many that never should have left my studio. I am getting better at it, though.
It is this an innate or learned trait? I think there is a bit of both. Just like anything else to do with art, there is something that comes from within, but there is also a lot of development through hard work. It is becoming easier for me to recognize when I need to throw in the (paper) towel on a certain painting. I am continually raising my standards and am better able to recognize my limitations and failures.
How about you? Where do you fit in? Remember, it is okay to paint a ‘wiper’, but are you in denial? Or do you accept it for what it is, wipe it clean, learn from the experience, and then move on? The more you demand from yourself, the larger the strides you will take forward.
Best Wishes,
Keith Bond
----------------------------------------------
This article appears courtesy of FineArtViews by Canvoo,
a free email newsletter about art, marketing, inspiration and fine living for artists,
collectors and galleries (and anyone else who loves art).
This article originally appeared at:
http://fineartviews.com/blog/18465/the-wiper
For a complimentary subscription, visit: http://www.fineartviews.com/
Thursday, March 25, 2010
The Art Spirit - By Robert Henri - More Good Reading.....
"NEVER change the course of a line until you have to.
Never change a plane of a form until you have to.
Never change the tone of a color or from one color to another until you have to."
page 203
I love this passage from Henri's book. This is something I am trying to get into my head, and across to my students.
He goes on to say...
"If you follow these injunctions intelligently you will practice that great economy which is necessary to expression in your medium.
Every change must count, and count strong. there must be no quibbling. You have the observer of your work under control. Through the changes you lead him straight or crooked into your meaning. If you have digressed into triviality he must digress with you. Where you hesitate or are uncertain, he hesitates and is uncertain. If you are a quibbler and a flounderer, and not direct in your purpose, He turns his back on your work unless he is, himself, like you, happier in floundering."
"Because the medium we use in very limited, we must exercise a great economy in its use. No line or form or color must change until you are compelled by the neccessity of the structure you are making to change it."
"The need for change must be great. You only make the change because you must respond to an absolute demand."
"Some painters flutter all about their subjects, others are straight drivers to the essence of things."
"A house has many windows, but a ray of light catches on one. It becomes the window which declares all windows. It is a builder and a vitalizer. It links with all the other structures - is one of the big factors in making a whole."
So "What is essential?"
"How shall the greatest economy be practised?"
"Water runs down hill consicely. There is no quibbling about it. It does not have to run uphill in order to be entertaining. Man has always followed its course with fascination. The soul of man may reveal its mysteries through direct expression, simple speech, simple gesture, simple painting, just as the soul of the brook is expressed in full simplicity and economy."
"One of the curses of art is art. The filling up of things with decoration, with by-play, to make them beautiful."
"When art has attained it place, sufaces will be infinitely less broken. There will then be millions less of things, less words, less gesture, less of everything. But each word and each gesture and everything will count in a fuller value."
"When we have attained a sense of the relative value of things, we will need fewer things. We will not change a line or color until we have to - and when we do make a change, a wealth of meaning will then fill the world from this new gesture.(italics mine)
"On a face one accent rightly valued in all its powers is worth a thousand little forms. The little forms subtract more than they add. The right accent achieves."
"You have reserved your forces but now you must expend them positively and effectively. A new course, full of meaning is to be taken, and by it the observer is to be carried deeper into your meaning. You have taken a positive step to force his understanding of your motive".
Henri just said a mouthful and to learn this is a lot of learning. But it is important, the essence of the thing that you are saying! Study and learn my friends...and I'm talking to myself here!
Tuesday, March 23, 2010
Hawthorne on Painting
Last weekend near Monterey
I got my little Hawthorne book out again after having put it away years ago. I remember back then that I didn't really "get it" like I do today. I guess that's progress??
This is one of the books that art teachers commonly recommend to art students. I have them all and then some. This one was put together by Charles Hawthorne's daughter shortly after his death in 1930. It is broken into 4 sections: Outdoor Model, Still Life, Landscape and Indoor Model. It is a bunch of notes put together from his students.I'll just throw together some of the quotes from the book to peak your interest. It is good stuff!
- Do studies, not pictures. Know when you are licked - start another!
- Stop when your interest is lost.....
- Remember no amount of good drawing will pull you out if your colors are not true. Get them true and you will be surprised how little else you will need.
- You are here to represent by color, by separation of color, by exact matching of color, what you see, and thereby learn to see....
- I don't say much about drawing because I think drawing the form and painting are better separated. Realize that you haven't yet the painting point of view--after you have got the spots of color true and in their proper relations you have something to draw with and you can then consider it.
- Everyone knows what a man looks like, or a tree or a house, but it is our job to tell the world something about these things that it has not known before, some impression that we alone have received.
- If you are not going to get a thrill, how can you give someone else one? You must feel the beauty of the thing before you start.
