Michael's Art Blog

Yen and Yang...Can I combine my creative heart and soul?

noreply@blogger.com (Anonymous) — Tue, 03 Sep 2013 06:08:00 +0000

My yen and yang; photography and art. I see one of these as a help to the other, without one, the other suffers. On the world wide web, photography is all the buzz. Make just one wedding photography comment on Facebook and it will be clear how many opinions there are regarding the profession (or in some cases hobby). Wedding photography is a hotbed for great and not so great photographers to defend themselves publicly.

What about fine art? Why is the world of painting and drawing so dead on the Internet? I can see photography as fine art too, I just have a hard time with some of it. Call me a purist, but as a fine artist and a photographer, it is clear to me what the difference between photography and art really is. Then again, it is subjective, and has little to do with this post. Then again, at the heart of it...it does matter to this post.

Even though my art and photography coexist in my creative heart and mind, it is easy for me to use photography as a crutch (think easy buck and instant gratification). Though I work hard at creating good photos, I often forget how much effort goes into creating an oil painting of the same subject.

There lies the rub, the time factor. Can I charge for my time like a photographer, or should I charge my artist rates as a photographer? I find this to be terribly difficult, and I also imagine, this is one reason why photography is buzzing the Internet more than oil paintings. Think about this, there are thousands of photos uploaded to social media every second of every day. How many of them are photos of a painting? If I told you a commercial photographer could charge a beer manufacturer his time, costs, and even license usage for a few photos at a rate of $15,000 per day would you believe me? Would that same beer manufacturer pay for a series of the same images as oil paintings? If so, would they be willing to pay for it?

I would love to do a commercial shoot with a craft brewery, then turn around and paint the selected images for their campaign. After painting them, license the images of the paintings to them and make the same amount as the photographer who would be paid to make commercial photos. Why? Because I can do both...is there a market for that? Could I charge $25,000 for 4 images like the photographer? My guess is, no...there is no market for it, and the art directors of the ad campaigns would never use a painting when a photo is all they are after. The phrase "good enough" comes to mind.

It may be worth a look, me combining my passions...my yen and yang of my creative heart and soul...into doing commercial product paintings for leaders of the craft beer industry. Maybe if one of my friends at Stone Brewing Company reads this, they could call me to discuss it?

Cheers

In Progress

noreply@blogger.com (Anonymous) — Sun, 18 Aug 2013 21:51:00 +0000

I was hoping to be done with this by now, but then again, a work in progress is better than not working at all.

I often use the Macbook Pro to show my reference photos...I'd rather do it this way than print the images. Alternatively, I would much rather work from life, but that is for another post.

When you paint, how do you work? Do you include technology, work from photos, only work from life, drink Monster Energy? I would love to know how you work.

- Cheers

Energy Sucking

noreply@blogger.com (Anonymous) — Fri, 16 Aug 2013 09:11:00 +0000

Are there things sucking the energy out of your life and keeping you from creating? A job, friends, family, the Internet? Dealing with energy suckers is part of being a creative. I have let the energy suckers almost kill my passion for art and photography.

Wether you are a painter, writer, photographer, athlete, musician, teacher, factory worker, etc, it doesn't matter. External pressures and interruptions cause the energy to be sucked right out of you. More importantly, these things can suck the energy out of you right when you are on the verge of doing something about those dreams you have (or had).

Dealing with the energy suckers is paramount to balancing life with following a dream. If you must go to work (because the dream you are chasing does pay enough yet), find time when you are not at work to do that thing you are passionate about. Treat your time off the regular job, as a job, and carve out time in the day to follow your dreams. Be sure to have down time too, following your dream doesn't mean you have to give up your social life.

If all of this sounds like common sense, it should. Remember, you will always be were you are at, if you never start taking steps to get where you want to be. Carving out time to follow your dreams will build your energy up to help keep the energy suckers from sucking the life out of your dreams. Eventually, you may stop doing things that used to suck the energy out of you altogether (television is a good example), your daily routine will be reduced to the things that you truly find important and productive.

