Great Photos are your Doorway to Marketing and Sales

"Cafe' Costa Rica" original acrylic canvas 20 x 20 (SOLD) (Prints available)

Many artists recommend not selling your original artwork. Once they are gone, they’re gone forever. Of course, with permission, you can use the buyer's name as a reference indicating where your painting resides.

I was painfully reminded of this when I sold two original paintings to someone in Minnesota. A few weeks later, Fine Art America (FAA) notified me that someone had ordered a gicleé off of one of the paintings, but the photograph on file was not good enough. Since we were not heading back to Minnesota until a few weeks later, I asked for more time. The buyer refused. Their purchase was for a gift. I lost the sale.

"Skudeneshavn Norway"  20 x 16 oil on canvas (SOLD) (prints available)

When we arrived in Minnesota, I had to call the owner of the original, schedule a visit, and then obtain the needed photo of the painting. I took another photo of the other painting they had purchased just in case. But what if they hadn't given their permission or were unable to accommodate my request?

Hard lesson learned. If you are fortunate enough to sell the original, be sure your photos of it are absolutely perfect. Make sure that your client understands you are going to sell prints from their painting. If they do not approve honor their request.

"Hibiscus Glory" 16 x 20 oil on canvas (SOLD)

I sold two other originals at an art show and regretted later that I had no copy for myself. They were two of my favorite paintings. I went back to FAA and ordered a wrapped canvas gicleé of each. I also wanted a closer look at what my customers were actually getting when they purchased a “wrapped canvas gicleé.”

I was well pleased. The colors were bold and beautiful. Most people think they are originals. The paintings are the size the customer has requested, 9 x 12, 20 x 18, etc. The wrapped portion is 1.5 inches and is black. On the wall, it gives the impression that the painting is framed. The only thing missing is the texture. If the gicleé was prepared by the artist locally, then texture could always be added to enhance the canvas. The cost to the buyer is significantly lower than purchasing an original painting.

Wrapped canvas Giclee' of Cafe' Costa Rica shown above

Since that sad experience of losing a sale because I couldn’t produce a quality photo in time, I work hard to be prepared. I upgraded my camera and make certain that I have adequate lighting. I save my photos online and organize them carefully into folders for paintings, drawings, illustrations, etc. Then when I want to upload them again, I can find them in seconds.

We live in a digital world. These same photos will be entered in online contests, uploaded to secondary web sites, and used on registration forms for other contests either locally or in magazines. They are the main promotion you have of your artwork. Before others see your paintings they will see a digital copy of your work. If your photo is imperfect in anyway, it will reflect on your work as a whole.

"Broken" original 11 x 14 mixed media canvas (SOLD) (Prints available)

I suggest taking a short class on photography so that what represents you is as good as it can get. Quality means everything. Images will be produced from your photo. Time is of the essence. The customer is always right and they may be impatient. Don’t lose a sale as I did because your camera isn’t good enough or your photo is flawed.

(Giclee' of "Broken" with black 1.5 inch wrapped canvas)

We learn from our Mistakes, even when we repeat them

"Flash Dance" was not juried in, but continues to be one of my favorites!

I don’t know about you, but I get frustrated with myself. I seem to learn everything the hard way. “Why can’t you do it right, the first time,” I chide myself. “Why does it have to be so doggone hard?”

Not until I’ve done something more than a few times do I get the hang of it. I’m left handed by nature and birth, but was forced into using my right hand. My brain never adjusted. I have frequent bouts throughout the day where I reverse things during the thought process. I know I’m supposed to turn on the right front burner of the stove, but when I’m finished with the action, the back left burner is turning hot.

It happens more than I care to mention. I’ve been known to try to go down an up escalator, especially under stress, and reverse numbers or text in my head when I’m working on a newsletter. Luckily the errors are glaring when I print out a proof copy.

"The Perfect Ending" was not juried in, but continues to be popular online.

And why is it so easy to overlook a composition fluke or the way an object overlaps and turns to create shadow? Because artwork is really about teaching people how to see, including me. Some people are more detailed than others. There are not only intellectual choices to be made, but intuitive ones that come from experience.

Beginning artists should not give up because the learning curve is long. Over time, you will master the techniques and foundational skills that make the difference between novice and professional. Even seasoned artists make mistakes. But they have weathered the storms of criticism and error. They have found ways to accommodate mistakes and have discovered dynamic artistic surprises in the process.

When the confluence of color and line diverge in ways to capture the viewer’s attention and lead them through pathways you’ve created, exciting things happen. Energy, emotion, and pure delight emerge and create sensations that effect lasting impressions. This is the mark of perfection and success.

"Home at Last" was not juried in because they didn't like the frame.

