Arty Crafty Studio

How to write an artist statement

2012-03-03T18:58:00.004+10:00

Writing an Artist statement seems to be the scariest thing for most artists I've talked to over the years. It is not vanity to freely talk about yourself. You have too! You have to be able to describe who you are as an artist, especially if you want to apply for grants and the like. Whenever you meet someone and they ask 'What do you do?' and you repy 'I'm an artist'. People don't just stop there, they want to know more.

Having an artist statement not only validates what you do and what your art practice is about to yourself, but helps you express that to others. I find if you say 'well I dabble in everything', Say it so it means something: "I am a multi media artist; I work with all mediums and do not restrict myself to specialising in just one".

But before we go on, I must clear up the confusion on the difference between an Artist statement and an Autobiography. They are different. The two can be meshed into one, but most arts organisations or employees want these separate as one is about what you DO and the other is about your LIFE history not necessarily artistic practice.

So how to write your artist statement?
Some people find it hard to just start writing about themselves.

I LOVE to BRAINSTORM. I use this tool for alot of concept writing.
Ask friends and family to describe you as an artist and your art style.
Use headings: Brief Background about me, Art Medium, Art Style, Art Technique, Inspiration and Influences
Make it interesting, show your personality in it. This does not have to be a formal piece of writing, and yes you should use FIRST person -'I', 'My', 'Me'.

Writing your artist statement -answer questions like:

Describe your medium and style e.g. "I am a contemporary acrylic painter."
Where do you live e.g. "I live in Brisbane, Australia; surrounded by the coastline but bordering close enough to the bush to be inspired by the encompassing environment"
Describe your subject matter e.g. "I like to paint decorative landscapes using bold hues to manipulate reality into something more beautiful through saturation."
Describe your style e.g. "I like to use a palette knife with texture medium to add areas of interest and detail and other times I use the brush in an impressionistic way."
What other mediums interest you e.g. "I use a range of other 2D mediums to play and experimentation such as gouache and ink, pastels and occassionally printmaking".
What other subjects interest you e.g. "Scapes such as landscapes, seascapes, skyscapes, and cityscapes for example are subjects I often explore. I also enjoy creating my own still lifes, photographing them and painting."
Where does your inspiration come from e.g. "I am inspired by my surroundings, the environment, the location of where I live and the flora and fauna that are present."
What art movements and/or artists influence your work e.g. I admire the Impressionists greatly; Artists such as Monet, Turner, Degas and Van Gogh are all favourites."
Do you have a process to create your work e.g. "I am very organised and plan my work. I can not jump straight into a painting without thorough planning"
Summarise your art practice in a few words as a 'catch phrase' for you
Expand on all these points to make it longer

Check out my own Artist Statement here

When and where do I use an Artist Statement?

On your website or other social networking sites
In your portfolio/resume/CV
when applying for funding or exhibition application
For yourself -to have a clear understanding of your own arts practice and to help you express that to others.

Layout -Make it eyecatching!

Use one of your own images as a watermark or
Use a header with a number of your images or
Use a template from Microsoft Publisher or Word
Use no less than 12 point font if you can avoid it
Choose a nice clear font, nothing too curvey so it makes it easy and pleasing to read

How long should it be?
That is up to you. But I think 1/2 to 1 page is enough. Less than half a page and I won't think you'll have enough information. More than a page and you are blabbing and not being concise.
Break your page up into smaller paragraphs

Make your own catch phrase or statement to summarise your art if you want an extra zing.

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

Here are some other fun links to generate a spoof artist statement:
http://www.artybollocks.com/
http://10gallon.com/statement2000/

How much does a painting weigh?

2012-02-27T21:46:00.000+10:00

It is something we don't take too much notice about until we need to quickly find out how much postage will cost to deliver the artwork you just sold. As a smart business tip and an organisation tool, my suggestion (as I too am learning as my professional career advances) is to have this information readily available.