The energy will build, and the dream will become reality...the energy suckers will always be there. However, you will have the mindset to continue on the path of following your dreams, and will have the tools to deal with them in order keep moving in the right direction.

Dream big - create - and live your life

Slow to Start - Where is the Drive?

noreply@blogger.com (Anonymous) — Mon, 12 Aug 2013 18:30:00 +0000

Resistance keeps us from doing the things we love. It may be that we are busy, or laziness, procrastination, or just that overwhelming feeling that keeps us from doing the things we love.

Over the years I have let these things defeat me as an artist. Almost to the point of giving up. Just look at the post dates here on the blog. As a fine artist I have been defeated by the notion of not making enough money to support my family, cover health expenses, and plan for retirement. I make a great deal of money at a "job" that I don't hate, but does get in the way of my productivity.

Today, at this very moment, I am exhausted and frustrated. I am too tired to produce art, and it is frustrating me that I have not been a productive artist in years. Many of you know I have been working as a photographer, blogging for my personal project (The Thirsty Muse), which I enjoy both, and intend to continue. But what does this mean for my art? Is there enough time to be a painter, photographer, writer, teacher, and full time employee while balancing my family life?

The economy may have killed the market, and we may all blame anything to feel better about why we have "given up" on our art...or just ceased to create. The blame lies with us, it is our fault. If we love it, and it makes us happy, then what are waiting for? Who cares if we make a living selling the art, does that make us any less professional than the whore of an artist who creates terrible art but makes a living from it? And let us be honest, our ideas of "making a living" are subjective. In Ohio, I can sell less than someone who lives in New York City to make a living. The 20-something, dirty, sloppy artist willing to live on nothing but sell his art on the street can live on less. If you want $300,000 per year from your art, then make that a goal. However, I suggest you do the art for your soul, not the money.

Don't let resistance kill your drive. Don't let money be the driving force to your artistic career...remember why you picked up a brush and started in the first place. Yes, it is a slow start, but I am sure the drive is still there; it is just buried in the daily crap we all have to deal with.

In the months to come, I hope to get back to sharing my artistic journey on this blog. Between this blog, the Warth Photo blog, and the thirsty muse, I expect to be writing a lot! Feel free to come visit me on my other blogs too. My creativity is all linked, and makes me the artist I am today.

Go have a great day, make the best of it, and produce something!

Cleaning House

noreply@blogger.com (Anonymous) — Sun, 25 Nov 2012 18:00:00 +0000

Have you ever thought about how the past may alter the future? Do you believe that stress can come from dragging all that baggage around or having too much stuff? Since October I have been trying to get back to painting regularly and one thing I have noticed is that I am being strangled by stuff and the past.

I decided to start deleting old posts here on the blog that "A" don't relate, and "B" don't provide value. This is hard for me, because blogging here has been a lot like a journal, a record of what I've been doing as an artist since I started blogging. One thing I noticed is that I am doing a lot of planning, but not a lot of doing.

As artists, we tend to be pack rats. We hold onto old art that has not, and probably, will not sell. The art isn't our best work, but we can't throw it away. Nonetheless, that "baggage" we are hanging onto, those posts that have little or no value, and the stuff cluttering our lives, our studios, our workshops, etc, etc, may be holding us back and/or causing stress.

Clean your studio, throw out old "non-selling" artwork, delete files on your computer that don't provide value or need, and if you're a blogger and have posts that no longer relate to your mission...clean it up. Make room for new ideas, and new art.

Cheers

UPDATE: I deleted nearly 170 posts from the blog.

Before the Rain

noreply@blogger.com (Anonymous) — Wed, 03 Oct 2012 06:58:00 +0000

Getting out of the studio and painting is one of my favorite things to do. Monday was a frustrating, and quite unproductive day creatively. Therefore, when the sun popped out Tuesday I grabbed the plein air backpack and hit the road in search a place to paint before the rain started in again.