Saturday, March 20, 2010
Friday, March 19, 2010
Brian Blood Demo and Lecture
Last weekend was a beautiful one, spent in Carmel, CA. Three and a half hours drive, I went with two of my students to meet Brian Blood. We all love his work, and I have for a long time.
He painted a 24x30" seascape/landscape. He used a small study painted on sight and some photos for reference. Not many suprises, and no new information really except that he uses an acrylic underpainting, usually burnt umber. I've never tried it. When you get up close to his paintings, you can see part of the underpainting still there and I love that. His paintings are moody quite often, and he showed us how he contributes to that effect quite easily by using Liquin as a varnish, tinted with paint. Interesting, and it works!
He painted a 24x30" seascape/landscape. He used a small study painted on sight and some photos for reference. Not many suprises, and no new information really except that he uses an acrylic underpainting, usually burnt umber. I've never tried it. When you get up close to his paintings, you can see part of the underpainting still there and I love that. His paintings are moody quite often, and he showed us how he contributes to that effect quite easily by using Liquin as a varnish, tinted with paint. Interesting, and it works!
Brian Blood The beginning of "Lovers Point"
Some of the points he talked about while sketching in with a dry #2 brush using burnt umber - were composition, porportion/shapes, interaction, drama, pattern, overlap, atmosphereic perspective, etc. He uses Q-tips to wipe out what he doesn't want.
As he began using color he said to look for and establish the big masses...move around the picture plane. Keep your palette organized. Create areas for each family of tones....
Let moments happen! Leave spaces to represent where the lights will go.
HAVE A PARTY WITH YOUR BRUSH!
Save those big juicy strokes - strong statements - for the END of the painting.
He also reminded us that the worst thing you can do is over work your painting.
In the sky he used nice even transitions. Use a different treatment in your sky than in the middle ground and foreground.
Use a dimmer switch and gray down your colors - then you can "pop" your colors better later!
Now after the block in, let it set up. Then go back and refine and compare and develope. Think about any focal point adjustments. Don't render, but go for the SHAPE AND COLOR to describe an object.
His studio was beautiful and large and we got to see a lot of his paintings up close. It was nice to meet him and his wife and we met some nice ladies who lived there locally. Later we went to dinner and on Sunday spent the afternoon browsing the gallerys in Carmel by the Sea. Lovely!
This is Renee' with Monet' at the New Masters Gallery.
It was a beautiful drive home....we had to stop for the cows!
Thursday, March 18, 2010
Yesterday's Oil Painting Class
Here is yesterday's set up. We ventured across the street from the Capital Art Center where I teach a beginning/intermediate oil painting class. It was so nice outside how could we not? Some of the ladies in the class want to learn to paint in "plein air", (in the fresh air). We have been painting still life set ups in the studio for a while.
They did very well, in fact, outstanding. I can't begin to tell you how much of a blessing this class is. To see how far the painters have come. It takes a committment to learn how to paint, but what a payoff! Most of the class has started from no or very little experience. I love to see them grow. I am growing right along with them. We all still have so much to learn.
We set up the still life outside and it was beautiful. Next week we will take our little outdoor studies and begin a larger studio painting, using the studies we painted yesterday, along with a photo reference. The light did change, but the shadows on our set up just got better.
Friday, March 12, 2010
Palo Alto Baylands - wonderful painting spot!
Baylands Study 6x8"
You must check out their websites:
http://www.classart.org/
http://www.provenceworkshop.com/
I was blessed to go to Provence last summer. I need to get out there and work on my skills with all the plein air opportunities coming up!
Baylands Study 2 5x5"
Saturday, March 6, 2010
Yesterday 6hr Pose at Capital Art Center
Yesterday was the second in a series of sessions open to artists (who sign up in advance) on Fridays - 6 hours of painting the figure. It was my first time in a long time that I've painted the figure from life. I practiced what I learned in Don Hatfields class last year.
I am not a portrait painter, but it is wonderful practice for me. I have to say, yesterday I was feeling pretting intimidated by it all, but I was fairly pleased with the outcome. I started the day with a migraine to boot, so I wasn't in good form. It is a study, not finished, but not bad. She looks like she has a black eye but I haven't gone in to finish her up yet. If I do, I'lll post it. I'll also try to post the next one on the 19th, I'm going to that session as well.
