ArtBistro

How Proving the Exception Makes an Artist Successful

Eric Maisel — Fri, 01 Jul 2011 18:11:00 -0700

Dear Dr. Maisel:

I don’t see that many artists really making it. Is there something special I should be doing to help myself stand out from the pack?

Martha R., Los Angeles

Thanks, Martha.

Tens of millions of people produce visual art of one sort or another. It is a straightforward matter of supply and demand that not all of these people will be able to make money from their efforts. It is therefore the case that if you want to be one of the relatively few who do make sufficient money from your efforts, you must prove the exception. It follows that it will not make sense to do exactly what most artists do, as most artists aren’t making sufficient money. You must do other things as well. Here are ten tips for doing just that: for proving the exception.

1. Understanding why “proving the exception” is vital

If you intend to prove the exception, you will need to learn what is average or typical. Use the evidence of your eyes to distinguish between what most artists are doing and what successful artists are doing. What concrete differences do you notice between the one group and the other? Are the successes of successful artists more about their subject matter choices, their technical merit, their marketing efforts, the stunts they pull, or their sociability? What do you see?

2. Understanding how “most artists” operate

“The reward method works for me. Think of something that you really, really want. When you accomplish your goals, you get to do that thing. My trip to New York City last month was just such a reward trip for meeting some very hard long-term goals. Another reward I give myself is a break from my overactive dog by dropping her off at a doggie day care place for a day.”

3. Articulating the difference between “the normal way” and “the exceptional way”

As you begin to understand what amounts to an average effort and what amounts to an exceptional effort, articulate what you are learning. Write out your own “ten tips” for proving the exception. Be able to say in a clear sentence or two how you mean to distinguish your efforts from customary efforts. Create your own plan for “proving the exception.” Clearly identify what you will need to do in order to make your plan work.

Next: Step Out & Reach Out →

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4. Stepping into the shoes of “someone exceptional”

Once you’ve articulated your understanding of the difference between an average effort and an exceptional effort, you will want to become the person capable of making such an effort. That may mean working on your shyness, your anxieties, your passivity, and your dislike of self-promotion. If proving the exception requires that you do x, y, and z, you must become the person capable of doing x, y, and z.

5. Reaching out

Learn how to send clear, concise, friendly, useful emails and other messages to those people who might be able to help you. Learn not to labor over such missives—they do not need to be elaborate works of art or skillful apologies for why you aren’t further along in your career or more important as an artist. Reach out to three people a day … five people a day … seven people a day. Reach out regularly and continually.

6. Following through

It is one thing to make a sensible plan and another thing to follow through on all the steps required to turn any plan into a successful experience. You will come up against innumerable obstacles as you endeavor to prove the exception, from unreturned emails and phone calls to technological glitches to rude, off-handed criticism to deals falling through to contracts not being honored. Persevere; follow through; keep at it!

Next: Make Yourself Available →

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7. Becoming really available

You could act as if relating in the marketplace is tremendously burdensome and make yourself only grudgingly available or you could invite such interactions, make dates for coffee, accept any and all invitations to speak or be interviewed, and otherwise become really and readily available. Become a recluse after you are famous, not before. Yes, you need studio time; yes, you need time for all of the rest of life, including time for your day job; and yet you must still find the time and the wherewithal to make yourself really available.

8. Creating the occasional stunt

Occasional stunts may be necessary. A stunt is an event created to produce publicity. It might be you shredding your unwanted paintings in a public place with the press alerted, it might be you attending your opening nude rather than dressed, it might be you marrying and divorcing another artist in a ceremony the two of you design to advertise your “marriage doesn’t work” suite of paintings. Most artists hate stunts. It is nevertheless worth your while to calmly think through your relationships to stunts. Who knows?—you may actually have a stunt or two right up your sleeve without knowing it!

9. Angling for big outcomes

Convince a friendly gallery owner not to hang one or two of your paintings but to give you a whole show. Use your rhetorical skills and powers of persuasion to angle for this bigger outcome. Ask a friendly collector not only to take a look at your new body of work but to throw an event in support of it. Use your charm and smarts to angle for this bigger outcome. Each time you think about attempting something, ask yourself, “What bigger outcome could I angle for with exactly the same amount of effort?”

10. Thinking globally

It is wonderful to be represented by the gallery down the street but it is unlikely, verging on impossible, that you can prove the exception if your field of vision is limited to your immediate neighborhood. What if the galleries most likely to be interested in you are scattered all over the world? Then you must search them out and reach out to them. It is excellent to fashion and maintain local relationships but to prove the exception you will need to make the world your oyster.

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Finding Your Own Artistic Voice

Eric Maisel — Wed, 01 Jun 2011 17:17:00 -0700

Dear Dr. Maisel:

I’ve been painting for a long time but I have the feeling that I still haven’t found my own voice as an artist. Do you have any suggestions for how an artist can go about discovering what she really wants to say?

Leslie T., Flagstaff

Thank you, Leslie.

Artists may work for a very long time, even a lifetime, and never quite find their artistic voice. They may know that their work isn’t really that fresh or interesting but not seem to possess the wherewithal to break through into deeply felt, personalized work. Here are ten tips for doing just that: for finding your voice as an artist.

1. Detaching from your visual library

A very common problem, and almost always an unconscious one, is the need an artist feels to make his work look like something he holds as “good art” or “real art””—very often Old Master art. Because he possesses an internal library of the successful artworks of well-known artists, without realizing that he is doing it he aims his art in the direction of those successes. It is vital that an artist detach from that visual library—extinguish it, as it were—so that his own imagery has a chance to appear.

2. Not resting on skills and talent

Maybe you excel at producing dynamic-looking cats or turning a patch of yellow into a convincing sun. That you have these talents doesn’t mean that you ought to be producing lifelike cats or brilliant suns. Your strongest subject matter and style choices are dependent on what you want to say rather than on what you are good at producing. By all means parlay your skills and talents—but don’t rely on them so completely that you effectively silence yourself.

3. Allowing risk-taking to feel risky

Very often the personal work you want to do feels risky to undertake. Intellectually, you may find the way to convince yourself that the risk is worth taking—but when you try to take the risk you balk because you suddenly feel anxiety welling up. Remember that a risk is likely to feel risky. Get ready for that reality by practicing and owning one or two anxiety management strategies that allow you reduce your experience of anxiety.

Next: Communicating Your Art →

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4. Completing for the sake of progress

When you make new work that you think is aiming you in the direction of your genuine voice, try to complete that work rather than stopping midway because “it doesn’t look right” or “it isn’t working out.” You will make more progress if you push through those feelings, complete things, and only then appraise them. It is natural that work that is new to you and a stretch for you may provoke all sorts of uncomfortable feelings as you attempt it. Help yourself tolerate those feelings by reminding yourself that finishing is a key to progress.

5. Thinking about positioning

You may want to develop your voice independent of art trends and say exactly what you want to say in exactly the ways that you want to say it. Or it may serve you to take an interest in what’s going on and make strategic decisions about how you want to position yourself vis-à-vis the world of “hot artists,” galleries, collectors, exhibitions, auctions, movements, and so on. It isn’t so much that one way is right and the other wrong but rather that some marriage of the two, if you can pull it off, may serve you best: some marriage, that is, of the intensely personal and marketplace strategizing.

6. Articulating what you’re attempting

Artists are often of two minds as to whether they want to verbally describe what they’re visually attempting. The paraphrase of a visual experience into a verbal “artist’s statement” often feels unconvincing and beside the point. On the other hand, it can prove quite useful to announce to yourself what you hope to accomplish with your new work. By trying to put your next efforts into words, you may clarify your intentions and as a consequence more strongly value your efforts.

Next: Turn to Your Passions →

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7. Not repeating yourself for the sake of repeating

Repeating successful work has a way of reducing our experience of anxiety and can bring financial rewards as well. But it may also prevent us from moving forward and from discovering what we hope to say. A balance to strike might be to do a certain amount of repeat work, for the sake of calmness and for the sake of your bank account, and to also add the reality of new work to your agenda.

8. Revisiting your earliest passions

Life has a way of causing us to forget where our genuine passions reside. You may have spent decades in a big city and completely forgotten how much the desert means to you. You may have been so busy painting and parenting that your burning passion for creating a series of cityscapes fell off the map somewhere along the line. Finding your voice may involve something as simple and straightforward as making a list of your loves and starring those that still energize you.

9. Integrating your different threads

Maybe you make two sorts of art, abstract relief paintings and realistic flat paintings. This division may have occurred at some point when, perhaps without consciously thinking the matter through, you decided that the one painting style allowed you do something that the other didn’t. It may pay you to revisit this question and see if the two styles can be integrated into some third style that allows the best of both current styles to come together. Whatever you discover from that investigation—whether it’s to move forward in a new way or recommit to your current methods—you will have helped yourself better understand your artistic intentions.

10. Accepting never-before-seen results

It can feel odd to speak in your own voice and then not recognize the results. Because what you’ve created may be genuinely new—and completely new to you—it may look like nothing you’ve ever seen before. That can prove disconcerting! Don’t rush to judge it as too odd, a mess or a mistake, or not what you’d intended. Give it some time to grow on you and speak to you. Your own voice may sound unfamiliar to you if you’ve never heard it before!

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Keep Your Creative Career Fresh

Paul Carew — Tue, 24 May 2011 16:11:00 -0700

As designers, it's essential that we stay inspired, motivated, and continue to learn and evolve in our craft. Given the opportunity to shift roles in this industry, it's important to stay fresh and keep the creative options wide open. Following are some techniques that can help clear and prepare your brain for original design thinking.

Keep your eyes wide open

Inspiration can hit when you least expect it. Most likely it will happen when you are NOT thinking about a specific project. The creative subconscious does heavy lifting without our help. Pay attention to these opportunities — don't miss these important moments.

Be inspired by others

Originality in design thinking is a responsibility. Pay attention to industry trends as well. Follow the portfolio of agencies and the career paths of important designers to find inspiration in their successes and evolution. Attend conferences and see fellow creatives speak on techniques, changes in the industry, and their experience.

Take a hike

Embrace any opportunity to enjoy nature or be out of doors to stay fresh. The answer to a creative challenge isn't in a book or on the Internet. The freshest and most original ideas are in your brain. A change in scenery that can allow inspiration to knock or if anything offer an important pause in your day.