The view I decided to paint - © Michael Warth

The clouds to the South looked pretty dark, but the view North was looking pretty good as you can see in the photo above. I figured I would have a few hours to get the painting blocked in, with the colors and shapes done enough to finish the painting in the studio. I took several photos to help me later.

I always work with a toned canvas, and typically make a quick drawing in pencil before starting the painting process. The 8" x 10" wood panel toned using Raw Umber and White was toned a week ago so it would be dry before packing it in my bag.

The painting was progressing quite well, as passers-by slowed to see what I was doing. Then again, since I took my son, and I was working out of the back of my Jeep, I bet it was funny seeing me out there painting while my son had the stereo jacked listening to his hip hop music. The thumping, the lyrics, and all was at times silly...but we were having fun. To be honest I even cranked the music listening to heavy metal as well. Yeah, I'm not a happy little trees kind of guy...there is something relaxing about listening to Five Finger Death Punch while making a tranquil oil painting.

The storm was coming, and I was pushing my luck. I rushed along getting the colors blocked in as fast as I could to beat the rain. I knew having the basics down, along with some quality photos, I would be able to finish the painting in the studio.

About two hours into painting, and quite comfortable by the way, it started to sprinkle and I ignored it at first. Within minutes, it was raining and I knew it wasn't going to blow over. I had a lot to put away, and even though my plein air set-up is quite easy to pack and transport, I wanted to get things cleaned up so I wouldn't make a mess or forget something on the road.

By the time I got things packed and I was back in the driver's seat, it was like a monsoon outside. Thankfully I packed up when I did. All was not lost though. I got enough done before the rain and I chose this spot because I wanted to make a day of it by heading further north after painting to hit an art store and great restaurant later in the evening.

Matt (my son) and I headed out to get to the art store about 40 miles north of my painting spot. I picked up a 24" x 36" belgian linen canvas, and we made it to the Irish themed pub, The Claddagh in the Brewery District for a Jamison Burger and Guinness. It was a great day, productive, and fun. Everyday should be like this.

In future posts I'll share more about my plein air setup, and how I like to pack my gear for a quick escape from the studio.

It's Time

noreply@blogger.com (Anonymous) — Sun, 30 Sep 2012 00:39:00 +0000

Alternative Revolt Magazine - © Alternative Revolt

Still here? I know, I know, I've been gone for over a year. Many of you may know that I have been working full time for "the man" all while performing my duties as the Director of Photography for Alternative Revolt Magazine, my freelance photography work, and of course my work over at The Thirsty Muse.

Levi Benton - © Michael Warth

I've all but quit working as an artist. Though I have painted a few new works, I have really been lazy when it comes to fine art creations. Over the past few months I have been putting new work together, gathering the proper and much needed supplies, and have great plans to get back to what I love. The magazine is gone, and it really did take up a lot more time that I ever thought it would have. Furthermore, The Thirsty Muse takes a lot of time to produce and it does eat up a lot of my free time. With that said, I don't want to wait for January 2013 to start fresh with the new business model for Warth Arts.

I had a lot of fun at the magazine and I will miss it terribly. Meeting and photographing world famous rock stars (as pictured here at the left: Levi Benton of the band Miss May I), writing the popular 'Hopping Mad' beer column and even doing interviews with bands. The stuff back stage, on the tour busses, in the photo pit, and around the venue with literally thousands of screaming fans is something I could never try to explain here on the blog. Just know I made some awesome memories, great friends, and thousands of photographs I am deeply proud of.

Avenged Sevenfold - © Michael Warth

The work at the magazine taught me a lot about life, and what doing what you love is the most important thing in life. I have met individuals who have picked up a guitar, drumsticks, singing, etc., and made it their life's work. Many of them know I paint and wonder why I don't just make the leap and do what I love for a living. That's a long story for another post.

As of now, I have several canvases freshly "toned" and ready for me to start new work. The plein air bag is always packed and ready for an adventure, and the studio is due to be cleaned up and ready for new levels of productivity. I hope you will join me here on the blog to learn more about my paintings, the process, and the adventures I take on to make new art. It's Time...time for me to get back to the things I'm good at, and what I love to do. At times, I'll share what I'm doing in the world of photography, writing, and maybe even a little bit of my personal life.

