S+ART

From One Artist to Another: Tips for your Website

                  
 

Once you’ve decided on your hosting site, the exciting part of customizing your site begins! There really is no right/wrong starting point, as long as you have a pretty clear idea of how you want to organize your site, then everything else will follow suit. However, there are some key ingredients to making a cohesive, easy to navigate site, so your viewers, potential clients, or employers won’t feel lost in cyber space. 

Start with the basic pages on your site.

Your Home page makes the first impression on your viewer. Viewers will be expected to see your art work here, so include one nice high resolution image of a single work. I have seen many artists’ sites that include self portraits or pictures of themselves. Either way you want to include something, the choice is yours. This is, after all a visual arts page.

The next one, which should come to you with ease, is your Artist Bio/Statement:

Simply, introduce yourself. Since this site is a reflection of your art and thought process as an artist, let your personality seep through. After thoroughly searching one artist’s site after the other, I have observed that the more engaging sites are from artists that not only impress me with their talents but also keep their bio’s and statements interesting and captivating. I don’t mean stretch the truth about what you studied in school, exhibit history or work experience, but somehow make it sound not as formal as you would in an interview. Secondly, your Artist Statement should always be included somewhere on your site, whether it’s on the home page or a separate page.

Where’s the art work?

 Now, you need to focus most of your time on formatting, organizing and uploading the digitalized images of your works. Sometimes your site will crash or temporarily freeze, but when the site has decided to cooperate and be user friendly, your pictures should be easy to find and of great quality. It’s the smallest details and little quirks that can really affect the overall quality of your site.

So, to avoid confusion:

Make sure viewers are able to enlarge the size of the smaller icons. You think this wouldn’t be a problem, but I have come across a couple of sites that only include tiny icons of the works, so go big! Also, it’s not a bad idea to incorporate a slideshow with your works, so your viewers can really gain a sense of your style and progression.

Itemize your works! Even, if you have a large quantity of portraits but maybe only a couple of landscapes, still keep them separate. It gets too confusing going through sites and seeing all different subjects mixed up. Each area of focus is unique so honor this by creating individual pages.

Lastly, you want to always include a contact page. This is a given, especially for those commercial artists out there. Most hosting sites will already have this formatted for you, with a comment box and optional facebook/twitter addition. On this page, you can discuss further your pricing info and whether you welcome commissions or not.

 Remember, Every last detail counts!

Check out some of the featured artists websites listed on these hosting sites for inspiration:

mosaicglobe.com

artspan.com (which also separates artists by medium)

mesart.com

 artsearch

Please give us feedback/ leave your comments!

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 ~Margaret McClung

Cross-Processing

       
         Fuji Velvia,  ISO 100, cross-processed as C-41, Photo by Angela Kleis

 

I always like to keep a few rolls of color film, both negative and positive, in the refrigerator, just in case.  One thing I sometimes like to do when I shoot slides, particularly with certain cameras, is to have them cross-processed as negatives. 

 

Cross-processing, or X-pro, is a technique that involves processing (developing) one type of film in the wrong chemicals, most commonly developing E6 slide (positive) film in C-41 chemicals meant for color negative film.  Switching up the chemistry in this way results in color shifts with higher contrast and saturation, which are even more off-set by the presence of any light leaks in the image.  The results are unpredictable and vary based on the film brand and film type, as well as the camera used, the subject, and the exposure conditions.  Bright colors outdoors on sunny days have produced the most interesting results for me.  

 

 

 Fuji Velvia, ISO 100, cross-processed as C-41, Photo by Angela Kleis

  

 

Fuji Provia, ISO 400, cross-processed as C-41, Photo by Angela Kleis

 

The reverse can also be applied to color negative film processed in E6 chemicals, which generally yields flat, muddy images with little contrast resulting from the orange-colored base of color negative film.  Over-exposing the film by one to two stops and then pushing the film another one to two stops during processing can help to overcome the fog and increase contrast, if you're feeling experimental.  Be sure to explain your needs to the processing lab and be prepared to pay extra for both pushing and cross-processing. 

 

Next time you have an extra roll of color slide film and feel experimental, consider brighter, more colorful subjects and ask the lab to cross-process.  The service usually cost a few dollars more and the results are fun, unexpected, and a bit of a surprise - just like film, itself.

 

-Angela

From one Artist to Another: Promoting your Art on the Web

                                  
                                          

Today we have to constantly keep up with the “on demand” lifestyle of rapidly growing internet users and compulsive buyers, so if you are an artist, it’s not a bad idea to start thinking of ways to display and sell your artwork online. Once you’ve decided to promote your art work on the web, you will have many options to choose from.