Go to the library

Libraries are an under-used resource for graphic designers. Researching with traditional methods can lead to a more tangible and creative process. Take advantage of the ability to find visual resources and uncover something you wouldn't find online.

Sleep on it

Our creative brains need a chance to rest. A good night of sleep can fire your subconscious and allow for an alternative approach to a design problem. Many creatives have claimed to have dreamt about a design or project. When we must be "on" every day, being well rested is a luxury.

Take more showers

Starting the day with a shower is an essential part of my routine. This time is usually spent planning my day and getting my brain ready for the projects in my sketchbook or on my desk. This valuable time can be used for innovation and brainstorming.

Consider moonlighting

Take advantage of this opportunity if you are employed at an agency or organization that allows you to do freelance work. It's important to relax when away from the office or studio, but this time is valuable to exercise other creative muscles when away from work.

Volunteer for a cause

Taking a break from the corporate world can offer a refreshing experience, balance, and a bigger-picture view. Working with non-profit organizations can be fulfilling and, if negotiated for, may offer creative freedom. Working for a cause that you truly believe in can be an extremely rewarding experience.

Take advantage of any opportunity to keep your creative muscles flexed. These steps are worth taking in order to stay fresh day-to-day in your career. Designers have the luxury of entering a lifetime career — stay fresh and be prepared to jump on any creative opportunities that present themselves.

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Make Your Childhood Dream Career a Reality

Crista Cloutier — Mon, 23 May 2011 16:14:00 -0700

What do you want to be when you grow up?

Do you think we ever stop asking ourselves that question? It seems to be one of life’s great mysteries.

When I was young I yearned to be a child prodigy. It seemed an easy way out. Let fate and genetics take the wheel, it was exhausting trying to sort life out on my own. It still is.

When my natural talent failed to reveal itself, I thought about other career options. I tried to imagine what sort of tasks I would do. And more importantly, what would I wear?

I considered every job I saw portrayed on television and in films. I thought I might like to be a detective, like Kelly Garrett, the sensitive one in Charlie’s Angels. But I try as I might, I just couldn’t run in high heels. Dismayed, I looked to my parents and their friends for career inspiration, immediately turning away with a shudder.

What do you want to do when you grow up? This seemingly innocent question carries a false implication – that what we do determines who we are. The truth is, we are better served by letting who we are determine what we do.

When faced with any decision, particularly life decisions, I like to begin at the end. So picture yourself at the very end of your life and look backward. What do you want your life to have stood for? What do you want to leave behind? What kinds of experiences have you had? Dream big! Why not? In my look back at my own life, I reminisce about my long and happy marriage to George Clooney. (Don’t laugh. It could happen) The point is to have fun with it and see where your creativity takes you.

Thinking about your heroes also reveals a great deal about yourself. Who are the people you admire most? What qualities do they have that attract you? Are these qualities you hope to cultivate in your own life?
What about your favorite fictional characters? Are they clever, adventurous, funny, or artistic? What challenges have they overcome? Can they run in high heels?

My friend Guy had the luxury of knowing that he wanted to be an architect from the time of his first Lego set. But many, many years later, ready to retire after a full career as a high-school English teacher, Guy was a sad figure. As I sat amongst the dozens of architecture coffee-table books in his library, and moved aside those piled upon his coffee-table so that I could find a place to actually put down my cup of coffee, I asked why Guy he never became an architect. He obviously still loved the field.

He replied with a shrug, “My math skills are weak.” I was shocked. Guy may never be a physicist but certainly, with some hard work, applied thinking, and maybe a patient tutor, he could have improved his math skills. Guy chose not to attain his dream but to spend his working life in a career he admittedly wasn’t suited for, because he did not give himself permission to learn.

As your own dreams whisper to you, remember that we never really “grow up.” We never stop changing or dreaming or grasping toward new experiences - until we die. Or decide to stop. And as you reach for your dreams, don’t let ignorance, or fear, stop you from attaining them. Yes, sometimes learning is awkward and uncomfortable and even difficult. But it’s always possible. What matters most is that, once you choose a path to walk, you begin to take the steps toward your goal. Even if they are baby steps. In no time at all, you will find that you are running in high heels.

Crista Cloutier teaches workshops and offers private consultations for artists, writers, and other creatives. She contributes to publications The Guardian, Huffington Post, and You magazine among others.

Crista Cloutier will be leading an inspirational one week retreat in the south of France. Participants will explore their own creative voices. This workshop will be open to artists and non-artists alike. For more information, go to The Working Artist.

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Expanding Your Creative Repertoire

Eric Maisel — Wed, 27 Apr 2011 16:36:00 -0700

Dear Dr. Maisel:
I have a certain style and I’m pretty comfortable doing what I currently do. But I also have the itch to stretch and try some new things. Do you have any suggestions for how I might expand my repertoire?

Lionel F., Detroit

Thanks, Lionel.

There may be some new creative projects that you want to begin or some new ways of marketing and promoting yourself that you know would be smart to attempt but something seems to be holding you back. Here are ten tips for expanding your repertoire of creative projects and/or self-promotional efforts.

1. Know what you currently do

Because our lives rush along, providing us with no chance to catch up with ourselves, we often don’t really know what we’ve been attempting or accomplishing. When was the last time you had a conversation with yourself about what sort of art you’re making or what sort of marketing efforts you’re attempting? It’s harder to know what new things to try if you don’t know what current things you’re doing. Settle in and spend real time discerning your current situation. [widget:inarticlebulleted_creative_inspo]

2. Detach from the idea of “one way”

In part because it reduces our experience of anxiety, we often decide to do things one way—paint one sort of painting, market in one particular way—and then refuse to think about or discount the desirability of other art or marketing efforts that we might make. Maybe we think that only the gallery scene is for us and that marketing our art online is beneath our dignity. Try to let go of the idea that there is just one way to do things and find the courage to investigate other ways of making art and marketing art, even those that at first glance look completely uncongenial.

3. Investigate your dislikes

If you dislike realistic painting, why do you dislike it? If you dislike abstract painting, why do you dislike it? If you dislike talking to gallery owners, why do you dislike those interactions? If you dislike studio visits, why do you dislike them? We often make snap judgments about our likes and dislikes and subsequently never investigate those like and dislikes again, responding instead with a knee-jerk reaction. Take a good, hard look at those things you claim to dislike and see if they really are so unlikeable.

Next: Confront Your Fears →

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4. Investigate your fears

We often hide from ourselves the fact that something is making us scared or anxious. Maybe we have real fears that our drawing skills aren’t up to snuff but keep dodging that painful information and paint abstractly not because we genuinely want to paint abstractly but because we know that our realistic paintings wouldn’t measure up. It is very brave work but very valuable work to look your fears and anxieties in the eye. Only then will you understand your true situation. That understanding is bound to open the door to courageous new efforts.

5. Articulate your possibilities

What new art do you want to attempt? What new marketing efforts do you want to try? If you don’t get them named, it’s unlikely that you can pursue them. If, on the other hand, you can say clearly to yourself that you want to try your hand at some Calder-esque mobiles or that you want to learn how to affiliate market your paintings, that clarity of expression will help you begin to move in new directions.

6. Make a strong choice

Let’s say that you have several kinds of new art that you want to make: a venture into sculpture, a multi-media project, some monoprinting, a new style involving personal history, and so on. It is exciting to want to do many things but it can also prove paralyzing to have too many simultaneous choices. Choose something strongly without second-guessing whether it is the best choice and without grieving that you can’t do x or y today because you are doing z. Until we make strong choices of this sort, we tend not to get anything done.

Next: Expand Your Horizons →

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7. Stretch in a new direction

If you’re moving in a genuinely new direction, that movement is likely to feel risky as well as exciting. Remember that risky things actually feel risky in the body! Don’t be surprised if your stomach gets queasy or your palms sweat—and don’t use those feelings as excuses to stop what you’re attempting. Instead say, “Okay, I’m making myself anxious here—and that’s okay. Onward!” If you’ve been painting your whole life and now you’re starting to sculpt, isn’t it likely that that will feel like a stretch? Accept that reality.

8. Accept being a beginner

If you are trying something genuinely new, say for example moving from watercolors to acrylics or moving from studio visits only to gallery efforts, you must accept that you are a beginner and that you will stammer more than you would like, stub your toe more than you would like, and on some days feel completely lost at sea. Do not let these realities become the excuses you use to return to more familiar ways. Expect them, accept them, and persevere!

9. Accept the reality of learning curves

Not only may you be a genuine beginner at this new painting style or marketing technique, you will also have to endure the learning curve that comes with any new effort. Just picture the learning curve required to go from first piano lessons to playing Bach at Lincoln Center! Don’t let the fact that a learning curve is coming daunt you or deter you. Accept the reality, forgive yourself on those days when you make “too little” progress, and keep the payoff in mind—your growth and success as an artist.

10. Parlay what you already know

Even though you may be a beginner at some new painting technique, painting style, or marketing strategy, you are not a beginner at life. You can parlay all that you’ve learned over the years and make your current experience easier than it might otherwise have been if you had been a novice at life. If you remind yourself that you know a lot and that you intend to bring all that knowing to your current efforts, you will do a better job of maintaining your enthusiasm, optimism, and focus.

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How to Know When You're a Professional Artist

Aletta de Wal — Tue, 26 Apr 2011 16:15:00 -0700

Anyone can consider himself or herself a professional artist, but that doesn’t make it so. Here's how you can know when you're really a professional artist.

1. First, You Must Think Like a Professional Artist 100% of the Time.

Everything starts in your mind. You must think like a professional artist all of the time. Become aware of all your attitudes and beliefs about having a professional art career.
You must root out any ideas or thoughts that that will keep you from assuming full responsibility for your career decisions. You must commit to eliminate any negative self-talk that prevents you from taking all the actions needed to build relationships and to live up to your art career responsibilities.

You no longer subscribe to any stereotypes or myths about artists. You slough off negative attitudes, like “You can’t make a living as an artist.” or, “Get a real job skill to ‘fall back on’.” These common sayings were probably intended to keep us from harm, but are deadly if you allow them to persist and to control your behavior.

2. You Accept the Multiple Responsibilities of Being a Professional Artist.

Being a professional artist means juggling multiple responsibilities. You are ready to engage professionally when you can say that the following statements are true of you and your business:
Your work is consistent—not all over the place. Your work is unique, identifiable, and well developed. Even your experiments fit into your signature work. Both your audience and your sales representatives can easily and instantly recognize artwork as yours.