A recently completed plein air painting...

"In The Field" 8" x 6" Oil on Canvas - © Michael Warth

Pencil Drawing - Still Fun!

noreply@blogger.com (Anonymous) — Sun, 05 Jun 2011 19:55:00 +0000

The drawing is a recently completed commission. Though I have not taken any commissions over the last few years, I really enjoyed doing this drawing. Most of the work I do now is in oil so this was a nice change of pace. Later this week I plan to frame the drawing and deliver it to the client.

(The Michael Warth Fine Art logo is just on the digital version shown online - the original does not have the mark)

What Would You Do?

noreply@blogger.com (Anonymous) — Sun, 13 Mar 2011 16:20:00 +0000

I have pondered a question for many years and I have trouble convincing myself the answer is correct. Ever wonder why we congratulate people who succeed in going out on their own in business and yet we find it easy to judge a loved one by burdening them with the "what ifs"? What if you lose you house? What if you can't pay your bills?

What if you were told you only have a few years to live? Would you finally follow your dreams, or would you continue to play it safe? Failure, fear, and ultimately the fear of failure keeps one from stepping up to the plate. Maybe you strike out; maybe you hit a home run. Until you get off your butt, and step up to the plate you may never know.

Resistance

noreply@blogger.com (Anonymous) — Sun, 27 Feb 2011 16:12:00 +0000

Art, specifically the process of creating art, is a battle. There is a war inside the artist with a force trying to keep one from creating. That force is resistance.

Working at home it is easy to find "other" things to do besides the work that needs done in the studio. I'm not talking about art in the sense that it is a hobby or something to do when one is bored or relaxing. I am speaking of the art that must be created by the professional artists who know that without producing new work regularly their "tribe" (as Seth Godin describes it) of collectors move on to the next big thing.

Procrastination, laundry, that movie on TV, dinner, and household chores keep the artist out of the studio and add to the resistance that must be overcome to create new work. As I sit here at the computer writing this post I have experienced years of resistance. I mean years! I have not created new work that excites me for a long time. And yes, there has been a ton of health issues, and other "things" keeping me from the studio. But, with that said, it is still resistance keeping me and my fellow artists from creating new work.

Are you experiencing resistance? Overcome it today, and just work...don't worry about the sales price, or where to sell it, just work! Get in front of the canvas, paper, or whatever media it is, and simply create. Do it regularly, and you may win the war within.

- Michael

Focus on Color

noreply@blogger.com (Anonymous) — Mon, 03 May 2010 03:01:00 +0000

As artists we spend a lot of time mixing colors to get just the right look to evoke mood, realism, style, etc. However, a lot of artists get hung up on the right tube of color without understanding the concept of mixing the color one needs. Is it better to have hundreds of tubes of colors so that one can have the color they need? The simple and quick answer is no. Throughout history artists have been on a quest to develop a simple yet complete palette of colors to suit their needs. Why? Because it is always to better to be a master of a few colors than a blind user of "too many".

So how much is "too many"? It really depends on you and what you are comfortable with. I like 13 colors (includes black and white) for studio use and about 7 when I am working en plein air. With that said, I focus on versions of the primaries (red, yellow, and blue). I don't purchase greens because I have always liked my mixed greens better than anything I have ever tried from a tube.

If you are struggling with your colors, and you are overwhelmed with mixing, find a handful of your favorite primary colors and start mixing for practice. Use white to lighten the mix but be careful using black to darken. When darkening a value of a mixed color try mixing a dark color version first using a darker primary and see what happens when you add white. You may end up with a few more darker values of the color you mixed and have good light value versions to use too. For example, if lemon yellow and cadmium blue make a nice green but it is not dark enough to start with, try using cadmium yellow. Play with your colors and make notes.