A while ago, for my own records as my collection grew, I started recording my own art inventory. With this I categorised my paintings in the year created and provided such information as:

~Title, Medium, Dimensions, Price~

As you would any time you submit your artwork in a competition. But the difference is, I have also coded my document to record; Commissioned work, and sold etc.

Another category I am now adding is the painting's weight and canvas quality e.g. P = poor/cheap to VG =Very good. This is so I know how to price my artwork -less for a poorer quality canvas, but also to remind me of the canvas weigh, as my weighing session concluded cheaper canvas are at least half the weight of more expensive good quality canvases.

So then, how much does a painting weigh?

Well, as stated above, that will depend on the quality of canvas and the size. Surfice to say, I have not weighed a painting heavier than 3kgs.

A 3kg painting will be very good quality (heavy) timber and approximately 60x90cm in size.
Account for a glassed framed artwork to be just as heavy as a good quality canvas, so for my medium sized framed paintings, they weigh about the same, 3kg, as the large good quality canvases.
A 600g or 0.6kg painting will be small, cheap and lightweight canvas approximately 40x50cm
Canvas boards approximately A4 (size 25x30cm) will weigh about 200g or 0.2kg

In total to calculate cost of delivery will also depend on the pakaging e.g. bubblewrap and cardboard. Couriers tend to go by size not necessarily weight whereas the postal service tends to go by weight. I allow approximately 1-1.5cm on each side of the painting to allow for packaging

e.g. a 60x90x3.5cm painting could be in total size 63x93x5cm

So how much should I calculate for the weight of the packaging?

I estimate about 1-1.5kg depending on size

How to make a reduction lino print

2012-02-03T22:25:00.000+10:00

A few years ago I made a reduction lino print that I found rather fun.

Here are the steps/process for those wanting to know how it is done.

Ability: Intermediate

Materials:

Lino
Lino cutting tools
Cardboard (for plate registration)
Acrylic paint (for painting the plate)
Oil paint
Mediums
Brayer
Rollers
Rags
Watercolour paper
scrap paper
Paint scraper

STEPS:

Create your image, make a colour scheme sketch
Cut your lino to size, transfer the image and use a black marker to draw the outline
Use your acrylic paint to paint the surface of the plate to help you work out what needs to be cut out. (With printing and cleaning of the plate after each colour this will start to fade, you can repaint it back on).

Step 1: Carve out white. Print Yellow.

Cut out your white areas first so that your paper remains white.
Work from lightest colour to darkest colour. This is a reduction process. So your lighest colour will cover most the plate. Print your first colour yellow.
Carve out the yellow. Print the next lighest colour. And so on.


		Step 2: Carve out yellow. Print orange/red

Step 3: Carve out orange/red and print green/blue

Step 4: Carve out green/blue and print dark blue/black

Invoice for Artists

2012-01-28T18:20:00.001+10:00

As you progress in your art career, you may need to provide a tax invoice (or remittance form) to an organisation for a service you have provide e.g. a workshop you hosted, or goods you have sold such as your artwork to a private buyer, gallery or business.

There are many examples out there how to write up an invoice. Is there are right or wrong way? Well, maybe it depends on your country's legal requirements. In Australia, for the payee not to legally hold 48% (or there abouts) amount of the payment because of tax reasons, you need to supply your ABN. Now I don't want to get into tax stuff because that is not my department. Short answer, supply all relevant information.

So here is a SAMPLE Tax Invoice template for you to use and make pretty. Add a header and or business 'picture'. Change it to suit yourself and your practice.

Ponderings on commericalisation of art

2012-01-14T17:47:00.001+10:00

In a world of mass production, off shore sourcing and importing as a result of cheap labour, materials and other costings, it is no wonder why the term 'struggling artist' has stuck due to the competition.

You see Asian made canvases labelled as 'original' when they have been printed on canvas and selling for $40 a pop from discount stores. Just have a look on ebay and try to 'spot the authentic' genuine artist and not a reproduction company. Of course there are buyers for everyone, even being on a budget is fine. But it is the damaging and deminishing effect these cheap reproductions have on the arts industry. The public cant fathem the value of hundred or thousand dollar plus artworks when they can get something similar for a fifth of the cost. However, if they aren't concerned with quality then the issue is a moot point.