Since, it can be very overwhelming to find a site that meets your needs and budget, design for your template, host a large number of image files or videos, and so on and so forth- I thought I might simplify the process for you by reviewing and comparing the more economical hosting sites out there specified for artists. I am excluding big name hosting sites such as DreamHost and Dreamweaver, since they tend to be less user-friendly, or should I say artist- friendly, for the purpose of personalizing your artistic thought and advertising your artwork.

Here’s what I consider to be your best bets:

Foliotwist offers two good deals-

1)   $39.95 per month. A starter website package for first-time art website owners with lessons, weekly reviews, and 24/7 help and support, valid for a full year. This will be a little more pricy than choice #2 because of the additional help/support offered.

2)   $24.95 per month. For the more website savvy experts that want to save, you can try the Website Pro, with no extra help, just a website.

Perks: Once you seal the deal with Foliotwist, you will be featured on their website. Your name will be displayed alphabetically under the artist library page. Here is a link to the frequently asked questions that I will refrain from repeating, http://foliotwist.com/faq/

FASO: FineArtStudioOnline-

The most appealing deal that FASO offers is the Forever Free Plan, which as you would expect allows you to join and use many services (http://faso.com/free ) “free” for 60 days (but not forever). However, the general pricing gives you several low-cost options:

 beginners - $8/month, professional- $28/month, and platinum unlimited - $40/month.

Like Foliotwist, FASO offers the same artist website engine, and all that extra help/support service. So, what really distinguishes the two sites, besides the prices? I would say it’s the extra resource that FASO offers, a free daily e-newsletter called FineArtViews . The newsletter is constructed to help artists improve their individual sites with marketing tips, reviews, and personal articles.

Here’s a great source on reviews of hosting sites to see what the users rate on support/ pricing/ reliability: http://www.webhostingjury.com/reviews/dreamhost

If you want to go beyond the sites I’ve suggested, try the following:

When typing keywords in the search engine, be specific! If you are looking for a site to publish your photography, painting, interior/graphic design, and illustrations or merely to exhibit your art portfolio, include what it is you want to show. Chances are you will receive links to other artist’s sites that have used hosting sites geared to their area of focus.

Please feel free to leave your comments if I left out any vital details or can think of other sites worth mentioning, Thanks!

Keep your eyes peeled- I will feature another blog soon on suggestions and things to avoid when designing your site.

To be continued…

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~Margaret McClung

Fat Film and Light Leaks

One of the most common reasons for light leaks on medium format film is when it is loosely-wound after exposure. Loose, or "fat", film happens when there is too much slack on the take-up spool when loading the film in the camera. The biggest culprits are the inexpensive "toy" cameras like Holga and Diana that have no mechanism to wind the film tightly or hold it in place. My Holga has a low-tech piece of foam to put tension on the spool, but the Diana has nothing to make the spool fit tightly (and, the Diana is the one where all the post-exposure light leaks originate).

 

The film on the left was properly wound on the take-up reel, minimizing the occurrence of light leaks. The film on the right is loose, or "fat", and will have light leaks.

Light leaks, depending on placement, size, and personal preference, can either contribute to the image or totally destroy it. They can even cause the numbers from the backing paper to become imprinted on the film as light passes through it.

Loosely-wound or fat film can be minimized by making sure the leader is properly secured and wound on the take-up spool. The paper backing usually has a slightly tapered end that fits through the slit on the spool. Folding the leader will help it stay in place; sometimes a small piece of  gaffers tape  will help, as well. When the paper is securely wound on the take-up spool, the film will usually wind tightly as each frame is exposed.

This film is barely wound on the take-up spool and is not tight enough to wind properly. Film that looks like this when the back is placed on the camera will most likely result in a loosely-wound spool (even fatter than in the example above).

 

This film has been tightly wound on the take-up spool. The paper backing on medium format film is much longer than the film, itself, which allows for safe spooling to the start arrow without exposing the film.

Sometimes loose film just happens. When it does, be prepared so that the risk of image-destroying light leaks are reduced (or emphasized, if you like that sort of thing). Carry aluminum foil to wrap any loose rolls to protect from light once exposed and removed from the camera. The film wrapper can also be used; even a sheet of paper will help. If nothing like this is handy, shove the film into a pocket or the bottom of a bag until you get home to develop it. It may seem logical to squeeze the film if it’s loose, but try to resist - it’ll just make the light leaks worse (unless you want them, then squeeze away).