Remember, if you’re not excited by your creation, it isn’t likely anyone else will be, either. On the other hand, if you are able to harness your passion and express it on canvas, others will feel it, too, and be drawn to the vibrancy of your vision.

Don’t worry about the canvases that go unsold, or the ones you may paint over. It’s all part of the experience. Nothing needs to go to waste. Watercolorists often cut out small portions of a ruined painting and frame petite ones that sell well on the market.

I've had a few paintings rejected in juried competition that later sold. I continue to sell prints from the originals. It’s all in the “eye of the beholder.” If you feel strongly about what you’re doing, eventually other people will feel it and become buyers.

"The Pose" a barred owl on my daughter's porch. (Acrylic on canvas)

Creating the Perfect Composition; it’s all about Focus

"Reggae Night" acrylic on canvas

In art circles, creating a center of interest, relies on “the big three:” dominance, contrast and repetition. Not surprisingly, viewers will look at a painting in the same way they read a book from left to right. It’s ingrained in our schooling and in the way we were taught. The walls of caves were painted from the left, and printed pages throughout history were printed using this innate formula.

It’s only natural then that people will start their perusal of a painting from the left. The best designs not only have a lead in on the left but from several different vantage points. The secret to a successful composition is moving from one point of entry into the painting and around the entire scene. An interesting painting keeps the eye continually moving. If the eye stops at all, it should be on the “center of interest” or the focus of the entire piece. Movement creates energy and excitement.

"Hey, Coconut Mon" mixed media on canvas (the boy is off-center and many of the background parts are blurred)

Contrast and a few well-chosen highlights will emphasize this focal point and continually draw the viewer’s eye back for the impact it makes and the enjoyment it creates. A strong focal point leaves a lasting impression that may influence the reputation and popularity of the artist perhaps even impacting sales.

In an artist’s attempt to create a dramatic center, there are also dangers. If the composition or design components lead the eye automatically to the center we end up with a “bull’s eye” composition. Essentially the eye does not wander through the painting but is trapped in the middle. A Center-focused painting is boring. The eye is locked in and the painting becomes static and uninteresting.

(This painting could have been much better by removing the chest of drawers. The uneven height
and the interesting outline of the figure, buggy, and cat would have been more interesting.
As it is, the eye is locked into a clump in the middle)

You can avoid this death trap by placing your center of interest off-center. Make sure there are enough uneven edges and lines to create interest. Check out the negative space around your focal point. Are the shapes interesting? Are the lines and values leading the eye on an interesting journey to your central focus? By analyzing your composition early on, you can avoid some of the pitfalls.

Another simple device for creating memorable paintings is the principle of “balance.” Do all elements in your painting look the same? Do they all scream out for attention or do some of the parts fade into the background. Having parts of your painting downplayed is called “subordination,” another device for making the center of interest dominant. These contrasts in value and subordination add depth to an otherwise flat painting.

"With These Hands -- Hope" acrylic on canvas (Notice how the background figures are fuzzy
and faded? The focus is on the girl trying to make a basket and her challenger)

Creating out of focus elements may also increase the contrast between the center of interest and the less important parts of a composition. Photographers use this design concept by blurring an otherwise overpowering background so that the focus is clearly on the focal point.

"With these hands -- Love"  (This painting could be improved by adding more shadows, thus giving it depth)

I have made many mistakes over the years, learning the hard way the importance of these timeless truths. Once understood, setting up the perfect composition using these design elements becomes easier.

Seeing is believing and not seeing is Foolishness

It’s been two years since I had my eyes checked. I sometimes think the reason I like to paint with bright colors is because my eyesight is growing dim. The beginnings of cataracts are clouding my eyes, and my invisible bifocals slip down on my nose while I paint. Getting old is not as fun as some people make it out to be.

You’re only as young as you feel, people like to say. But what happens when you’re not feeling as young as you used to feel? Ah, now there’s the rub.

"Blending In" Acrylic on canvas

I was overjoyed to find that my eyes are relatively in good health, and I don’t need to see the doctor for one year. All my fretting was for nothing. My husband, on the other hand, is having to redo his cataract surgery in a few weeks. In this light, I couldn’t help but think of all the expressions we use every day pertaining to sight.

We say someone is “looking beyond the mark” when they worry too much about the future and not enough about the present.

We say someone is “short-sighted” when they fail to plan ahead.

Wisdom is often compared with sight, as in understanding. When we gain understanding, we can see truth clearly.

Most art instructors agree that what they really teach their art students to do is how to see. Being able to focus and see what is rather than what we think is there is a matter of re-training your eyes to ignore your brain’s perceptions.