- Michael

It is What it Is

noreply@blogger.com (Anonymous) — Fri, 30 Apr 2010 22:00:00 +0000

Many of you know I am on a quest in life to live the journey without regards to a destination. In other words I am trying to live in the moment and stop worrying about the future, or at least stop letting the future rule my life.

Each day we are bombarded with choices. We judge and express ourselves without clearly asking "why" when we don't understand something or feel like an outsider. Why do we judge? Why do we set expectations in stone? I for one feel expectations may be the one thing that creates turmoil and anxiety in our lives.

What does any of this have to do with being an artist, photographer, and/or graphic designer? It's simple really. Stop creating expectations for yourself as a creative and simply create. One's ability to learn may be dictated by their interest in the subject. Therefore if you love to create then learning more about it is a breeze, right? Stop expecting to fit into the worlds mold of what a creative is supposed to be. Learn because you want to; not because you think you need a degree because your expectations tell you success comes after a degree!

Another topic for this "it is what it is" post is the judgemental word with expectations written all over it. The word itself kills creativity faster than a documentary on business ethics. There are even those individuals that regard the word I am talking about as the official label given to those who are given the sole privilege of doing their craft while others must remain hobbyists banished from ever eating at the big kid's table. The word; professional. What does it mean? Why do we need this adjective to label a career anyway. I love to hear folks call themselves a professional artist. Have you ever heard a surgeon say, "I am a professional surgeon." Would you want an amateur surgeon? Think about it for a moment...can you see why expectations drive the proverbial boat? In art, either you are, or you are not. Drop the professional label because it really makes one sound like they are compensating for weak creativity and poor business practices.

It is what it is...there is no reason to judge or to expect. What are you? Are you creating because you want to be something else, or are you creating because it is who you are? When I was a kid I watched a lot of Popeye the sailor cartoons. Popeye would say, "I am what I am" - it stuck with me. Be yourself, be the artist/person you want to be. Keep life simple and slow, enjoy the journey because the destination will get here faster than you think. The eternal dirt bed does not appeal to me these days, I am a simple man, a dad, a husband, a factory worker, a struggling artist, a dreamer, a son, and so much more. Don't limit yourself by calling yourself a "professional" or an "amateur" anything. Don't limit yourself shooting for expectations that others have created. It is what it is...I am what I am...be who you are. Stop judging, stop expecting, live life the way you want to and experience happiness filled by content, and harmony.

- Michael

News

noreply@blogger.com (Anonymous) — Sat, 24 Apr 2010 01:31:00 +0000

Hi all,

My artwork was featured over at the Traveling Suitcase (LINK) last Saturday April 17th.

Check out the post, and thank-you Sandy for featuring my work and a little history of my hometown!

Michael

Getting Ready For A Show

noreply@blogger.com (Anonymous) — Sat, 26 Sep 2009 18:02:00 +0000

Greetings everyone,

Over the next several weeks I hope to share my experiences getting ready for a local art exhibit where I hope to display at least 16 original works. In today's post I'll bring things up to speed.

Being Prepared:

Like many of my artist friends I was not prepared for a cold call from a gallery asking me if I wanted to have an exhibit in a few months. For one, it was short notification (many galleries give 6 months to a year as notice). I have read many posts from other artists who say have a good inventory of work so you can fill a show at a moments notice. Well, I wish I was more prepared! Even though my inventory is good, I want more impact, and I don't have as many "ready to hang" as I would like to have. Which means I have to spend more money on frames, matboard, etc. than I really wanted.

First Steps:

I told the representative of the gallery I would do the show and I was looking forward to the experience. We exchanged information and had a few things to take care of right away.

Gain a clear understanding of the gallery consignment/commission terms.
Determine the required number of pieces.
When was the exhibit? When is the opening reception?
Clear up additional questions/concerns and start planning.

On a side note - I can't stress the communication skills enough here. Do a lot of follow up, keep the gallery/rep up to speed on your progress, and answer ALL questions so there are no surprises.

Within a day the gallery rep sent me an email (we are using email as our "best method" of communication) requesting a piece for advertising purposes. He asked if I could email a picture of one of my paintings. I sent a print ready (300 ppi, JPG) file to him with additional questions and comments.