True buyers and collectors aren't the niche we are now trying to target. It is the public and comnunity. Even if they aren't our buyers, if they can understand and appreciate Australian made, owned and supported then they might begin to understand the price galleries pay. As an artist who has used galleries and organisations before to sell my art I can scoff at 33% commission or more, but I too can understand and appreciate the service and need for their survival. At the end of the day it is a business, not a charity. I would generalise much of the public thinks art should be for free -being that public art is free to look and enjoy (that is another part of this issue about educating the public), however it is a product too at the end of the day. Some would deem an investment and appreciates rather than depreciates with age.

I too have gone down the path of commericalisation for survival, however considerate professional artists cap their prints at x number of units to retain integrity to yhe original artwork. And a buyer can negioate for the original not to be reproduced (sometimes by paying a bit extra). But not every artwork is reproduced either.

So whether your a buyer, an artist or the general public, consider the cost of living, labour and materials along with the benefit of supporting the Australian arts industry -supporting local artists and keeping our products and services inhouse as well as buying genuine authentic artwork.

How to make a Lady Beetle Cake

2012-01-09T21:49:00.000+10:00

I am off to a good start now having made a few 'character' birthday cakes. For my daughter's 1st birthday I made a rainbow butterfly cake. Now for her 2nd birthday I decided I wanted to make a lady beetle cake.

Here is how I did it -it is very simple.

What you need:

Springfoam cake tin 20cm

1 mufflin hole of a muffin tray

Cake mix

Icing and decorations

Time:

Preparation: 10-15mins

Cooking time: Approx 40mins cake, 15-20mins muffin (I have a single element electric oven so things take longer to cook).

Decoration Prep: 30mins or so

Step 1: Follow cake mix instructions. Pour enough mix into 1 muffin tray and the rest into a round cake tin. Cook and cool completely.

Step 2: Cut a little off the small muffin to fit as the head on the body of the lady beetle.

Step 3: Make your icing or cheat like me and get the Betty Crockers Pre-made icing. Colour it with food colouring.

Step 4: Ice the body of the lady beetle with pinky-red icing.

Step 5: Add melted chocolate to vanilla icing or get chocolate icing and ice the head.

Step 6: Put the cake on a plate and decorate. I used licorice and chocolate freckles. I got a pipe clean for the annetennas.


FINISHED: Hubby added some 'toughs' of grass with coloured icing.

I'm published in Australian Fine Arts and Decorative Magazine

2012-01-07T22:42:00.005+10:00

I have just had my 6th published article/demo in an artist magazine. This is my second time in Australian Fine Arts and Decorative Magazine (Vol 19, No. 5) Dec 2011.

Check out the article/demo on my website here

Brisbane & Australian Artists' Opprtunity

2012-01-04T21:28:00.001+10:00

Hey guys,

A fab concept and event called "Papergirl Brisbane" is an opportunity for not just Brisbane artists but artists anywhere to have exposure to the public and community.

It is a random act of artness -err kindness, of submitting your art to this initiative for random distribution to strangers on the street via volunteers on bikes.

Yes you give up your art for free -obivously your disgression as to how much you value the piece as to if you are willing to part with it for free effectively giving it away to someone. BUT it is the cool idea behind this art distribution.

What will you get out of it??? I hear you ask. Well....the good thing is your work will be exhibited in a known gallery before distribution. As part of a council thing I would assume media attention will be given. ALSO if you live in Brissie you can take part in the exhibition and delivering the works.

I think it is a cool and easy way to part with some of my unwanted art. I know that sounds bad, but rather than throwing it away, I would rather give it away to someone who may appreciate it.