• You have an inventory of properly finished work. You have plenty of completed work, already in final show form to be able to exhibit at any time. If a gallery owner or collector were to come to your studio, they would find an impressive body of work to view and select from.

• You have gotten feedback that your art has an audience—not just friends and family. You have a history of shows and sales. Your work attracts media attention, interest and excitement.

• You develop business relationships. You are able to commit time and attention to building and nurturing relationships. You know how important it is to relate professionally and engage with those in the art world, and you are both ready and willing to do so.

• You have the money to exhibit and market your work. You present your work professionally and meticulously. You have professional marketing materials, and a first class web site.

• You understand how the art market works. This is a constantly changing environment, but you have taken the time and trouble to research and understand what you need to know about how to access your audience and market.

• You have good photographs of your art, a one to two page resume, and an artist statement. You’ve put in the time, effort and money to create professional materials to present your work and your credentials.

• You have consistent pricing and a pricing policy. You know how to price your work so that you are competitive in the market. There’s logic to your pricing and that logic is obvious to prospective buyers. The consistent development of your signature contributes to the consistently rising value of your work.

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3 Barriers to Becoming a Successful Artist

Aletta de Wal — Tue, 26 Apr 2011 15:40:00 -0700

Artists who do not feel successful seem to run into 3 common barriers, mostly self-generated. The good news is that each of these barriers has an antidote that you already have within your grasp to becoming a successful artist.

Barrier # 1: Wanting Too Much Too Soon

•Some artists are unrealistic about what is possible in a certain time frame and are impatient about the results they are getting.

•They want to sell immediately, sometimes before they even have a signature style. If they have art skills, they get comfortable with a certain style and level of production.

•They are not always open to critiques/suggestions about being more prolific, creating work in different styles or creating multiples of their work to have more pieces available.

•They do not put in the hours. They are not consistent about what they do or how they do it, so their career never gains momentum.

The antidote:

Be clear about where you are before you decide where you want to go. Once you are clear, decide where you want to be at the end of your career. Now look at the gap between the two. Work backwards and write down the steps you need to take. Then start taking one step at a time. Be realistic about what you can take on so that you can see progress and feel success as you build your career.

Barrier # 2: Wanting to do too much without enough resources.

• Most artists start off solo and think that they can build a 6-figure career that way. Those who take on too many tasks succumb to overwhelm and burn out before they experience success.

•They resist investing in their skills, tools and materials or business skills.

•They do not delegate less creative tasks to assistants or business professionals like web designers, accountants or artist advisers.

• They interpret common art career events such as lack of sales, not winning awards or galleries not accepting their work for exhibit, as personal or artistic rejection.

The antidote:

Write down your goals for the year. Break them down into the tasks it will take to achieve each goal. Estimate the time it will take to do each step. Schedule tasks as if they were appointments on your calendar. If you see there are too many tasks to fit your work time, spread them out, get help or take smaller steps.

Barrier # 3: Wanting someone else to take responsibility for the business side.

• Many artists tell me that they want a gallery dealer or artist representative so that they can abandon all business tasks and focus only on making art.

• They tend to buy into many of the myths about artists as pure creators who deserve special treatment.

•They are waiting for one big break.

•They believe that there is a silver bullet.

•They hope for a miracle that someone will discover them and save them from years of hard work.

• They want representation as soon as they make a few sales.

• They fail to understand that they need to build a resume and be able to demonstrate that they are good business partners.

The antidote:

Understand that you are in charge of your art career, whether or not you have representation. If you do get a gallery dealer or artist representative to exhibit and sell your work, know that you are a business partner not a ward in their care.

“Eighty percent of success is in your mind,

the rest is taking action to bring it into being.”

So let your mantra be:

• Decide.

• Act.

• Learn.

• Adjust.

• Rinse & Repeat as Needed!

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How 5K Facebook Friends Can Fast-Track Your Career

ArtsyShark | Carolyn Edlund — Tue, 19 Apr 2011 16:04:00 -0700

Mixed media artist Destry Sparks originally got a Facebook account when his wife set it up as a joke.

Now, not only has he embraced the idea of social media, but has taken it to the next level to promote his art, his shows, other artists, galleries and discussion.

What merits attention to this Facebook user is that not only has he made connections, but how he interacts with online friends to schedule gallery shows up and down the east coast and draws crowds to openings.

He promotes other artists whose work he admires, and makes introductions to movers and shakers who can enhance other artist’s careers as well.

Destry’s approach is that his networking relationships with others should be a win/win proposition. He learns from other artists, introduces people, finds out about opportunities, and passes them on to those who can benefit. As a result of his connections, and deliberately choosing to interact with artists and curators who have influence, his show schedule is extremely busy – sometimes leaving only a few weeks to create between gallery openings.

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As his career evolves, Destry has found that being diligent about Facebook and other social networking sites is an integral part of his job; he couldn’t imagine not being connected. Noting that the old gallery system in which an artist was more passive is declining, he is pleased that today artists have more control over their publicity, sales and schedules. He sums it up: “Most of the good things that have happened, I can trace to contacts I have made online.”

At his recent solo exhibition in New York, Destry met dozens of online contacts whom he had corresponded with for years. While the venue drew its usual local art going crowd, some of the attendees drove from neighboring states to see Sparks’ work for the first time time in person after having enjoyed it online. He is able to use Facebook as a tool not only promote his work, but to build relationships and collaborate on new projects with different players in the art world. From the reception, plans are already underway to participate next year in international art fairs and leading festivals across the country.

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What’s next?

This fall Destry has solo exhibitions at UNC-Charlotte and at St. Thomas University in Miami, FL. He will be putting together a collaborative show called “Looking for Answers” to be shown at Flynndog during the summer of 2012 in Burlington, Vermont.

Besides the national shows, Destry’s work is normally available at his in-state North Carolina galleries at www.twogalleries.net and Inkstone Gallery.

Destry Sparks’ website prominently invites Facebook friends, offers exhibition opportunities to artists who submit their work, and makes it very easy to interact with him. The uncluttered and straightforward design includes an “about” statement and image of his work on the home page, but his Facebook page is where his most recent creations are first presented.

At the Facebook limit of 5,000 friends, Destry cannot invite more people to connect, and sometimes has to drop inactive friends to add new ones. His suggestions for interacting successfully on Facebook and building your own art career:

• Invite friends who are artists or curators you admire and want to know better
• Send event invitations to your list for your upcoming events
• Promote other artists, and pass along opportunities for them
• Introduce people on your list who may benefit from the relationship
• Use your connections as a chance to partner with others for shows and events
• Make the most of in-person networking with Facebook friends who attend your shows
• Make sure your communications are personal, not just advertisements
• Be persistent and stay involved. It takes time and effort to succeed.

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How to Break into Advertising

John Rossheim, Monster Senior Contributing Writer — Tue, 19 Apr 2011 15:40:00 -0700

What's the most important qualification advertising agencies look for in young candidates, whether their interests lean toward the creative professions, account management or media buying? Industry experts say it's all about having the right instincts (and preferably some training) about how to deliver a crafted message to a targeted audience in the complex universe of advertising media. Here's a look at the industry landscape.

Advertising Talent Is in Demand

Even given the daunting challenges posed by the advertising industry in the 2000s, this is a good time to launch a career.

"Sixty percent of our May [2006] grads have jobs at the best agencies in the country," says Ashley Sommardahl, assistant director of the Virginia Commonwealth University Adcenter, which offers a master's program in communications. "A couple of years ago, it was the opposite; it was so hard to get your foot in the door."

That's not to say new talent is in short supply. "We're not having any difficulty getting good, bright young people," says Michael Donahue, executive vice president of the American Association of Advertising Agencies in New York City.

Interactive and Multiplatform Campaigns Are Where the Action Is

More than ever, today's advertising pros must bring a broad intelligence to their work. Graphic designers can't retreat into occupational silos. "In a creative, you're looking for a glimmer of talent that can be applied to anything," says Donahue.

"We're looking for people with interests in music, new media, gaming, fashion and an intellectual curiosity in trends and teen culture," says Mary Weber, director of talent resources at Fallon Worldwide, a 500-employee Minneapolis-based ad agency specializing in branding. "We want someone with a global view, not US-centric."

Print and television aren't dead; they're simply not as sexy as new media. "There is a huge opportunity for people now in interactive," says Sommardahl. "Students have to consider every single angle, including interactive games and product placements."

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"You have to become a little platform-neutral," says Jim Tobin, a partner at Brogan & Partners Convergence Marketing in Raleigh, North Carolina. "You need to know how to write for multiple media; you can't put long copy on Web sites, for example."

"Historically, ad people haven't been numbers people," Tobin adds. "But the numbers are becoming more and more important. You have to figure out where your target audiences are" and how to reach them with an arsenal of advertising media.

Diverse Ad Talent for Multicultural Markets

The need to address ever-more diverse audiences also is affecting how agencies hire. "Our multicultural advertising intern program brings bright kids of color into agencies in their junior year," says Donahue. In the last year, the program placed 105 interns in 30 agencies.

But it's not like agencies typically discriminate when handing out accounts that involve multicultural markets. "You don't necessarily have to be in Miami 24/7 to understand their Latin culture," says Weber.

Ad Pros Pay Varies

Salaries for advertising agency professionals range widely by thousands, even tens of thousands of dollars, depending on factors such as the size and prestige of the agency and the chief markets in which it does business.

For example, senior designers earn a median salary of $65,000 a year, according to AIGA/Aquent's "2010 Survey of Design Salaries." Going down the corporate ladder a bit, median salary for entry-level designers is reported to be $37,500. These medians also vary by region, with the median salary for an entry-level designer in San Francisco, for example, hitting $42,000.

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5 Secrets to Everlasting Optimism

Single Edition — Fri, 08 Apr 2011 10:25:00 -0700

When you see a glass filled to the midway point with water do you automatically wonder why there is no ice? It’s not unusual to be a cynic, in fact a little bit of the glass half empty attitude can be a healthy way to keep emotions and expectations in check.

Hope gives us sustenance - even the slightest bit of light will keep us going in moments of unbearable darkness. But without it, faith dwindles and so do our spirits.