Keeping Organized:

I like to keep files organized on my MacBook Pro to help me with events like this one. I created a folder (Named: November Gallery at Ninety-Seven Exhibit) to keep everything for this show in my "2009 Exhibit Schedule" folder. I put a digital press kit together, filed email correspondence, and created a planner for the show. I have also added dates and deadlines to my Google Calendar (I recommend Google Calendar because you can access your appointments from any computer and you can even sync information with your MAC).

I did a preliminary inventory of work for the show and I do have plenty of work but some of it needs framed, and a few even need documented for my own record keeping.

Next Steps:

This coming week I hope to visit the gallery and talk to the rep face to face about hanging the show and what we are planning for advertising and the press (I have already been to several gallery events there - I would not recommend doing a show at a gallery you have never visited). Essentially, I hope to finalize the expectations portion of the exhibit so I can focus on framing, documenting, and being prepared to deliver the work to the gallery.

- Michael

Mixing Colors - Learn by Practice

noreply@blogger.com (Anonymous) — Wed, 10 Jun 2009 22:14:00 +0000

My studio palette - showing some color mixing practice

Practice makes perfect right? So why do many of us choose not to practice mixing colors? Is it because paint is expensive? Maybe we think there is no need to practice. I for one, look at the overall expense associated with the oil paints I use and shutter at the thought of putting out colors to "practice" mixing. But why? I'll tell you why, because I think every time I put paint out on the palette, I have to make a painting! And I am here to tell you, that is rubbish! Why learn how to mix when you are making a painting? I decided it was better to practice and "see what happens" on the palette, and dispose of the colors than to be frustrated because I can't figure it out when I am working on a painting.

And that my friends is why all this became a post today. I have been playing around with a small plein air painting setup and I am used to a big palette. Therefore, the small palette created several challenges. I went out to paint, and I got frustrated and trashed the painting. I threw it away! I learned nothing. I had wasted so much time, I neglected to take notes, and I really had no idea why I had so much trouble. I decided it was time to practice! I mixed the basics (blue and yellow to make green, red and yellow to make orange, etc.). I determined a lot of things; here are a few important points I learned in regards to my colors, and the plein air setup I plan to use regularly...

I like using French Ultramarine rather than Prussian Blue to mix with Cadmium Yellow Pale to make my "landscape greens" color. (I lighten the mix with yellow, but may add white on occasion).
I like to keep the colors to a minimum on the small palette (7 colors versus my standard 13)
For landscape painting en plein air, I must rely on my ability to mix sky color, and landscape green colors to make the paintings a good representation of what I see.

So there you have it...I plan to practice more often. I also hope to become a better artist by painting en plein air. The small paintings may help my control, and detail; I hope working small keeps me interested in creating paintings en plein air. If anything, I must get faster, the sun has a schedule that refuses to wait for me to get it right!

I hope this post sparks some ideas for you, get out and paint, but don't forget to learn the colors you use.

Happy painting,

Michael

Pen and Ink Drawing

noreply@blogger.com (Anonymous) — Wed, 31 Dec 2008 03:54:00 +0000

Hi all,

Many of you know I started my professional artist career focusing on pen and ink drawings. In particular, commissioned home portraits in pen and ink. I wanted to share one of my favorites completed during 2008 - a pen and ink home portrait commission for Ms Maria D. I have not lost interest in pen and ink - on the contrary, I love drawing in pen and ink. The problem is time. As you might imagine, they take a long time to complete and oils tend to fair better with the majority of art buyers.

I want to thank Maria D. and her sister for commissioning a pen and ink drawing of her Dad's house for Christmas. I really enjoyed doing the drawing.

I have mentioned this in earlier posts, but 2009 is going to be an exciting time for Michael Warth Studios. I plan to do more commissions and share them here on the blog. One area I'm really excited about is the dog portraits in oil that I am beginning an agressive marketing campaign on - more on that later.