You can try pulling the film tight though nearly every time I’ve done this I end up dropping it and the whole thing unravels, so tighten at your own risk.

Hopefully these tips will help prevent any annoying light leaks other than the ones caused by your camera, itself (and, that’s the reason you’re shooting with a plastic "toy" camera in the first place, right?).

-Angela

From One Artist to Another: Building a Portfolio

If you are an artist aspiring to sell, display, commission your work or maybe even apply to school or an art-related job, then you will need to build a portfolio. By building an art portfolio, you are demonstrating your artistic skills and talents to your prospective clients or employers. One significant way to get noticed in the art world is through the showcase of your visual art pieces. You want your portfolio to act similarly as your resume and work experience, so don’t hesitate to invest a little extra money and time into it.

If you engage in art as a hobby then you may not need to make a professional portfolio, but it’s still nice to keep an organized storage of your works for reference. Chances are you already have a portfolio of some sort. It may be a rough portfolio, composed of sketches and drawing warm-ups, but that’s okay, you can still spruce it up!

 

         

Things you’ll need:

Digital Images of your Artworks: Whether you have to borrow your friend’s camera or rent one, you will definitely need a digital camera to take clear and clean shots of your work. Don’t try what I did, which was to take snapshots on my cell phone. Truth is, the quality will never compare.

Portfolio Case: Now that you have taken such impressive looking prints of your work, you will need a professional-looking portfolio case to make it complete. You can find these at your local art supplies stores and online: Utrecht, Plaza, Portfolios and Art Cases, Blick Art Supplies.

CD/DVD: Why stop at the portfolio when you can create a CD/DVD that includes high-resolution digital images of your work?  This creates another possible way for prospective galleries and customers to view your artwork, which can be an easier access and a great way for them to share your work with others. Be sure that the disc is correctly formatted to work on Macs and PC’s. You will never land the client or get in the show if the recipient of your disc cannot view your work!

Where to Begin?

Setting it up: Try placing your digital camera on a tripod (a box works just as well) to avoid image blurring. Setting your piece outside on a sunny day with the natural outdoor light shining down, will give you much better results than indoors. Find a stable wall or surface to prop up your work so it can stand almost perfectly upright. The distance between the camera and your works should be between 4-8 ft., depending on the size of your work. Hanging a backdrop to block any unwanted sun glares is simple, by using a white umbrella, towel or sheet (If indoors, hang between each light source).

Keep design in mind! : You don’t want your prints to be displayed in a random order. Instead, organize by style, medium, or subject so your works are presented in a visually appealing and cohesive arrangement. Include labels with the title, medium, date, asking price and any other detail asked from the prospective buyer or client.

Once you’ve assembled your portfolio with the organized prints, be sure they are securely in each plastic sleeve of the case. You wouldn’t want them flying through the air when opened! Lastly, include your contact info, business card if you have one into the portfolio, as well as your artist statement and bio. At last, you are done!

 

Have any experience with building a portfolio that’s worth sharing or have any tips/advice of your own? Let us know!

 

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~Margaret McClung

A Breath of Fresh Air

 

                 
                     h ttp://commons.wikimedia.org/wiki/File:Bagan.jpg

We have all walked by artists who are feeling daring enough to paint in the open, knowing some spectators might be negatively critiquing or distracting them with glares. Don’t let that disconcert you. Try painting or drawing ‘en plein air’ (in the open air), like many Impressionist painters did, such as Monet, Pissarro, and Renoir, who dedicated much of their time to painting outdoors. Springtime and the National Cherry Blossom Festival in DC are just two reasons why you should begin setting up your easel and mixing your paint outdoors. By observing and rendering surroundings that are physically present (rather than view from a picture), you can then focus on what you see, not what you imagine or intellectualize about the subject.  

You also don’t have to go crazy with locations. Sometimes, I travel as close as my backyard to capture the sunset peaking in-between the trees or to the nearest park for a slight change. When drawing or painting in the open air, you are giving yourself the freedom to choose any spot you so desire, instead of being limited in a four-walled space.

 Here are some suggestions of local spots:

- The National Arboretum

- The National Mall and Memorial Parks  and The Tidal Basin

- The Smithsonian Gardens (eleven different locations to choose from!)

- The Franciscan Monastery Gardens

- Rock Creek Park

- Kenilworth Park and Aquatic Gardens

- Or even set up watercolors or pencils at your local coffee shop  and gaze out the window.

Depending on your medium of choice, you’ll need a Plein Air Painting Checklist for guidance. Remember, to travel light!