Staying positive as far as finances, career, love and relationships are concerned is a skill even for the eternal optimist. But it is something you can learn to incorporate into your life by practicing these tips:

1. Romanticize the Future -

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The job you used to have, the salary you once earned or the love you let go long ago look a lot rosier in retrospect. But relishing in the past, as so many of us often do, is a horrible habit that has a sneaky way of sabotaging the present. A surefire way to stay motivated and inspired is to try conjuring positive images and thoughts of the future. Rather than focusing on the ex that got away or the amazing job you quit, try visualizing what the future will look like when the present - hard work, persistence and patience - pays off.

2. Avoid Fixating on External Influencers -

Our moods, in good times and bad, are often contingent on our interactions with other people. As a result of perceived slights and offenses, we start to engage in repetitive negative self-talk with all the worst case scenarios. Yet studies have shown that many of these concerns, forty percent or more, never happen and an additional twelve percent are needless worries, such as what someone else thinks about us. So how does one avoid the unnecessary angst? Start by monitoring your thoughts and replace worries with positive thoughts whenever they pop into your head. In these circumstances it also pays to be realistic - what other people think and how they behave towards you has more to do with their own issues, than with you. Being brushed off after an interview, for example, may trigger doubt or insecurity when in reality if may be the result of a last minute business trip or staffing change.

Next Page: Turn Inward for Validation →

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Featured Author: SingleEdition

Sherri Langburt conceived of Single Edition more than 13 years ago when at 24, she chose independence over matrimony and career over homemaking. Living alone in a big new city, Sherri quickly discovered the negative misconceptions and stereotypes facing today’s single adults and the serious shortage of support resources for unmarried individuals – an influential and overlooked population segment. Today, Single Edition Media makes lasting impressions through
SingleEdition.com, content syndication with third party publishers as well as lifestyle learning events & seminars and through other experiential marketing programs.
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3. Turn Inward for Validation -

Real hope is a passionate feeling that comes from within. When your hopes start to dwindle you can restore feelings of optimism by going straight to the source: yourself. As kitschy as this may sound, do as Oprah, and make a list each morning of all the good things you have going on in your life. And yes, there will be days when the positives may seem insignificant or silly but the smallest pleasure and joys in life add up and have a way of making us feel better.

4. Change the Way You See Things -

Remember the famous quote attributed to Albert Einstein “Insanity: doing the same thing over and over again and expecting different results?” Well, the next time those feelings of despair set in, try pinpointing what you are doing that may be the root cause. Stepping away from what is bringing you down, even if temporarily, by finding new outlets to channel your energy or happy distractions will help ease the tension.

5. Get Inspired By Real Life Success Stories -

Ever wonder why Weight Watchers is the most successful diet plan? It’s because they are constantly showcasing weight loss success stories. True stories of people who lost the weight, built a business, found a mate despite the challenges are an excellent source of inspiration. Whenever you are faced with doubt or adversity, treat yourself to a dose of other peoples’ victories. You can find plenty of inspiring tales easily by sifting through diet, dating, career and other internet sites.

This article was originally published on SingleEdition.com.

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More From Single Edition:

10 Guys You Don't Want to Date in 2011

Chemistry: In Search of a Cosmic Connection?

Understanding The Cycle of Friends

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10 Ways Artists Can Overcome Spring Fever

Fine Art Tips | Lori McNee — Tue, 05 Apr 2011 13:33:00 -0700

This article was originally posted on FineArtTips.com.

This winter has been a bit too cold, long and confining for this native, California girl! I must admit I’ve caught Spring Fever, a common woe that strikes when the days begin to get longer and warmer. This time of year it is customary for people to blame Spring Fever for their restless or lazy behavior, distractions in the workplace and studio, sudden spurts of spring-cleaning and love struck dazes.

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While watching the snow melt and waiting for flip-flop weather, I find my mind wandering and daydreaming about the beach, plein air painting in green pastures and feeling lazy, uninspired and wanting to play instead of work and paint. Normally, I am an extremely industrious person, so why do I feel overwhelmed and so unproductive? I am sure some of you are feeling the same way, so I decided to do a little research about Spring Fever and thought everyone might enjoy reading what I learned:

The definition of Spring Fever is: “A feeling of restlessness, excitement, or laziness brought on by the coming of spring.”

Historians believe that American colonists coined the term Spring Fever to refer to the weakness, fatigue and irritability many felt after a long winter without fresh fruits or vegetables — but actually, the colonists’ symptoms were scurvy.

Today scientists have discovered that long days of rain or snow and the lack of outdoor activities can make some people feel restless and sometimes even depressed. Medical research has attributed the phenomenon of Spring Fever in humans to seasonal changes. The change of seasons causes a realignment of the body’s chemistry to sunlight. These changes during spring can readjust the body’s chemistry, specifically the internal body clock that responds to sunlight.

Statistically, at least half of people who live in the northern latitudes of the United States and Canada experience the symptoms of Spring Fever more intensely. Longer sunny days seem to have a direct impact on people’s psychological and physiological responses to the passage of the seasons. So, scientists now know that spring fever is not just mental, but caused by an adjustment in body chemistry and seasonal biology!

Artists also have the added challenge of working alone most of the time. No wonder we want to stare out of our studio or office windows on a beautiful sunny day instead of work!

Next: Some Ideas to Help Combat Spring Fever →

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Here are some ideas to help combat Spring Fever:

1. Go out in the sunshine and get some much-needed Vitamin D, exercise and fresh air.

Exercise benefits your body and mind as it burns cortisol, which reduces the negative effects of stress and releases endorphins that block pain receptors and give you a feeling of euphoria. Many studies have shown that exercise reduces anxiety; even short periods of exercise, such as aerobics, walking, and jogging. Just a few minutes seems to help.

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2. Check your work habits!

Spring is a good time to reevaluate your work habits. If your routine is not working for you, try mixing it up. Often times, a small change to your work schedule will help to make big changes in your productivity and happiness.

3. Give yourself permission to take a break.

Most artists are workaholics and don’t know when to stop. Be flexible. Flexible scheduling will allow you to balance your work life more effectively.

4. Sign up for a workshop.

This is a great way to expand your artistic knowledge and another way to meet and network with other like-minded people. I’m going to treat myself to a workshop next month!

5. Put all that daydreaming to work and use this time to create in your head.

Jot down some quick notes in a journal or sketchbook to record the great imaginative ideas that come mind!

6. Bring the outside in by opening the windows!

Fresh air does wonders. Experiment with bringing the outside in by decorating your workspace with flowers and houseplants. Many houseplants naturally purify the air. This freshness will help yield new ideas and perspectives.

7. If you have the time and money, nothing beats spring fever and work fatigue like taking a trip.

However, a trip can be as simple as a weekend get-away, a day at a favorite museum, aquarium or zoo or an elaborate cruise or island retreat. The options are endless, but the common denominator is just getting away from your work for at least for a full day.

Or take time and enjoy the last bit of winter. That’s right – maybe you haven’t taken the time to enjoy yourself this winter! Now is a good time to get out and enjoy the snow and brisk weather before it is all gone. Be sure and take your camera for some added inspiration.

Next: Give Social Media a Try →

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8. If you are not a member of Facebook or Twitter, give social media a try.

This is the best way to combat loneliness in the studio! Social media connects you with other creative individuals who are willing to offer support, inspiration and information in their networking circles. Twitter and Facebook are easy ways to meet other artists and promote your art or business.

9. Spring clean your workspace because this is important!

Again, I know from personal experience that a messy, cluttered studio or office adds to a feeling of dread. A clean workspace makes for better productivity!

10. Try a new medium!

Maybe you have always wanted to try sculpting in clay, or abstract painting or what about planting a garden or building your own outdoor painting pochade box? Pick up your old sketchbook and doodle. Or, maybe it’s time to put down the paintbrushes and give yourself permission to read a good book. This is something I need to do from time to time. I know from personal experience, that a great book can transport your imagination and lift your spirits in ways that will reflect positively in your artwork.

Many of the above ideas are helping me and I am feeling productive again. I have taken some much-needed breaks, cleaned my studio and even went on a trip to Canada! Now, I am ready to get back to painting and blogging.

If you feel blue or are suffering from Spring Fever, science proves that social connections are one of the best treatments for depression, anxiety, and even disease. Study after study confirms that people with strong social connections live longer, happier lives. Remember, even though most of us work alone, being an artist does not have to mean a life committed to solitary confinement!

Have a solution for Spring Fever? Please leave a comment below!

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The Art of Good Collaboration

Elisha-Rio Apilado — Tue, 05 Apr 2011 10:25:00 -0700

How to find an art partner and share artistic ideas successfully!

Collaboration is another word for teamwork. It's the art of merging two or more creative whizzes, whether it is an artist and a writer, an artist and a photographer or an artist and a musician. This powerful partnership has the ability to create a massive explosion of creativity and result in an expanded, well thought out concept.

Collaboration is more than getting together to fuse your creative energy into a large piece of work. It doesn't just happen in one day —it’s a long, committed process. But via this process, you will experience another person's artsy mind and have the ability to dip yourself into another artist's soul and hopefully take something from that (and I don't mean stealing ideas) — think: styles, knowledge, processes. Collaboration allows artists to experiment, take chances, as well as learn from and teach others.

However, in order for this kind of creativity to reach it’s maximum potential, artists must follow these steps:

Next: Finding the Right Partner →

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The first step is finding the right art partner(s)

This means finding your other artistic half. Not only must you find a strong artist, you must also find a strong artist with a mind for business. The following are a few ideal traits to look for in your long-term partner:

• They should have lots of art knowledge and be passionate about what they do!

• They should be open to any and all ideas, from the norm to the bizarre.

• They should have a different interest or style, but the ability to fuse two very different artistic ideas. This is best for creating unique work.

• They should be able to simultaneously communicate and listen.

Now although you're searching for “the one,” keep in mind that the other person is also looking for these traits in you. Hopefully you'll be lucky enough to find someone you mesh well with — someone with whom you can connect with and share mind-blowingly awesome brainstorming sessions.

The second step is developing your goals together

You have your own art goals and your partner no doubt has his own too, but collaboration means compromise. You joined forces to achieve one goal together, so communication is a must and should be dealt with accordingly. There's no room for egos here, so check them at the door.

Some goals to think about are: What would the project consist of; How long will it take; What is it's purpose, etc. It's similar to creating a design brief, only this time you have a second set of opinions. Figuring out the ultimate goal also means figuring out the process of how to get there. What kind of partnership will this be: a leader and a follower? How will you make the ultimate decision?