"Pelican Pointe" 8 x 10 acrylic on canvas. Recently SOLD 20 x 24 Print on FAA

The brain has a tendency to fill in missing pieces for us, much the same way a computer is programmed to finish or fix a misspelled word. It has been proven that we can read a sentence of consonants without the vowels because our brain fills in the missing letters.

Truth is a lot like that. We must learn to examine what is actually there, but also call into play our sixth sense or gut instinct. Sometimes we know something is true and we ignore it. 

Why do we ignore truth: because of preconceptions that have been taught to us
by our parents or teachers and because of ingrained habits or traditions. 

Thinking clearly for ourselves requires searching, learning, studying, and something many people call “heart” knowledge; another term for gut instinct.

Seeing with an artist’s eye requires focus, study, and practice. Gaining an understanding of how things are made and how they work together helps to define form, shape, and movement.

Learning to see what is instead of what might be or could be is how professional skill is developed. Innate talent helps, but the knowledge is out there for all of us to use and better ourselves.

"Brown Thrasher" 16 x 20 acrylic on panel in decorative barn wood frame

The Greatest Painting of your Life is Waiting

"Antelope Island -- Buffalo"  West of the Great Salt Lake

An artist suggested that all paintings begin as puzzles. You have an idea of what you want to do on canvas, but once you start to fill in the shapes and the shadows, the painting takes on a life of its own. The shapes sometimes change, new colors are added, the canvas, the puzzle, is not resolved until the final brush stroke.

I, on the other hand, must do a little more planning or my paintings may end up as muddy globs. I do think there is magic involved when an artist intuitively follows his or her muse to solve the puzzle and is willing to make gut-inspired changes and additions. As an artist matures and becomes more skilled, this “magic” happens more and more.

Our lives are somewhat like a giant painting. We start out with a blank canvas, and we tentatively explore our options as we go along. Our footsteps leave a trail, a pattern of personality and choices; a splash here, a drop there, a wide sweep of self-gratification, timid accents of color as we test the waters of independence and freedom of choice.

Along the way, dark shadows and jagged lines form regrets and pitfalls. Circles of inspiration and poignant highlights show us the way forward and guide our paths into the higher realms of confidence and success.

The finished painting is waiting for us out there in the ethereal chambers of consciousness. We mix and dab continually, trying to make sense of our composition. Life, indeed, is a puzzle. Knowledge and practice sharpen our focus and reveal the things we truly believe and hope for. The final stroke, when it comes, may be a complete surprise or it may be a fulfillment of everything leading up to this point.

As with life, when a painting is finished we will know it. Every act, every thought, every choice will signify its completion. When there is nothing else to change or add to, we lay down our brush. So it is with life. When we have completed what we were born to do, we will slumber.

Featured Artist Robert Hagen from Australia. The images are blurred for copyright protection. View his YouTube video and then visit his web site. Fantastic!

http://youtu.be/uprAc8NvHWo

Just because you can’t see God, Doesn’t mean He’s not there

"Raccoons at Sunrise" (that last drink of water before sleep) 16x20 acrylic on canvas

From my bedroom window, I watched three raccoons shimmy head first down a live oak tree. Since it was barely dusk, I figured they were foraging early. At first glance, I thought they were large house cats; but three together? When their ringed tails and bandit eyes appeared in the ebbing twilight, I was blown away!

I often walk or sit under that tree. The squirrels amuse me as they chase each other’s tails. Blue jays screech from time to time, and playful goldfinches proffer a twinkling counterpoint in the bright sunlight. I’ve seen brown thrashers, loggerhead shrikes, and pileated woodpeckers in those gnarled branches. I’ve watched red-tailed hawks perch and search for prey within a hairs breadth from where I’m standing. But I never imagined there were wild raccoons sleeping in furry balls right over my head. How could I have missed them?

The world is full of hidden treasures all around us, and miracles and wonders from God. Just because we can’t see them, doesn’t mean they’re not there.

Bill Maher, a comedian and avowed atheist doesn’t believe in either religion or God. He holds tightly to his beliefs. Perhaps he’s afraid that if he lets go of his skepticism, he might find out he’s wrong?

For believers, God is real. He has answered their prayers and spoken to their hearts. To deny this reality would be to disavow their personal and private experience. This personal witness becomes a sure foundation of knowledge that cannot be denied.

Maher is like a child who sits before a plate of Brussels sprouts and declares he doesn’t like them, even though he’s never tasted them. Then he hides the evidence of their existence under his plate or under a nearby lettuce leaf and tells his mother (and everyone else) that the Brussels sprouts don’t exist because he (and you) can’t see them.