 

Painting by Sandra Warren Gobar. The Smithsonian Associates.

Not quite ready to try this on your own?  You’re in luck! The Smithsonian Associates will be presenting a Studio Arts class, Painting and Drawing En Plein Air instructed by Sandra Warren Gobar, taking place on Saturday, April 21-May 5 at 10:30am. Using your medium of choice, surround yourself in nice spring weather and local gardens such as the Mary Livingston Ripley Garden  and the Native Landscape Gardens at The American Indian Museum.  

Enjoy!

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~Margaret McClung

Taking notes

 

Picture is Unrelated:  Kayakers on the Potomac River on a hot day.  Photo by Angela Kleis, 2009

 

I cleaned over the weekend and put away a few notebooks and pads of paper that were taking up space on my desk.  Last night, I spent over an hour looking for the one that contained data I needed to develop film.  I finally found it on a bookshelf, of all places (why didn't I look there first?).  But, I couldn't get started without it.

 

Maybe it's my ingrained thanks to my science background, but I tend to take notes and keep a pretty meticulous notebook on all the types of film and developer combinations I've processed.  It helps me understand which types of films can be combined in one tank with the same developer, which ones should never, ever be put together, and if a particular developer is not a good match for a specific film.  Sometimes there are temperature issues and those are logged, too, as well small details I may notice and think will be helpful in the future (some if it is also online). 

 

I have a second notebook for printing that catalogs the negative number, type of paper, which filters I tried (and, which one worked best), time, aperture, and any dodging and burning that was performed.  Though printing is not an automatic process and may vary based on paper and chemical lots and other things I can't necessarily control, it provides a starting point that saves time and materials (and, frustration).  I like consistency and standardizing my methods helps me make sure that the results will be as close as possible to those I have obtained in the past, even with all of the inherent variables throughout the processes.  

 

There are notebooks or pads of paper in each of my camera bags that are useful for logging the film number (there is also a Sharpie in every bag) so when I am looking at an overwhelming pile of film canisters that need processing and want to develop a specific one, I can easily find it.  I have found this process very useful when travelling to note the date, city, places visited, if pushed or pulled the ISO.  These details not only help me locate a roll of undeveloped film, but also to remind me of the places I went.  After all, how many piazzas and fountains are there in Rome?  It's impossible to know.

 

It may seem like information overload or tedious details that most people are able to remember, but I feel it's better to be prepared and save time later by taking a few minutes to write it down, now.  What kinds of methods do you use to document photographic information?  Please let us know in the comments!!

                                                         -Angela

From One Artist to Another: Writing an Artist Statement

             
             http://commons.wikimedia.org/wiki/File:Colors_Paint.JPG

 

When it comes to writing an artist statement, you are not only trying to express your concept to someone else but you are also convincing yourself that you know what you’re doing. If you are struggling answering questions, that appear simple like,“What is your painting/photograph about?” or “Why did you feel the need to include this, or that?”Don’t fret, it’s not as nerve racking as you think. There are some helpful suggestions you can follow to gain a better understanding of what you want to convey through your individual expression.

You are an artist, so it’s only natural to think and express yourself visually. Because you are an artist you are sort of “expected" to make sense of what you illustrate. By keeping your statement fairly short and to the point you are already engaging the interest of your viewer.

1)      Simply look at your work. I find it incredibly helpful to review my work. Referring  to old paintings, drawings and sketches, helps me move forward in my ideas. This also gives me a sense of stability. I can see where my style and strengths have developed.

2)      Get inspired. Who are your influences? Think about another artist’s work that you love, hate or don’t understand and jot down all of the questions you would ask them if you had the chance. What, how, why, where.. etc. Now, remember these questions because you will have to ask yourself the same when explaining YOUR work!

Also, surfing the internet and reading other artists’ statements, both bad and good, helps you eliminate and add ideas to your list. 

3)      The basic questions you will be asked about your work begin with “why” and “how”. So begin your statement by answering why you choose to draw/paint/photograph your particular subject matter and how you did it. After answering the general “why’s" and “how’s” of what you do, then you should emphasize the unique elements in your work.

Things to keep in mind:

-Using words like “me, my and I” repeatedly. Obviously you will have to start out with these but try not to include these words in every sentence.

- Update your statement as you create new work. You want your statement to coincide with your latest creations and ideas so you will always be prepared to explain your concept.

- It’s okay to have more than one statement. Some of your works may call for an entirely different statement. Creating multiple statements may help you distinguish your thoughts.