Throughout this step, being as specific as possible is worth the cramps you may feel in your hands from jotting it all down. All ideas, as well as what was spoken about during these meetings should be noted for future reference.

Next: Working as a Team →

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The third step is working as a team

Teamwork doesn’t mean one person does all the work — teamwork mean collaboration, compromise, and creativity. Collaborating on an artistic project is a big undertaking and to achieve a finished piece, your team should assign duties and roles and specify what each artist will do.

Sure, along the way, you're going to find yourself in heated discussions and tempers may flare; we’re passionate artists after all. But remember, both sides must keep an open-mind for the project to work. Listen to what your partner(s) have to say and let them justify their reasons before jumping down their throats. Make it a point as a team to explain your ideas, rather than defend them.

Remember, the two (or three, or four) of you got together to create something artistically beautiful. You were attracted to each others different styles, creativity and thought processes. You decided to join forces and merge these different talents and skills to form a concoction you hope will enrich minds and leave your viewers in awe.

Good luck on your collaborative endeavors!

Featured Author: Elisha-Rio Apilado
Elisha-Rio Apilado is a Chicago based graphic designer/illustrator and studio artist whose paintings and drawings have been featured in various exhibitions. Elisha studied studio art in Dallas, TX and moved back to Chicago where she obtained a B.F.A. in Visual Communications at the IL Institute of Art. She is currently diving into the career world of design while taking on freelance gigs and volunteer work.

Her portfolio and blog of random art findings can be found at erioapilado.com. Join her Facebook page or follow her on twitter where her daily art adventures are posted.

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"You’ll Never Make a Living as an Artist”

Carolyn Edlund | ArtsyShark — Mon, 04 Apr 2011 11:32:00 -0700

Who said that to you?

Was it your parents, who wore concerned looks while they tried to steer you into declaring a business major? Did your eyes glaze over as you imagined a noose around your neck, dragging you to a windowless cubicle in a nondescript office building where you would face a dreary existence for the rest of your life?

Was it your friends, who didn’t think big enough to believe that someone they knew could launch a creative career on their own terms, and be successful doing it? The same friends who didn’t have the confidence to create their own big dreams?

Was it your ex, who complained that “your stuff” was in the way and what did you think you were doing anyhow? Who didn’t share your creative ambition and didn’t make the effort to understand?

Or was it you?

Have you denied yourself permission to do something so out of the ordinary and daring that you never took that leap?

Negative self-talk and lack of confidence have kept countless creative people from pursuing their dreams. Yes, it’s very hard. Yes, you will be discouraged, and yes, you will hear from people who say, “You’ll never make it as an artist.” Anything that’s really worth it is difficult.

I get a lot of email, online comments and questions in person from artists who are daring to dream but are having a problem with confidence and follow-through. They are looking for assistance – sometimes they want a rep, who will take all the pain of marketing and selling away from them. Sometimes they need a sounding board, or a decision maker or a partner. Other times, they want to know the “secret” to getting into galleries or are hoping for a referral. And sometimes they have trouble truly identifying themselves as artists.

Keep these five things in mind the next time you suffer a lack of confidence in your art career:

#1: You're Your Own Best Advocate →

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1. You are your own best advocate.

Even if you hire people to do your promotion and marketing, you alone are the most passionate about your success. Use this drive to speak about yourself and your work proudly. If you have trouble putting your thoughts into words, work on a written summary of your business that is a sentence or two long. Practice this until you are clear that you can quickly recall it. This is called an “elevator pitch” because it is short enough to be spoken during an elevator ride. Use it during conversations with people you meet – you never know who could be your next great contact!

2. Success breeds success.

Once you get a few sales or shows under your belt, things come more easily. Getting out of the starting gate can be tough and take a toll on the ego, especially when you are faced with rejection. Don’t give up on pursuing the icebreaker that will help you get a foothold and build your confidence and your business.

3. Attitude is everything.

Think and act successfully. This doesn’t mean that you aren’t being honest; it means that you believe you are an artist with talent who is working on a career in your field. Give yourself credit for all your efforts. Be kind to yourself and cultivate friends who also believe in you.

4. There is support for you.

I speak with experts all the time who are decision makers and have the power to advance the careers of artists. Despite seeming heartless to those who are rejected, many of these people have gone out of their way to express how they wish to support and encourage artists. Quite a few of them have been in your shoes. Even though they may not choose your work because it doesn’t fit their needs at the time, don’t take it personally.

5. Don’t give up.

I firmly believe the most important characteristic of an artist is persistence. Learn from your mistakes, raise the bar on your quality, and improve your efforts. And, continue to pursue opportunities — they will come!

How To Handle Creative Disasters

Eric Maisel — Mon, 04 Apr 2011 09:46:00 -0700

Hello, Dr. Maisel:

Last week I finished a painting and it was an unmitigated disaster. There was nothing about it I liked! Do you have any hints for dealing with situations like this where the thing you just finished is a complete wreck?
-Raphael J., San Francisco

Thanks, Raphael.

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If you had high hopes for your current painting and it turned out so poorly that the only word that comes to mind is “disaster,” what can you do to deal with the angst welling up in you? Here are ten tips that will help!

1. Mind your language

Is it really necessary to call it a “disaster”? How does it serve you to use such a harsh word on something you created with genuine love and real sweat? How do words like disaster, failure, mess or mistake help you? You are in charge of the language you use and employing the most self-disparaging language available can’t be a good idea!

2. Instantly forgive yourself

All right, something unfortunate happened. You can pile a ton of guilt and an extra thousand pounds of regret on your back because of this unfortunate occurrence or you can forgive yourself right now, without a moment’s hesitation, before the weight of your guilt and regret drop you to your knees. Self-forgiveness is not the same as not owning your part in what you’ve wrought — rather, it is simple kindness and the only way to guarantee second chances.

Next: Engage in Self-Support →

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3. Engage in self-support

Do you deserve the good chocolate or the deep massage only as a reward for some success? Isn’t it just as sensible to treat yourself in soothing, self-supportive ways when something is making you feel miserable — something that has the potential of lingering on as a permanent source of unhappiness? If you haven’t learned how to genuinely support yourself, this is an excellent opportunity to figure out how!

4. Take a break and reappraise

Maybe it wasn’t a disaster at all — or maybe it was only a limited disaster. Take the weekend off and then look at your painting again. Bravely return to the scene of the disaster and see if it really was a disaster. Very often it wasn’t!

Next: Reframe It as a Learning Experience →

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5. Reframe it as a learning experience

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It is genuinely the case that we learn best from our “mistakes and messes” if, and only if, we can find the courage to look our creative project in the eye and see what worked and what didn’t work. If you make this brave effort, then this creative project, no matter how poorly it turned out, becomes a real learning experience and maybe one of your most profound ones. It is not a mere mental tactic or a play-on-words to reframe disasters as learning experiences — they are exactly that, if you treat them that way.

6. Salvage the good parts

A given creative project may “fail” in its totality but still contain many “good bits” that can be salvaged. For instance the imagery you chose for your painting may still appeal to you if only you had executed it differently or better. Look at your creative project with fresh eyes, maybe after a weekend away from it, and focus on what can be saved rather than on what must be discarded.

Next: Get Back to Work →

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7. Get back to work

A “disaster” is a perfect excuse to stop creating altogether. You get it in your mind to lick your wounds, you take a break from the hard work of creating, and you find that days, weeks, months and even years are slipping away through avoidance. Even after the worst “disaster” get back to work! Maybe you need a weekend away; maybe you need a week. But don’t let it be too long. We can lose vast stretches of time if we allow our “failed” creative projects to become excuses for not getting back on the horse and trying again.

8. Exorcise lingering regrets

It is one of the unfortunate habits of our mind to return to our “disasters,” including those that happened years or even decades ago. For some evolutionary reason we are built to dwell on our failures and not on our successes. You will want to counteract this natural but unfortunate habit by mindfully “letting go” of regrets the moment they arise. When you hear yourself beating yourself up about that ruined painting from twenty years ago, say to yourself, “Nope! Don’t need that thought.” Exorcise it instantly.

Next: Get Feedback →

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9. Get feedback

In certain circumstances it may pay to have a second set of eyes take a look at the supposed “disaster” and give you feedback on what he or she sees. This may be especially true when you yourself aren’t sure if the painting in front of you is or isn’t a disaster and if there is someone in your life whose opinion and judgment you respect. Use feedback wisely, circumspectly and only occasionally — if it is the right moment for feedback, seek it out.

10. Honor the process

Once you deeply understand the realities of the creative process you will know in your bones that “disasters” are to be expected. Only a naïve romantic thinks that everything he tries will turn out beautifully. In fact, the more ambitious your efforts the greater the likelihood that you will stretch yourself to your limits and sometimes exceed your grasp. Honor the creative process by embracing the idea that “disasters” come with the territory — we do not love them, but they shouldn’t surprise us or derail us.

Featured Author: Eric Maisel

ERIC MAISEL, PHD, is the author of more than 30 books and is widely regarded as
America’s foremost creativity coach. He trains creativity coaches nationally and internationally and provides core trainings for the Creativity Coaching Association. His books include Coaching the Artist Within, Fearless Creating, The Van Gogh Blues, and many others. His websites include www.ericmaisel.com and www.brainstormthebook.com and he can be reached at ericmaisel@hotmail.com.

Please contact Dr. Maisel if you would like to train as a creativity coach or a meaning coach, if you would like to receive individual coaching, or if you have a question for this column.

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Vital Safety Tips for Outdoor Painters

Fine Art Tips | Lori McNee — Mon, 28 Mar 2011 15:15:00 -0700

This article was originally published on FineArtTips.com.

Painting pretty pictures in the great outdoors is not a walk in the park. In fact, plein air painting is tough work. It takes us from the controlled environment of our studios and into the unpredictable environment of Mother Nature.

Outdoor painting with a pochade box is a wonderful experience, but believe it or not, there are some hazards the artist should be aware of and prepared for when painting outside. The most effective way to prevent mishaps is to adequately prepare for the safety of your trip ahead of time and it is important to know what to do if trouble arises.

Whether you are painting next to your car or backpacking in the wilderness, it’s good to be informed of the following safety tips for outdoor painters — especially the extreme outdoor painter. But, these tips apply to any nature enthusiast who enjoys playing, hiking, biking or photography in the great outdoors. When I am in the remote back country I always travel in numbers. I don’t carry a gun, but I always carry Bear Spray on my hip in a water-bottle holder. Living and painting in the Rocky Mountains, I personally have had encounters with lightening, blizzards, black bears, moose, coyotes, snakes, a mountain lion, a wolf, and of course, a strange person or two.