Here is the link

http://www.papergirlbne.com/

DEADLINE 4th FEB 2012

FOLLOW UP ON EVENT:
Well I was not able to attend the launch of the 2012 PaperGirl art exhibition however here is a pic (courtesy of Papergirl) of the night with one of my artworks (Uluru top left framed in black) hanging for all to see. I submitted 4 paper works; Janus Lorikeets, Uluru, Girl and Peacock -a mix of prints, gouache and acrylic on paper.

Autumn Leaves (Liquid Amber) in Pastel

2011-12-24T21:22:00.002+10:00

Autumn Leaves or Fall leaves seem very American. However in Australia we have the Liquid Amber Tree too. And Autumn time to bring out such wonderful colours in these tree leaves. I am always in awe of the reminiscent atmosphere it brings. So in tribute and anticipation to Autumn, I wanted to capture the beauty of these leaves like so many have done before me.

In a well detailed 'study' I made a pastel drawing in anticipation of a future painting. I have a Liquid Amber tree in my backyard and last Autumn took some reference pics. I used too close up reference pictures I took:

I give permission for artists to use these images above of the Liquid Amber Leaves for reference purposes only. Copyright remains with the owner. No republishing permitted (C.Dwyer).

Here is the stage by stage process of my pastel drawing (I say drawing and not painting because I was using a drawing technique). I used pastel pencils and a kneadale rubber. I worked top right/bottom right to top left/bottom left because I am a left hander, as well as using a tissue under my hand and a paper stump towards the end to blend the background. I worked leaf by leaf, not a layering effect like a base/background, then darks then lights over the whole area like I would a painting.

Stage 1

Stage 2

Stage 3

Studio -Stage 3

Stage 4

Stage 5 -Finished. (c.) Chrissy Dwyer.

Here is a FREE TEMPLATE of my Liquid Amber Leaves drawing design.


Here is a copyright free template for Liquid Amber Leaves.		Get your students to colour in in pencil.

Australian Artists

2011-12-18T15:48:00.049+10:00

Most art followers could name a number of well known and famous Australian artists, but there are many I haven't heard of who have contributed to Australian art history; depicting the culture, society, times and events of modern day life.

I would like to share with you these artists, some of whom have been brought to my attention, others who have provided a greater insight into their importance in the art realm. I have been reading Australian Art Brought to Light 1850-1965 (1998) published by the Queensland Art Gallery. This book has a vast array of essays on Australian artists (including international Australian artists) which describe their placement within Australian art history. The essays tend to analyse one significant or iconic artwork and has been a most enjoyable read of 'short stories'. There is an emphasis on Queensland and Brisbane artists as is relevant to the location of the gallery, however these essays address national artists.

Here is a list of the artists;