Thursday, March 4, 2010
View of Montbrun from the Lavender Fields
24x30 Oil on Linen, 20th Street Gallery, Sacramento
“Palette Potpourri”
March 10th through April 3rd
PAINTINGS OF PROVENCE, LARGE AND SMALL
I’ve been painting Provence since last July! My heart is still there I think. The historic ancient villages, the fields of lavender for miles and miles, the old French Country homes – need I go on? It was the trip of a lifetime for me. Another one of my favorite spots was walking through Claude Monet’s gardens, especially the water garden. I have painted several large pieces of the water lilies and also some of the ancient Villages of Provence. 9 Paintings will be on display at 20th Street Art Gallery, 911 20th Street in Midtown, Sac. Hope you can stop by as the show opens next week- March 10th through April 3rd. I’ve also posted them on my website:
Spring Plein Air Painting -
It may not feel like spring much right now, but it is just around the corner! Spring is a very busy time for painters who like to paint outside. That would be me. I should be really good at it by now, but it’s a slow learning curve for me.
This year I’ll be busy with the first Spring Plein Air Show- “The Joy of Outdoor Painting” - sponsored by Capital Art Center in Sacramento – coming up March 20th through April 7th. The opening reception will be at the S12 Gallery in the Art Center located at 1200 S Street - the corner of 12th on Second Saturday on April 10th. Many of our regional painters will be participating in the show & this will be worth marking your calendar right now.
Next is the Horton Iris Farm paint out in Loomis. I participated in this for the first time last year. A 2 day event, its fun to come out and watch the artists paint this beautiful Iris Farm property. Friday, April 23rd all day and the artwork goes up for sale on Saturday at about 12:00, as the artists finish up their quick draw competition paintings. The Irises are in full bloom and they are for sale along with some other wonderful planting bulbs for your spring garden. It will be a great day to come and bring the family.
May first will be another paint-out in Sacramento. “Urban Paint Out and Wet Paint Sale” -10 am till 5 pm followed by an art sale and reception. Contact Patris at artist_patris@yahoo.com for more information on that!
Classes –
Learn the basics and intermediate techniques of oil painting, from start to finish. If you have never painted in oils, I will help you get started with shopping for art supplies and personal coaching. If you have some experience, you will learn how to paint from a photograph, but more importantly, from life. We will study still life set ups each week, and on good days we can even paint a set up outside the studio.
You will learn how to “see” as an artist in a whole new way. We focus on learning to paint the correct “value” or “tone”, along with color, edges, shape, drawing, and use of light and shadow. I will teach you the basic and advanced vocabulary of painting, including color mixing, tools and materials, and how to avoid the most common pit falls an artist will encounter.
We will take field trips to galleries, museums, and paint outs. I will encourage you to study at home, read about the masters, and paint, paint, paint.
Classes run on a weekly basis at $35.00 for drop in guests or $125.00 on a monthly basis. We meet at 10:00 Wednesday mornings at the Sacramento Art Complex, 1200 S Street. www.s12studios.com
*Private lessons are also available in my home studio. Call 916-952-7914
View from Aurel, Provence
30x24" Oil on Linen
20th Street Art Gallery, Sacramento
Friday, February 19, 2010
Tuesday, February 9, 2010
NEW SHOW IN MARCH AT 20TH STREET GALLERY
40 x 40 " oil on linen
20th Street Gallery, 911 20th Street, Midtown Sacramento - 916-930-0500, will be showing some new works from Provence in March.
I'm showing several large pieces and some medium pieces, landscapes from Provence and Giverney.
Check back for more information and new paintings for the show.
Monday, January 25, 2010
Romance is Red, oil on canvas, 12x12" $325.00 Hang It Up Gallery
Saturday, January 16, 2010
More Good Stuff From Fine Art Views
Just wanted to share the latest blog from Fine Art Views. Just what I need to hear right now. Above is a photo from last summer in Avignon, France.
10 Tips for a Better (Painting) Life
by Louise B. Hafesh
This post is by guest author, Louise B. Hafesh. This article has been edited and published with the author's permission. You should submit an article and share your views as a guest author by clicking here.
Last year around the holidays, a good friend sent me a list entitled: "40 tips for a Better Life," which I have since seen published with various additions and deletions as "Enjoy the Ride," "45 life lessons and 5 to grown on," "20 tips for a better New Year."
As I read over the 40 inspiring tips, I realized with a little tweaking, some of the themes could easily be applied to us artists and set about drafting a version that became my 2009 New Year blog post. Heading into 2010, I took up the challenge again. Here, then, revamped are my "10 Tips for a Better (Painting) Life."
1. Set consistent work habits and painting goals; then stick to them. Start each painting session by abandoning preconceived notions and stumbling blocks.
2. Be true to YOUR 'art and soul'. Encourage your inner vision; listen to your private voice; let your imagination soar, and don't concern yourself with what others may think of your work.
3. Take short breaks, particularly when you've hit a rough spot or are experiencing a painting block. Stand back from your canvas on occasion. Quietly review your day’s work and take it all in with a fresh eye.
4. Take pleasure in the painting process. Continually advance your skills. Read instructional books, attend workshops and exhibits, frequent museums, and study the masters.