Safety Tips:

TELL SOMEONE WHERE YOU ARE GOING:

The buddy system is always the safest way to travel and paint, but if not, be sure and tell someone where you are going and when you will be returning.

HAVE KNOWLEDGE OF THE AREA:

Before you venture off into the wilds of the countryside or mountains, be sure to acquaint yourself with the area.

FIRST AID KIT:

Your kit can prove invaluable if you or a member of your group suffers a cut, bee sting or allergic reaction. Pack antiseptics for cuts and scrapes, tweezers, insect repellent, bug spray, a snakebite kit, pain relievers, and sunscreen.

Next: Emergency Supplies Kit →

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EMERGENCY SUPPLIES KIT:

Map, pocket knife, flashlight, warm clothing, hat, rain jacket, water, cell phone, high energy food, water proof matches, candle and empty tin can (for heat), water purification tablets, pepper spray or bear spray, whistle, snow shovel (for winter painting), tow rope, blanket.

PREPARE FOR WEATHER CHANGES:

Watch the local weather report and be prepared! When thunder roars, go indoors!

What to do if you are caught in a lightning or thunderstorm:

• If you are caught above the tree line when a storm approaches, descend quickly.

• Avoid isolated trees – it is better to run into a forest.

• Try and find a ditch.

• Run into a forest if a shelter or car is not nearby.

• Drop metal objects like umbrellas, easels, tripods and packs with internal or external metal frames.

• Get off bicycles, motorcycles, and horses. Avoid metal fences, utility poles and metal bleachers.

• If you are caught in an open field, seek a low spot.

• Crouch with your feet together and head low.

• Don’t sit or lie down, because these positions provide much more contact with the ground, providing a wider path for lightning to follow.

• If you are with a group and the threat of lightning is high, spread out at least 15 feet apart to minimize the chance of everybody getting hit.

• Don’t return to an open area too soon. People have been struck by lightning near the end of a storm, which is still a dangerous time.

• Get off lakes or rivers and seek shelter when storms approach.

• Once on land, get at least 100 yards away from shore.

• If someone is struck: People who have been hit by lightning carry no electric charge and can be safely tended to. Also, victims who appear dead can often be revived. If the person is not breathing, begin mouth-to-mouth resuscitation. But if a pulse is absent as well and you know cardiopulmonary resuscitation (CPR), begin CPR. Stay with the victim until help arrives.

AVOID HYPOTHERMIA:

• A person may develop hypothermia when the outside temperature is around 50 degrees or is cold, damp and windy. Hypothermia occurs when your body loses heat faster than it can produce it.

• Wet clothing from perspiration, dew, humidity or rain puts you at risk in cold weather.

• Wind lowers your body temperatures as it evaporates moisture from your body and draws heat from the body.

• Dressing properly and avoiding potentially dangerous weather conditions can prevent hypothermia.

• High-calorie foods, including chocolate, dried fruits and raisins provide quick energy that helps produce body heat.

WATCH FOR BUGS:

Hornets, bees, wasps, and yellow jackets can be a problem for painters. Avoid attracting stinging insects by wearing light-colored clothing and avoiding perfumes or colognes. Should such an insect approach, do not wave wildly and swat blindly, instead use a gentle pushing or brushing motion to deter them.

Next: Tips for Ticks →

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Tips for Ticks:

The proper technique for tick removal includes the following:

• Use fine tweezers to grasp the tick as close to the skin surface as possible.

• Pull backwards gently but firmly, using an even, steady pressure. Do not jerk or twist. Do not squeeze, crush, or puncture the body of the tick, since its bodily fluids may contain infection-causing organisms.

• After removing the tick, wash the skin and hands thoroughly with soap and water.

• If any mouth-parts of the tick remain in the skin, these should be left alone; they will be expelled on their own.

• Attempts to remove these parts may result in significant skin trauma.

Tips for Stings:

• Remove any stingers immediately!

• No need to scrape off bee stingers, just remove them.

• It’s okay to pull stingers out with your fingers.

• The longer bee stingers are allowed to remain in the body, the more severe the reaction.

• How fast you get the stinger out is much more important than how.

• Honeybees leave a stinger behind when they sting a victim.

• Wasps, yellow jackets, and hornets do not leave a stinger. These relatives of the honeybee can also cause an allergic reaction.

WATCH FOR SNAKES: Over 8,000 people are bitten by poisonous snakes in the United States each year.

Keep your hands and feet away from areas you cannot see, like between rocks or in tall grass where rattlesnakes like to rest.

Tips for Bites:

• Keep the bitten area still. You can immobilize the area with an improvised splint made from a board, magazines, or other stiff material tied to the limb. Don’t tie it too tight—you don’t want to reduce blood flow.

• Remove any jewelry or constricting items near the affected area in case of swelling.

• Keep the area of the snake bite lower than the heart. Go to a hospital immediately.

• If bitten by a rattlesnake, DO NOT use ice to cool the bite.

• If bitten by a rattlesnake, DO NOT cut open the wound and try to suck out the venom.

• If bitten by a rattlesnake, DO NOT use a tourniquet. This will cut off blood flow and the limb may be lost.

• If the victim has to walk out, sit calmly for 20-30 minutes to let the venom localize at the site, proceed calmly to the nearest source of help and try to avoid unnecessary exertion, which will stimulate circulation of the poison.

• Get the victim to medical care for antivenin, which will provide the greatest relief from the toxic effects of the bite.

CLOSE ENCOUNTERS WITH WILD ANIMALS:

Black Bears:

• Most times black bears do not want to bother humans. Some, though, are curious or even predatory.

• Do not get between a bear and its food source.

• A sow with cubs is the most dangerous.

• Get BIG and bold.

• Stand your ground.

• Do not run!

• Wave your arms and yell loudly.

• If the bear sees you as a threat, it will charge.

• Bear spray is about 92% effective according to a recent 2008 Alaskan study.

• Guns are inaccurate and can just make the bear angry. But shoot to kill if you do.

• If the black bear does attack you, fight back!

Next: Grizzly Bears →

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Grizzly Bears:

• There are more grizzly bears in the wild now and they are more territorial than black bears.

• Humans are NOT the preferred food for grizzly bears.

• Treat a grizzly differently than a black bear.

• If you surprise one, avoid contact and back away slowly.

• Do not run…their instinct is to chase prey.

• Climb a big tree if you can — these bears can push down smaller trees.

• Guns are less effective on grizzlies.

• Bear spray should be your first line of defense; unfortunately, the bear has to get close to you!

• If the Grizzly does attack, lie on your stomach and play dead. When the bear doesn’t feel threatened anymore, it will usually retreat.

• People who run, panic or fight a grizzly end up with the worse injuries from a grizzly attack.

Mountain Lions:

• Lions are quiet, sneaky and usually attack from behind.

• Get BIG, bold and loud.

• Stand tall and wave your arms.

• Throw rocks and/or pick up a big stick – use it!

• A lion’s nose is very sensitive to bear spray, so use it!

• If a mountain lion does attack you, it will go for your head or neck first.

• Fight back as hard as you can. My friend saved his daughter from a mountain lion mauling by poking out its eyes (gross…sorry for that!).

Wolves:

• Although healthy wolves usually do not attack humans, their population is on the rise and therefore it’s good to know what to do. Attacks are rare, but not unheard of…

• Defense against them is the same as the black bear and mountain lion.

• Get BIG and fight!

• Throw rocks and sticks.

• If a wolf thinks it is going to get beaten, it will back away.

• Maintain eye contact, do not run or turn your back.

• Where there is one wolf, there are usually two…so keep a sharp eye behind you.

• If you have a gun, fire off shots in the air.

• Wolves usually attack the back of the leg to cripple its prey.

• Bear spray should work on this wild canine.

• If not, do you best to climb a tree!

Next: Moose →

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Moose:

• Moose are very territorial and dangerous animals.

• Moose are very unpredictable.

• Never get between a cow and its calf.

• Try and remain 50 feet away.

• If you see its ears back or the hair on its ‘hump’ stand up, it is angry and ready to attack.

• Never throw anything at a moose.

• Keep dogs under control. Dogs will only anger the moose.

• A moose will chase after a dog.

• If it charges you, try and get behind a tree or a big boulder.

• You can try and look big, but if is attacks get down on the ground and cover your head, stay still and play dead.

• Moose kick with their front feet and back feet.

• I’ve always heard that moose are the only wild animals you should run from!

FYI: Remember, running from any predator is futile. Bear spray only lasts about 7 seconds. Be sure and check the expiration date on the can or buy a new can each year to assure potency.

I would like to add one more thought: as a woman, I usually use the buddy system when painting out in the wilderness or in remote areas. I have to admit that I am more leery of a strange human being than a wild animal. When I paint alone or with another woman, I make sure to stay within cell phone range and carry bear spray. I also don’t dress to impress!

Some of these safety tips may seem a bit extreme for the average plein air painter, but it is better to be over prepared, than under prepared. Just like the Impressionists before me, I love to venture out into the backcountry to investigate and capture the effects of sunlight on a favorite subject. I often chose to paint in the wild Rocky Mountains where I hope I never have to use any of the above safety tips!

Safe outdoor painting travels to you!

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25 Ways to Spread the Word About Your Art

Carolyn Edlund | ArtsyShark — Thu, 24 Mar 2011 11:30:00 -0700

You’ve put in tons of studio time, developed a signature style, created a body of work and are serious about selling your art or crafts and building your business. Even if you’re an experienced pro, are you doing everything you can to market yourself and create opportunities for sales every day?

Here are 25 ways to spread the word, spur interest in yourself and your work, and grow a base of dedicated customers:

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1. Diversify your efforts

If you are currently working in one medium, how many other ways can your images be sold — as t-shirts, mugs, mouse pads, notecards, etc. Use online resources such as Café Press and Zazzle to sell your creations in multiple formats. Many well-known artists do this.

2. Sell Retail and Wholesale. Are you currently selling only to the public?

You may be giving up a huge market — wholesale buyers. Crunch the numbers and see if you can sell your products to the wholesale market. This involves making items in mass-production (such as prints, pottery, etc.) not strictly originals.

3. Sell your Work through Online Outlets

Etsy and other sites let you upload images and sell through their venue. Take advantage of these popular websites not only to sell but to create recognition and publicity.