Henry Short (Still lifes -Flowers)
G.F. Folingsby (Genre Paintings of Domestic scenes)
Chester Earles (Interior with figures)
Nicholas Chevalier (Children)
William Barak (Indigenous artist)
Harriet Jane Neville-Rolfe (Female artit -rural/country life scenes)
Isaac Walter Jenner (Landscapes)
Arthur Lourier (Fantasy)
Bertram Mackennal (Sculpture)
Girolamo Nerli (Interiors with females -Cultural influences from Asia)
Arthur Streeton (Landscapes)
Sydney Long (Primitive like landscapes)
Charles Conder (Figures, Landscapes, scenery)
A.M.E. Bale (Lesiure paintings)
Godfrey Rivers (painterly Landscapes and Interiors)
John Peter Russell (Impressionistic landscapes)
Rupert Bunny (Bathers; Women and children)
George Washington Lambert (Portraits)
Emmanuel Phillips (Figures and scenery)
Vida Lahey (Female artist -Domestic scenes)
Lloyd Rees (Drawing Architecture)
Grace Cossington Smith (Female artist -portraits and domestic scenes)
Thea Proctor (Female Artist -Printmaker)
Margaret Preston (Female Artist -Printmaker -Still lifes)
Christian Waller (Printmaker)
Napier Waller (Female Artist -Religous printmaker) -Wife of Christian Waller
Roland Wakelin (Impressionistic Fauvist -Surburbia)
Hilda Rix Nicholas (Female Artist -Country life scenes)
Max Dupain (photographer)
Peter Purves Smith (Political painter)
Eric Wilson (Cubism -Still lifes)
William Dobell (Portrait painter)
Ludwig Hirschfeld Mark (Watercolourist -Abstracts)
Albert Namatjira (Indigenous Artist -Watercolourist -Landscapes)
James Gleeson (Surrealist painter -Similar to Dali)
Leonard Shillam (Sculptor)
Albert Tucker (German Expressionism -depictions of society)
Russell Drysdale (Surreal landscapes)
Joy Hester (Female Artist -Female Portraits) -was wife of Albert Tucker
Daphne Mayo (Female Artist -Acclaimed Sculptor for her time)
Sidney Nolan (Figures in landscapes)
Arthur Boyd (Landscapes)
Charles Mountford (Indigenous Artist)
Roy de Maistre (Cubistic and Fauvistic influence)
Herbert Badham (Cubistic and Fauvistic influence)
Grace Cowley (Female Artist -Abstract Cubism)
Danila Vassilieff (Sculptor)
Frank Hinder (Cubism)
Margel Hinder (Cubism)
Fred Williams (Printmaker -Etchings)
Godfrey Miller (Cubist Pointalism)
William Dargie (Indigenous Painter)
Arthur Evans (Surburban Scenery)
Ray Crooke (Landscapes of the Australia and Pacific Islands) -Similar to Guigain
Yvonne Audette (Female Artist -Abstracts)
Jon Molvig (Abstract Figures)
Carl McConnell (Sculptor)
David Boyd (Sculptor)
Hermia Boyd (Sculptor)
Ian Fairweather (Abstract Expressionism)
Leonard French (Modern Abstract Geometrics)
John Olsen (Abstract Expressionism)
Colin Lacey (Decorative imagery)
Mike Brown
Ross Crothall
Keith Looby (Abstract Figures and People)
Ian Burn (Conceptualism)

Synchromism - a theory of colour and music

2011-12-10T17:37:00.001+10:00

I have heard of synasthesia before - where art is responded to through listening to music and then the artist tries to 'paint the music'. Kandinsky was well know for this.

Synchromism sounds similar and could be one in the same (I haven't read enough about it yet) but it uses the music tone to represent the hue. The higher the musical pitch the lighter the colour key and reverse for low tone, deep hue -A formula developed for the 12 'notes' of the chromatic scale. The well known Australian artist Rolan Wakelin is said to have used this approach. International artists Morgan Russell and Roy de Maistre were too noted for creating art this way.

For me, I use music to dance to and get in the mood to create my art. As an exercise it would be fun to respond to the different types of genres; classical, grunge, pop.

Where Art imitates life in entertainment

2011-11-27T17:52:00.000+10:00

I have been aware of the influence fanous art pieces or artists have had on recent entertainment. I have just watched the new film "Midnight in Paris" by Woody Allen 2011 where many references to artwork and artists made for an art lover's dream movie escape.

Midnight in Paris Trailer

I have also been thinking about the other cases where I have seen artworks or artists referenced in entertainment;

Dr Who episode "Vincent and the Doc", series 5

Songs refering to Artists/Artworks/Art:

"Mona Lisa" by Panic at the Disco

"Starry Starry Night" by Don McLean

"Calafornia Dreamin" by the Mamas and Papas (Colour -All the leaves are brown and the sky is grey)

If you guys know of any other art movies/songs please feel free to comment.

A look back on my Art of 2011

2011-11-21T14:34:00.001+10:00

Well it's close to the end of the year, and though I aim to create some paintings, I will show what I have done so far.

Check out my website for the paintings created in 2011 (labelled "New"). http://chrissydwyer.com.au/Gallery%281254600%29.htm

Also I had one commission, check out the "SOLD" gallery to view "Nesting" http://chrissydwyer.com.au/Sold%28758082%29.htm

Achievements:

I have recently been selected for the Flying Arts 2011 Queensland Regional Art Awards. My painting "Oriental Lanterns" will be touring next year 5 regional locations in Queensland
I had a couple of demos published in Fine Arts and Decorative Painting Magazine.