Cheers,

Michael

Art Marketing or Artist's Marketing?

noreply@blogger.com (Anonymous) — Sun, 21 Dec 2008 20:12:00 +0000

Hi All,

I finally have some time to do the things that I've been putting off or have wanted to do for some time. One subject that always amazes me is marketing. To further complicate the subject I like to focus on art marketing. One area many would be famous artist seeks to 'market' themselves is the web. To be effective, a website must understand Search Engine Optimization. Search Engine Optimization (SEO) is a buzz phrase for getting websites to the top of those search engine lists. There are many facets to making a site list at the top.

Content
Clever Keywords, Descriptions, and page title (AKA META TAGS)
Browser Friendly
Inbound / Outbound Links
And so much more

Online, offline, does it really make a big difference how an artist markets their work? I think artists should be effective marketers online but equally (or more) offline. If you are an artist, are you marketing your work, or are you simply an artist marketing? Before I get hatemail on this subject I just want to point out that as artists we have a responsibility to create. I am refering to those of us who produce to sell - if you paint because you want to, and you are simply painting for fun; there is no reason to market your art anyway. I'm not trying to be mean but this post is directed to sellers. Back to the responsibility to create thing...if we don't create we have nothing to sell. The following is a series of points I want you to think about;

Create to sell
Market the art (don't be an artist marketing)
Sell everything (art is only worth what someone will pay for it)
Repeat

Simply put, create art to sell because it pays the bills and keeps you learning as an artist. Market the art you create. Online and offline; just market your art and create a brand (you). Be sure not to be an artist marketing. To better understand what I am trying to say; just remember this, marketing your art should be about you and your art. If you are an artist marketing you may be missing the point, you may only be marketing the process of being an artist. Your would be clients are not want-to-be artists, they are patrons of the arts who want to buy your art (so market your art). Sell everything and at a price patrons are willing to pay for it. Sure, selling 50 - $20,000 paintings a year would be great but are your current patrons willing to pay that much? Finally, repeat. All I'm saying here is to get another blank canvas out and paint another one. Paint it, market it, sell it, and repeat - it is that simple folks.

One last thought here. When you are marketing your art, remember to market your name. Was Van Gough really that good? No, but his name makes the art worth something. The same goes for Rembrandt, Vermeer, Pollack, and Picasso. Online and offline, your marketing efforts should help you find patrons for your art - never forget that point. Find them, treat them well, keep them, and find more. Get to the front of the pack through SEO online, or becoming a recognized name in your offline market.

Michael

Rembrandt - my favorite three by the master painter

noreply@blogger.com (Anonymous) — Thu, 24 Jul 2008 02:46:00 +0000

Hi All,

I wanted to share three Rembrandt paintings with you for today's post. Most of you are aware that Rembrandt is my favorite artist. The paintings that follow have specific meaning to me and I'll share why each painting intrigues me.

Rembrandt - The Mill - Oil on Canvas (1650)

Many years ago I discovered my father (also an artist) loved The Mill. We were discussing Rembrandt and were amazed that we have never discussed the fact that we both admired The Mill more than any other Rembrandt painting. I find this fact very interesting since we never really discussed our favorite paintings before.

Rembrandt - A Girl With A Broom - Oil on Canvas (1651)

A Girl With A Broom is one of those paintings that just has that warm Rembrandt glow. I remember a reproduction of this painting in Mom & Dad's house growing up. I never knew it was a Rembrandt (of course like many youngsters I didn't really care who painted it - I just liked it). I have to admit it freaked me out a bit because the girl has one of those stares that follow you around like an old Scooby-Doo cartoon. However, this is one of those paintings I was exposed to as a child and later "discovered" who painted it.

Rembrandt - Portrait of Artist's Father - Oil on Panel (1631)

The last painting is of the artist's father. I haven't had the guts to try to paint my Dad's portrait yet but someday I may try. As an artist I can appreciate the importance of this painting to the artist himself. I can imagine what Rembrandt might have felt as he was painting a portrait of his father. I consider my father to be my greatest teacher and Rembrandt to be my greatest inspiration, therefore this particular painting is one of my favorites.