5. Be generous with your knowledge. Whenever possible, exchange ideas, tips, techniques with other artists. Fine Art Views ("FAV") is a great place to start, as are Facebook and Twitter. The more you share, the more you learn, and the benefits of networking are limitless.
6. Be passionate about creating your art, but do make time to nurture relationships. As in all things in life, balance is key!
7. Clear out the clutter from your studio. It will help you hone in and focus. Reassess unfinished work. Categorize as salvageable or not. Discard or sand down any canvases that don't make the grade and start anew.
8. Learn from the challenges that each painting offers and move on to your next masterpiece. Keep a positive mindset and resist being over critical. Give yourself the right to make mistakes, a free rein to experiment. Remember, oil paint is forgiving, can be wiped out if wet; painted over when dry.
9. Bring HEART to your work. Treasure wisdom and innocence wherever you may find it.
10. Work from promise not fear... the best is yet to come! Think of that blank canvas as an opportunity to color your world!
----------------------------------------------
This article appears courtesy of FineArtViews by Canvoo,
a free email newsletter about art, marketing, inspiration and fine living for artists,
collectors and galleries (and anyone else who loves art).
This article originally appeared at:
http://clintwatson.net/blog/16278/10-Tips-for-a-Better-Painting-Life
For a complimentary subscription, visit: http://www.fineartviews.com
Thursday, January 14, 2010
Who is the Contrarian Art Marketer
"Nightfall, California Coast"
Oil on Canvas mounted on board, 30" x 40"
"Fall Colors, Napa"
Oil on Linen, 20" x 30"
I am the Contrarian Art Marketer
by Clint Watson
This article is by Clint Watson, former art gallery owner/director/salesperson and founder of FineArtViews. You should follow Clint on Twitter here.
"Be fearful when others are greedy, and greedy when others are fearful" - Warren Buffett.
Warren questions the wisdom of the masses, and thus wasn't invested in dotcoms in 2000 or residential real estate in 2008.
Just because something is popular doesn't mean it's a good idea. In fact, in investing, it often means it's a bad idea. This is sometimes called contrarian investing.
I'm the same way. I question everything. And the more popular something is, the more I question it. You can call me "The Contrarian Art Marketer."
There is definitely an online "echo chamber" effect out there. And when an idea starts echoing loudly, I start questioning it.
The echo chamber tells artists that SEO is extremely important, but I say it's not all that important. The echo chamber says that you need to develop a USP, but I say you are already developing a Wordless USP. The echo chamber says that having a really professional looking portfolio and image is important, but I say chill out - that's not all that important either. The Echo Chamber goes crazy over Facebook, but I'm not so sure. The Echo Chamber currently loves Twitter, but I questioned that too (and have sort of had to eat crow on that one). The echo chamber thinks a gallery must be in a great high-traffic location, but I used sell tons of art from a location that had zero walk-in traffic.
I'm sure that as the contrarian art marketer, I've missed the boat on some of my thoughts, just as I'm sure Warren has missed some good investments opportunities. But overall, it's served me well.
And it can serve you well too.
When "gurus" give you advice about your art career and ideas about marketing.....question it. Question everything. Especially if you're being charged for the ideas.
Question everything, and if it's an idea that's echoing loudly, or there's money to be made (like, currently, in selling "social media courses") be skeptical. However, try to minimize the chance of discounting an idea too soon (like I did with Twitter). When considering an idea, ask an artist who actually sells a lot of art what they think of it. Or at least ask someone who has a track record of selling art. Trust your gut. Does it make common sense? Can you find an example of an artist who's been successful with the idea? Or better yet, more than one? Will it hurt to wait a bit and see if the idea is a fad? (Waiting has been one of my best strategies. I've watched online services come along, gain traction, get hot and die before I had a chance to "check them out.")
Importantly: does it take you away from creating in your studio?
The most important thing you can be doing is creating your artwork. So even if an idea is "good, you might want to skip it for better uses of your time. You need to focus on the ones with low-time investment and high-payoff...so that you can get back to creating.
Sincerely,
Clint Watson
Software Craftsman, Art Fanatic, Contrarian Marketer
PS - sometimes ideas that were once "hot" fall out of favor, but remain effective or become even more effective: Hence my personal penchant for art marketing with phone calls and, especially, email newsletters. Newsletters are relatively low-time investment and high payoff. For most artists, SEO is a high time investment and a lower payoff.
PPS - "Questioning Everything" includes questioning me too. Everything I just wrote could be wrong. :-)
This article appears courtesy of FineArtViews by Canvoo,
a free email newsletter about art, marketing, inspiration and fine living for artists,
collectors and galleries (and anyone else who loves art).
This article originally appeared at:
http://clintwatson.net/blog/16163/I-am-the-Contrarian-Art-Marketer
For a complimentary subscription, visit: http://www.fineartviews.com
-----------------------------------------------
Saturday, January 9, 2010
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