4. Show Your Work in Alternative Spaces

In this economy, there are empty storefronts, window space on busy streets and other non-traditional places to show and sell your work. Pop-up galleries have become a trend, and can be placed in homes for sale, restaurants and available real-estate for next to nothing.

5. License Your Work

Many artists license their designs to manufacturers and get paid well for their work, giving them a steady stream of income. Use this as a primary or secondary way of creating income.

Next: Apply to Exhibitions →

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6. Apply to Exhibitions

Keep sending in applications to shows that suit your work. Show up personally to shows you get in to and to speak with visitors. This will lead to sales and commissions.

7. Write About Yourself

Write an article about yourself and your work, or have an article written about you. Does your work involve anything unusual or complex? Explain your techniques, using lots of photos. Post your article on ezines, your blog, or use them in press releases.

8. Regularly Send out Press Releases

Any time you have news, whether it is a show you are participating in, a new body of work you have created, or if you just want to publicize your work, you can send out press releases, by email and on paper. Send them to trade publications, local newspapers, large newspapers, blogs and news organizations. Photos of yourself and your work are essential. Most importantly, tell your story. The press is always looking for interesting stories for their readers. And face it, you’re interesting!

9. Cultivate Referrals

Word-of-mouth referrals are like gold and you want to encourage them whenever possible. So, how to get referrals? Ask for them! When you send out an email newsletter to your existing customer list, ask them to refer any friends who may be interested in your work. You may want to offer a discount or a gift card for these referrals. And be sure to thank anyone who gives you one!

10. Respond to Requests from the Press

The flip side of press releases is to respond to reporters looking for interviews, such as HARO. Also consider writing articles for publication on popular sites such as Fine Art Views who solicit them. Drive readers to your website by providing a link and then when they get there . . .

Next: Make Your Website into an E-commerce Site →

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11. Make Your Website into an E-commerce Site

You spent a lot of time and money on your website. So, where’s the shopping cart? Getting online visitors is challenging enough, but when they do visit and can’t make a purchase, you lose the sale.

12. Exhibit at Trade Shows

It can be expensive to do a trade show, so make sure you have done your homework first and target the right ones. Participating in a trade show gets your work in front of many buyers and can be extremely profitable.

13. Sell at Home Shows

Do you have clients or patrons who would be willing to open their homes and invite their friends to come and see your work? Partner up with other artists if you wish and create a great experience by setting up in-home displays and sell to a private audience. Give the hostess some free work or other gift to thank them. This is a proven method I’ve used personally to make thousands of dollars in sales.

14. Do a Trunk show for a Retail Store

Boutiques, galleries and department stores have a “meet the designer” event and you show up, bringing new work with you that isn’t available in the store’s inventory. You split the sales with the store and it’s a win-win. The store owner should provide their customer list for a promotional postcard mailing and you can advertise in the local paper and online.

15. Hire Sales Reps

This is a powerful way to multiply your presence and exposure to wholesale buyers. Working with reps (if you have a mass-produced production line of products) can add a huge dimension to your marketing and your sales.

Next: Cultivate Buyers in Your Niche →

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16. Cultivate Buyers in Your Niche

Get involved with people who enjoy and support your chosen niche. Is your work animal-related? Attend ASPCA and charity events for animal rescue. Do you create nautical art? Participate in waterfront, sailing events and clean water causes. Donate some work to help raise money and awareness. Get to know the people who run events, and participate in groups for your cause. Subscribe to publications and websites that support your niche.

17. Advertise

This may be in a newspaper, magazine, on related websites or even Google AdSense ads. Use compelling images of your work. If necessary, get professional help from freelance writers or marketing consultants.

18. Volunteer

Help out at a local art event or sale. Get to know the people who support the arts and enjoy participating. They can often introduce you to many others in that community who can help spread the word about you. Plus, you get the satisfaction of being a volunteer and helping others.

19. Participate at a Decorator Show House Event

Many areas around the country have seasonal decorator shows where a large house is transformed by many interior designers and they are well-attended. Vendors at these homes usually get exposed to a crowd of affluent buyers and can make lots of money in sales.

Next: List your Business in Directories →

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20. List your Business in Directories

Is your studio listed on YellowPages.com? It’s free. Add your listing to Google search and other business directories to get the attention of local buyers. List your website address in online directories of artists and craftspeople, providing a way for potential customers to find you.

21. Print Postcards of Your Work

Choose several professionally-taken photos of your work and have a selection of postcards printed. Use these in mailings to your customer list, to hand out at shows, or as leave-behinds for business contacts.

22. Seek out Corporate Markets

Is your artwork appropriate for hanging in hotels, offices and other business environments? Submit your portfolio to corporate art advisers, or get in touch with buyers for hotel chains and make a presentation of your work for consideration. Sometimes framers work with these clients and you may be able to make a strategic partnership with a framer to help promote your work.

23. Open Your Studio.

Does your city or community offer any “open studio” events where artists invite the public to see their work space and purchase their art? Participate in these, or have your own open studio by choosing dates, sending postcards, advertising and sending out press releases well in advance. This can coincide with the holidays, when certain towns invite the public to view homes decorated for a “holiday tour." Open your studio and let your guests view your work for possible gift ideas.

24. Get involved with Public Art.

A relatively new phenomenon, public art allows artists to get exposure they ordinarily would not receive.

25. Constantly Seek Opportunities.

There are many publications out there listing opportunities for artists and craftspeople to sell work. From trade magazines to website directories, you can find shows, exhibitions, projects and venues to publicize yourself and your work. Subscribe, whether in paper or online, and plan to read them regularly. Don’t miss out on ways to build your business and grow your customer base!

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Should Artists Blog?

Fine Art Tips | Lori McNee — Tue, 22 Mar 2011 13:06:00 -0700

This article was originally published on FineArtTips.com.

Professionals artists and novices alike would agree that art lends itself to solitude. From the studio to the gallery — both creating and viewing art tends to be an individualized experience. But is this a necessity of the field, or just a bad habit?

Art blogs help artists to reach beyond the canvas or the computer screen and make contact with thousands of other creatives all across the world.

Many artists have done just this. Blogging provides any creative-minded individual the opportunity to share their work with the world at large. Blogging, combined with social media and online art communities offers artists a unique opportunity for self-promotion, expanded viewership, and ultimately, contacts with buyers.

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Although galleries are still important to the professional artist, gone are the days of galleries and exhibitions as the primary means of sharing and selling art. Today, online art communities like finearttips.com and artbistro.com allow artists to showcase their best work. But individual blogs have their place as well in connecting the artist to a larger community of viewers, fans, and fellow artists. While most artists strive to create finished pieces ready for display and sale, the creative process itself is equally, if not more important.

Blogs allow artists to show works in progress. Thus, the artist can receive feedback and criticism before the work is finalized, make changes, and contemplate new ideas and suggestions. Posting works in progress on blogs can also help budding artists learn about new artistic techniques and see the creative process from start to finish as presented by the more experienced blogger.

Next: More Reasons to Blog →

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Tutorials, essays, and experiments are extremely valuable in revealing details about the process of art creation that is all too often overshadowed by final pieces. Perfection is certainly laudable. But sometimes the bad ideas are as revealing, interesting, and thought provoking as the good. The artist can see what parts of his creative process work, what parts don’t, and why. But artists’ blogs need not only showcase personal works. A creative mind sees the world in a different way, and an artist blogger brings a unique perspective to other artwork, current events, and other forms of creative expression.

A blog like Book Paper Scissors is a collection of some of the most unique illustrations being created today by both professionals and casual artists. Such blogs not only provide budding illustrators with publicity, but also present a fascinating picture of the zeitgeist of modern illustration. Glancing over Book Paper Scissors reveals a common love of complex line work, simple but vibrant colors, and odd cutout type shapes.

Art Hound, another artist blog, not only displays the bloggers’ work, but also offers a unique service that pairs buyers with art that would fit with the design and style of their home. Individualized services like this help connect people with ‘good art’ and bring the artists revenue.

So, if you are an artist and wondering ‘why blog?’ consider this:

• Blogging can help bring the world to your art and your art to the world.

• It can help share your unique perspective on the world as a creative individual.

• It allows you to connect with budding artists and become a mentor, role model, and teacher. It can broaden your artistic horizons, teach you new things about art creation, but more importantly about your own work.

So, should artists write blogs? Not just write — but illustrate, design, and create a blog? Emphatically — yes!

Guest author: Blogging expert and SEO genius, Yan Susanto

Yan Susanto has retired from blogging scene to focus on behind-the-scene SEO gigs for a group of private clienteles. Some of his latest works involve e-commerce sites that capitalize on the growing popularity of Kindle covers and Kinect Games.

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How To Become a Children’s Book Illustrator

Carolyn Edlund | ArtsyShark — Tue, 22 Mar 2011 10:16:00 -0700

Are you interested in knowing more about how children’s book illustrators work? Here’s a step-by-step process and how to get involved in this exciting field:

Cherish Flieder, a Colorado native and children’s book illustrator, spoke with me recently about her career and how she has developed her full-time business. She partners with husband Benjamin Hummel on children’s book illustrations, greeting cards, art prints and gifts as well as freelance projects and art licensing. They’re also planning to publish children’s books that they’ve written and illustrated together.

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How do you become a children’s book illustrator?

Cherish explains that her background prepared her well for this type of career. Interested in children’s books as early as grade school, she worked on a portfolio geared toward this type of illustration and attended Rocky Mountain College of Art and Design, where she met her husband and currently teaches as part of the adjunct faculty.

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The Career and Alumni Services department of the college put her in touch with her first book publisher, which gave her an opportunity to present her portfolio and get started in the business. Since then, she and Benjamin have pursued projects and worked with authors and publishers on multiple children’s books.

When publishers feel that their portfolio is a good match for a manuscript, they are contacted about developing illustrations for it. First, Cherish and Benjamin read the manuscript to be sure they feel the story would fit well with their art style and that the project is one they can be excited about. Since each project is extremely time-consuming, the illustrator needs to be passionate about working on it and being part of the finished book. A negotiation follows, nailing down the price for the illustrations and royalties.

What’s the process of illustrating a book? Cherish explained the steps, in general:

1. Break the manuscript into a storyboard layout, creating a thumbnail sketch of what happens on each page spread. The focus of this step is to make sure the story flows visually.