To a Christian, Maher’s position is both immature and foolish; like my story of the raccoons: “Just because you can’t see them doesn’t mean they’re not up there.” This is where that invisible component called “faith” comes in. Why is it so hard to believe that God exists when evidence of his creations are all around us?  Is Evolution really a substantial explanation for our existence or is it still, after many decades, only a theory, an excuse, a crutch, for non-believers?

"Brown Thrasher" 16x20 acrylic on canvas in barnwood frame

Technology has advanced in quantum leaps over the past 30 years. Today transmitters communicate around the globe and into outer space, yet they are so small you can hold them in the palm of your hand or on a fingertip; some are even microscopic. These electronic devices may look naive and primitive fifty years from now as newer, smaller, faster, and smarter gadgets replace them. It’s simply a matter of time, degree and intelligence.

During the day, you can’t see the stars, but that doesn’t mean they’re not there. Conversely, on a stormy day the sun’s light is blotted out, but its radiance still exists and glows continually in spite of the weather. God’s radiance and reality are constant and eternal, in spite of our darkened imperfect minds and man-made barriers.

"Looking over the Salt Lake valley from Immigration Canyon"

How foolish we are as humans to deny the existence of God because we cannot see him, because we don’t understand his ways, or because we can’t find physical evidence or proof that he is real; even though countless miracles happen every day in the realms of nature, science, medicine and personal encounter.

“But there’s a logical, scientific explanation for everything,” some may counter. And when there isn’t, science is all too eager to supply one, or at least a theory of rhetorical possibilities. We’ve lost that childlike quality of trusting divine truth and promise. The young child who leaps off of a ledge into the waiting arms of his or her father exercises this trust through love, knowledge, and personal experience. He or she has learned that their earthly father can be trusted.

We need this kind of faith again in our world to bring back God into our hearts. It’s a “letting go” of pride, bitterness, and stubbornness; character attributes that harden our hearts and close our minds to truth.

"Looking back across the causeway that bridges the Great Salt Lake, between Antelope Island and the city."

In “Our Daily Bread,” a Christian pamphlet produced monthly by RBC Ministries, the following story was included in the October 9 reading:

“If we’re not careful, we may become like the man who prided himself on being an expert archer. The secret to his success was that after he shot his arrow at the side of a barn, he painted a bull’s-eye around the arrow.”

Many people are so eager to be right, or so hungry for success and notoriety that they paint a ring around their own favorite causes, special interests or personal agendas and then proclaim that they’ve hit the bull’s-eye of truth.

Proverbs 14:12 tells us: “There is a way that seems right to a man, but its end is the way of death.”

"Barn Swallows" on Antelope Island outside the Gift Shop"

God doesn’t need to prove his existence to us; it is we who need to conform to his will. He is the bull’s-eye we should aim for, not some delusional man-made target created by people who think they are smarter than God.

Painting what Matters – an artist’s love; a Buyers Delight

My friend Emma was a joy to be around. She was inquisitive and inspiring. She filled the room with grace and charm.

"Emma's Birthday" 11x14 pencil drawing on Bristol

 I drew this picture of Emma after her 94^th birthday and presented her with this drawing on her 95^th celebration. She was thrilled. She loved it so much that it was hung on the wall in her bedroom where her cherished family photos were displayed.

Emma passed away on Oct. 12, three and a half weeks before her 97^th birthday. I had circled the calendar on Nov. 7 to be sure I remembered it. She will be missed!

"Mother and Child" 9x12 drawing (my daughter after her 1st daughter)

Artwork is long lasting. I know Emma’s family will treasure this drawing for many years to come. Her passing made me ask myself the question: “What will I be remembered for?” Will my paintings leave a positive impression on people? Will they uplift, warm the heart, or please the eye long after I’m gone?

There’s a lot of wild, unusual, even grotesque artwork out there, and some that bend the line between beauty and pornography. There are buyers out there for almost everything. Have you ever asked yourself: “What do I want to be remembered for?” Or do you consider only what will sell in the marketplace?

We all need to butter our bread. We need to pay the rent and make a living. But if we sacrifice our values or our reputation for the sake of art alone, where will it lead? Where will it end?

"Does this hat make me look fat?" 9x12 drawing (Zoe on her first birthday)

The focus of your life and your art becomes the standard by which you live your life. Every artist must choose the God of his or her life, whether a temporal material God that brings out the worst in us, or a Heavenly God that inspires the best in us. Life must not be degraded in any case. Life and the living of it is a hallowed and joyous experience if lived well. 

Emma lived her life well. She served her church and community. She served her friends and neighbors. Rest in peace, Emma dear; the best is yet to come!

Featured Artist;
Stan Prokopenko and one of his marvelous videos. Watch him on YouTube and learn how to draw marvelous portraits! "How to Draw a Nose Step by Step."