- Michael

Making the Most Out of What You Have

noreply@blogger.com (Anonymous) — Tue, 24 Jun 2008 02:41:00 +0000

Hi All,

A lot of painters struggle with space to create their paintings. A simple search on the Internet reveals most of us resort to a garage, basement, spare bedroom, or even a corner of the room. I too long for the 14 foot ceilings, north light windows, and a 20 foot by 20 foot space just to paint. However, the question is; do you really need it?

Take a look at the en plein air artists. They do not need a massive studio since they work outside. If you don't paint en plein air, you can still adopt their methods. I use my basement to create, frame, and inventory all my work. A small desk in the family room is used for the "office" and I do run all over the house for space from time to time. All my equipment is portable, or easy to store away when not in use.

Here are some tips for all my cramped space friends:

Try using a French easel and storage bag as your "mobile art studio" and paint anywhere you have room. When you are finished, pack it up and put it away.
Use folding tables as work benches and tables when you need the space. When you're finished, fold up and store as needed.
Use a laptop and the kitchen/dining room table. Desktop computers take up way too much space. Plus, the laptop can go with you anywhere! Instant mobile office.
Use a cell phone for the studio. A land line is a waste of money. After all, you shouldn't be tied down to a studio right?
Only purchase the supplies you need to finish a job or project. Avoid the "pack rat" mentality.

I hope these five tips help you find peace when you get frustrated for not having the ideal space. When you do get more space, I would advise keeping the same discipline of "mobility" that way you can keep your space clean, useful, and organized. I do a lot from my 12 foot by 20 foot basement studio and there is no way I could do it all without the mobility of my equipment.

Michael

Art News

noreply@blogger.com (Anonymous) — Tue, 03 Jun 2008 03:11:00 +0000

Hi all,

I have searched the World Wide Web hoping to find art related news worthy to share. To my dismay I found a host of short snippets containing bad critiques, new wave thoughts, and modernism praises. However, one article piqued my interest because it was about the upcoming Three Rivers Art Festival in Pittsburgh. A really cool idea was to use refurbished shipping containers as art installation/exhibit halls. Not a bad idea; they are portable, secure, and much better than a tent. The 8 foot by 40 foot containers have been weatherproofed and prepared to show art. Great idea!

As I went on searching for current art news I could not find anything on the kind of traditional art I like. I tend to start reading about past American artists and the Dutch masters of the 1700's. The trouble is that the Internet is flooded with bad art and related news. Studies have shown that 95% of us have never been in an art gallery. Maybe this should be a clue to the galleries and museums showing the bad stuff (I really don't want to name drop here).

I became excited when I read the headline "Most Expensive Living Artist - Lucian Freud." My excitement gained as I caught the words "I'm so glad a painterly painter..."; when I looked at the published image of the work and wondered WHAT? Really...$33.6 million dollars!? I couldn't believe it; the painting looked like a calm version of a Van Gough. Before I get hate mail - Van Gough suffered from many problems and was only a painter for 10 years. He never sold a painting in his life and I feel he was not a master. Again, before you send the hate mail, please understand this is just my opinion. Now back to Freud...$33.6 million! Your kidding right. Why can't I offer to give 30% of the profits to a known critic, and 30% to Christies to auction one of my paintings. If it only sells for 10% of the Freud art then I stand to make a cool $1.3 million!

For artists like myself, and those not "discovered" by the world's critics, it is a dark time. We sell so we can purchase new materials and do another painting. We seek out clients who connect with our work. Almost like we are trying to find a good home for a good pet we need to sell in order to feed our families. Art news today follows the trends of modernism. Galleries and museums cater to the elite art scene. I truly believe the only reason the Dutch masters (Rembrandt, Vermeer, Durer, etc.) paintings haven't been put in storage is because the establishment views them as old treasures. These treasures are the bread and butter realism, the bar, the pinnacle, the goal for many of us - so give us some real news and stop pushing modernism!

Cheers,

Michael