2. Get the publisher’s approval of the preliminary work.

3. Research and acquire photo references to create final line drawings for each illustration.

4. Develop character model sheets.

5. Work on black and white value studies. This adds drama to the illustrations and carries the concepts throughout the story.
6. Color versions are created for each page. Working with the publisher, they show the finished set and consult on any changes that will be needed.

Next: Modifications and Final Illustrations →

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7. After any modifications are made, the final illustrations are produced.

8. Scanning of the illustrations is done by digital image capture. A color press proof is made and final files are delivered to the publisher on disc or FTP.

9. Cherish and Ben may design covers and packaging for the book as well, taking the project from concept to final product.

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For artists interested in becoming children’s book illustrators, Cherish offers a few suggestions:

1. Working for free or “on speculation” is not a good idea. A project could be time-consuming, taking a year or more for a book project. Make sure you are getting paid for your time and talents.

2. Develop a solid portfolio with a singular style. Include in your portfolio action illustrations as well as static scenes. It is also important to show character consistency from image to image.

3. Your portfolio must be available on your website, which should be well-constructed and load quickly. The site should be uncluttered and not confusing. Remember, visitors want to get information easily and you only have a brief time to make a good impression and attract interest.

4. A resume or cover letter and well-written artist statement are important. A link to contact info including phone and e-mail address must be shown on every page.

5. Get involved with the Society of Children’s Book Writers and Illustrators, where you will find vital information on becoming an illustrator and understanding the industry.

More From ArtsyShark

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How To Write a Press Release for Art Events

John R. Math | ArtMarketingStrategy.com — Mon, 21 Mar 2011 14:36:00 -0700

Press releases can be a helpful tool for artists who want to bring awareness to their art, successfully market and advertise their brand, as well as get people to their website or portfolio.

But what exactly is a press release? A press release is defined as “a prepared statement about something deemed newsworthy that will be distributed in the news media to gain attention.”

But any artist can write a press release; the secret is getting it noticed, then published.

Check out the tips below and learn how to assemble a great newsworthy press release, fit for an artist!

Headline

The headline is a line of text at the top of the press release that, in a single line, describes and brings attention to the event or news contained in the press release.

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In the past (prior to the digital age), headlines were created to capture the attention of the reader and newspaper editors in the hopes that they would use the release in their publication. Today this is still true, but now the headline must also be written and modified for SEO (search engine optimization). Search engines use keywords, such as “Abstract Art Show” or “Open Studios in NYC,” to locate information and generate traffic back to the source — your press release.

The headline should be descriptive and concise. If at all possible, try to limit the headline to 120 characters. Like the title of a book, each word should capitalized. Never use all caps.

Summary

In addition to an SEO rich headline, the summary section also allows artists to include secondary and additional keywords. The summary should also be very descriptive (think: who, what, where, why, when), and include why someone should attend your event. Remember, your press release is an opportunity to sell yourself as an artist, your art and your art event — so sell it!

The summary is a single short paragraph; if it's too long, the artist will lose the reader. Therefore, it is extremely important that you write and rewrite this section to insure it includes all the important facts.

Next: How To Write the Body of a Press Release →

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The rest of the press release is considered “The Body” of the release and will contain the following components:

Dateline

The dateline contains the date of the press release. This is a very important component because press releases are time sensitive. It is imperative to add this information so the reader knows if the news is old, new, newsworthy or still valid. This section also contains the release’s city of origin.

Introduction

The introduction of the press release is the paragraph that should answer the following: who, what, when, where and why. It should hearken back to the summary, but never repeat it.

Details

The details of the press release are contained in the following paragraphs and will explain, provide background for and detail the thoughts contained in the introduction section.

The body (details) should be made up of at least two paragraphs. The paragraphs should contain five to 10 lines of copy.

About

The “About” section is a short paragraph that provides background information about the company or organization issuing the press release.

Contact Information

The “Contact Information” section contains the name of the issuing individual, their telephone number and email address, the company postal mailing address and the company’s URL.

Helpful Hints

• A press release should be written in the third person, as if someone else is writing about this event or news.

• Always send supporting images or graphics. An editor is more likely to take notice, as well as use the press release if it contains interesting pictures.

• Study the press releases of major companies or artists you’d like to emulate (all of their websites usually have a press section) and see how they have structured and written their press releases. There’s nothing wrong with replicating a press release, but never copy! By following the best, you'll ensure your press release is appropriately formatted and this will vastly increase your chances of getting publicity.

• Finally, there are hundreds of free press release distribution companies online. Locate them and use them to your benefit the next time you have an art event, art exhibition or something that is newsworthy about your art. Your press releases will help you draw attention to your art and will also bring additional traffic to your website.

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Recognizable Style or Variety of Art - What's Better?

Tara Reed | ArtLicensingBlog.com — Thu, 17 Mar 2011 12:42:00 -0700

When I was a part of the smARTist Telesummit, I got a question that I seem to answer a lot:

Is it better to have a consistent, recognizable style or can you create a variety of art and still succeed in art licensing?

I have talked with a lot of coaching clients about this decision and, while there is no right or wrong answer, I can give you my perspective and hopefully others can dialogue in the comments and create a great discussion.

I believe there are many successful artists who develop and stick with a consistent style; there are also those who have a bit more variety in their portfolio (the average person wouldn't recognize the art was created by the same person if put side by side). In the end, you have to decide what seems right for you, your business and your goals as an artist. My goal is to help artists consciously decide — not decide by default like I did.

Option 1: Create a recognizable style to build your brand

If your goal is to create a name-recognized brand - like Mary Engelbreit, for example, you have to develop a strong, tight and recognizable style. People have to see it and know, "Mary Engelbreit." Mary is known for her black and white checks, cherries, cute characters and use of quotes in her work. If she started painting landscapes, it would confuse the market.

Paul Brent is another great example of an artist who built his brand with consistent, recognizable art. His coastal watercolors put his art and name on the map and are the cornerstone of his brand. As his brand has evolved, he too has moved into other mediums and themes, but still creates new coastal art because that’s what the market expects of Paul Brent. Paul is an advocate of creating a look that is unique from all the other artists in the field.

I believe that this way of working is vital if your goal is to eventually build a strong brand that is known by consumers as well as manufacturers in the industry.

Option 2: Build your portfolio with a variety of styles

Another way to go, and the way I went by chance and not by choice is to do a variety of themes and styles. I don't span the entire spectrum of art from pure realism to completely abstract, but there is enough variation that not even my sister always knows my work is mine. Some of my work is more whimsical than others and some leans a bit more traditional. It happened by chance; I would try things and see what manufacturers liked. It turns out that many of my best clients like that all my art isn't obviously from the same artist, that way they can use me more than an artist who has a tighter style.

However I believe it limits my ability to become a huge, consumer recognized brand. I enjoy the freedom of being able to play with a variety of styles, themes and techniques.

I like to bring these issues up so artists can make a choice and not choose by default. My brand is becoming known within the industry - with manufacturers - but I don't think I will ever have a Mary Engelbreit or Paul Bretn sized brand with the general public.

So it's up to you to decide what will make you happy and keep your creative juices flowing!

I welcome your comments and opinions on this — do you agree or have anything to add?

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ArtBistro

How Proving the Exception Makes an Artist Successful

Next: Step Out & Reach Out →

Next: Make Yourself Available →

Finding Your Own Artistic Voice

Next: Communicating Your Art →

Next: Turn to Your Passions →

Keep Your Creative Career Fresh

Keep your eyes wide open

Be inspired by others

Take a hike

Go to the library

Sleep on it

Take more showers

Consider moonlighting

Volunteer for a cause

Make Your Childhood Dream Career a Reality

Expanding Your Creative Repertoire

Next: Confront Your Fears →

Next: Expand Your Horizons →

How to Know When You're a Professional Artist

3 Barriers to Becoming a Successful Artist

Artists who do not feel successful seem to run into 3 common barriers, mostly self-generated. The good news is that each of these barriers has an antidote that you already have within your grasp to becoming a successful artist.

“Eighty percent of success is in your mind, the rest is taking action to bring it into being.”

How 5K Facebook Friends Can Fast-Track Your Career

Continue reading on the next page->

What’s next?

How to Break into Advertising

Advertising Talent Is in Demand

Interactive and Multiplatform Campaigns Are Where the Action Is

Diverse Ad Talent for Multicultural Markets

Ad Pros Pay Varies

5 Secrets to Everlasting Optimism

Next Page: Turn Inward for Validation →

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10 Ways Artists Can Overcome Spring Fever

Next: Some Ideas to Help Combat Spring Fever →

1. Go out in the sunshine and get some much-needed Vitamin D, exercise and fresh air.

2. Check your work habits!

3. Give yourself permission to take a break.

4. Sign up for a workshop.

5. Put all that daydreaming to work and use this time to create in your head.

6. Bring the outside in by opening the windows!

7. If you have the time and money, nothing beats spring fever and work fatigue like taking a trip.

Next: Give Social Media a Try →

8. If you are not a member of Facebook or Twitter, give social media a try.

9. Spring clean your workspace because this is important!

10. Try a new medium!

Have a solution for Spring Fever? Please leave a comment below!

The Art of Good Collaboration

Next: Finding the Right Partner →

The first step is finding the right art partner(s)

The second step is developing your goals together

Next: Working as a Team →

The third step is working as a team

"You’ll Never Make a Living as an Artist”

Or was it you?

#1: You're Your Own Best Advocate →

1. You are your own best advocate.

2. Success breeds success.

3. Attitude is everything.

4. There is support for you.

5. Don’t give up.

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How Being a Full-Time Artist Will Change Your Life How a Decorative Painter Built a Business Explode the Myths and Build Your Art Muscle

How To Handle Creative Disasters

1. Mind your language

2. Instantly forgive yourself

Next: Engage in Self-Support →

3. Engage in self-support

4. Take a break and reappraise

Next: Reframe It as a Learning Experience →

5. Reframe it as a learning experience

6. Salvage the good parts

Next: Get Back to Work →

7. Get back to work

8. Exorcise lingering regrets

Next: Get Feedback →

9. Get feedback

10. Honor the process

“Eighty percent of success is in your mind,

the rest is taking action to bring it into being.”

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How Being a Full-Time Artist Will Change Your Life

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How Being a Full-Time Artist Will Change Your Life

How a Decorative Painter Built a Business

Explode the Myths and Build Your Art Muscle