Here are my influences for this post:

http://www.ehow.com/how_4531269_write-artists-statement.html

http://artistemerging.blogspot.com/2006/08/writing-artists-statement.html

http://www.writingtheartiststatement.com/

http://www.artstudy.org/art-and-design-careers/sample-artist-statement.php

 

Find this helpful? Let us know!

 

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~Margaret McClung

"Sign it, Date it, and Call it a Painting"

                     
Photo by Margaret McClung

 

 During my last pastel class, instructor, Sandra Warren- Gobar prepped the day’s session for a still life and figure drawing lesson.  Each class was designed in a similar format: beginning with a critique of assigned homework from the last class (optional), drawing warm-ups, discussion of hand outs, tutorials, and finally, let the drawing commence. In the critiques and lessons, Sandra introduced vocabulary of art, like tension, finding your personal palette and various techniques of pastels.

 The positive, friendly atmosphere among students and the instructor continued to flourish with each class. Everyone was willing to contribute in some way, whether it was by lending a sheet of paper or offering some encouraging feedback.  I must admit, I’m not always a fan of critiques. Too many times I fear the disapproval from my teachers and fellow students. This was not the case in Sandra’s class. She always offered constructive criticism. Her pleasant and kind demeanor resulted in students readily accepting and applying her suggestions. She may suggest cropping your composition, increasing the tension, and making your colors pop more.  Then we were ready to “sign it, date it, and call it a painting”.  

 The most memorable lesson I learned from Sandra’s teaching in the class, was the concept that “drawing better is about seeing better”, because when we “see better we render art better.” I plan on implementing these idioms and practices throughout my growth as an artist. Thank you Sandra for such a valuable experience!

 

Photo by Margaret McClung

Please feel free to leave your own critique and comments!



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~Margaret McClung

All About Pastels: Using Oil-Paint Sticks

http://0.tqn.com/d/painting/1/0/o/H/2/WN-Oillbar-600.jpg                                 

If you are like me and have a preference or more practice with oil based mediums, then you will be very pleased with the quality of oil-paint sticks. Oil- paint sticks are exactly what you would guess: oil paint in stick form. What keeps the paint from bursting out is the addition of special waxes, which enable them to be molded into this stick form. Along with painting, oil-paint sticks can also be considered a drawing medium.

In my Pastel class, I have been learning more about the different brands and types of oil pastels. I am using oil-paint sticks similarly to pastels, as a drawing and blending tool, which allows me to utilize various pastel techniques. Here is what I have discovered:

For first-time use, brand new sticks must have the protective skin of wax film removed off of the tip of the paint stick. It’s easy to do this with a cloth/ paper towel.  After a day or two the wax coating reforms to keep the paint from drying out.

Ah-Ha, the wax sealing reveals the creamy oil paint… Now, you’re ready to go.

Once the paint stick touches your desired surface (can be primed canvas, Masonite, acid-free sized paper, or fabrics), you will see the richness of the oil color and the difference when applied lightly or with pressure. I have noticed that the oil sticks become creamier in texture when using a slight force of pressure.  I prefer this result, as I like to make expressive, gestural lines.

Oil-paint sticks are compatible with a range of drawing and painting mediums, including oil, alkyd and acrylic paints, oil pastels and pencil. I recommend using the painting sticks on top of painting mediums, opposed to trying to mix and blend the different mediums.

For blending and brushing, there are special colorless paint-sticks  available, which increase the transparency of the colors. You can also use the same brushes and thinning mediums that you use for oil painting, such as Turpentine/Turpenoid. By adding a thinner to your paint stick you improve the flow of color. Being a fan of texture, my go-to method of blending is applying paint in thick layers, and then modeling it with a paintbrush or knife. This way, the paint remains workable for several hours.

Several brands of Oil Sticks include:

Winsor& Newton Oil Bars 

 Sennelier Oil Sticks

Shiva Artist's Paintstik / Student Grade Paintstik

R&F Pigment Sticks Opaque Assortment 

*Note, because there are variations in chemicals, texture, handling properties and drying time among different brands, I advise against mixing brands in the same art work. Instead, try sampling each brand individually.  

 

                 

Still Life, Oil-Paint sticks on paper by Margaret McClung

 

I hope that you can find your own use for oil-paint sticks, whether it is for painting/drawing, touch ups, outdoor painting, or another means.

Here’s a quick video tutorial on painting with oil-sticks: http://www.ehow.com/video_5996013_paint-oil-sticks.html

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~Margaret McClung