Painting Mitts

2011-11-21T14:24:00.001+10:00

I was given some painting mitts from someone who works in a primary school for my daughter, who is nearly 2, to use. They are small enough for toddlers to use.

The brand is "Tudor Education" but a google search didn't show up where you can get them.
I think they are such a great idea for young children with the different textures they can paint with.
Starting from the left the materials are; a wollen fabric, a luffa, a sponge, mop-like string, and towelling fabric.

They worked ok. Maybe if the paint was thicker the textures could have shown more. The paint I use is Crayola Gel paint for children -so very thin and transparent.

Here are the results

Artist Sketchbooks

2011-10-22T22:08:00.000+10:00

Sometimes you want to see the before stuff that artists do -how they get to their end result of the artwork. It is great to see a visual diary or sketchbook and see how ideas progress and change. Here is a link (directory) to ALOT of links to other famous and non-famous artists' sketchbooks.

Scroll through.

http://www.gis.net/~scatt/sketchbook/links2.html

For example: Here is an example of one of my artworks from thumbnail sketches of ideas -positioning of subject matter, to a tonal and colour scheme to the final product.

Flying Arts 2011Online Regional Art Awards

2011-08-10T21:52:00.004+10:00

I have entered the 2011 Online Regional Art Awards run by Flying Arts (Brisbane, QLD).

You have the opportunity to support me and vote for my artwork "Oriental Lanterns" by Chrissy Dwyer (Page 2, 1st on 2nd row).

Oriental Lanterns by Chrissy Dwyer. (c.) 2011 This image remains copyright of the artist.

Go to the website here and read my blurb by clicking on the thumbnail which makes the link to the theme 'Connections'.

Voting for people's choice closes 19th Sep 2011. The winner of People's Choice receives a voucher for Art Shed (which would be very cool!). I would appreciate your support and hope you find my artwork to be the best abd vote for it!

Creativity and the purpose in Education

2011-07-19T22:16:00.001+10:00

Sir Ken Robinson speaks on TED off Utube and raises some interesting points FOR creativity in education: "Do Schools Kill Creativity?"

Watch this 20min video (yes it is long but worth it. He is fun to listen to and not dry and boring).

As a soon-to-be qualified Art Teacher I am of course an avid supporter of the arts being taught in education. There are so many ways of learning which the visual arts supports as a vechical for teaching knwoeldge, such as; history, geography, science, english. The core learning areas can be supported by teaching information through art, for example, colour theory relates to science, as well as light, art reflects history, geographical locations of artists, artwork and art movements are taught etc. Being creative requires problem-solving and conceptual skills which influences the meta-cognitive learning.

Robinson comments on the heirarchy of subjects taught in school. He states, everywhere in the world more or less have the main core learning areas of english, maths and science as at the top, priority subjects. However, he stipulates this is a deliberate push for academia for the purpose of people getting jobs and professional careers. (I love what he coins 'academic inflation').

He talks about Multiple Intelligences by describing the senario of a girl dancer. Identifying who she is by what her learning style is. This changed how this child behaved and subsequently learned because people finally acknowledge her interests and learning style. Basically summarising, Robinson explains not everyone learns the same, or has the same interests.

It is important to acknowledge and accept our differences is the message I think Robinson conveys as well as his arguements for the benefits of the arts supporting education.

How to make a painting -Step 4 Final Detail

2011-07-19T21:55:00.000+10:00

Ability Level -Beginner

Step 1 -Tonal Drawing

Step 2 - Blocking In underpainting

Step 3 -Block in Colour

So now you are near the end of your painting. Start to finalise by focus on detail, highlights and shadows (contrasts) and fixing up things which aren't working.


Trio, Acrylic on Board, C.Dwyer 2011. This image retains copyright of the artist.

So with this technique, constant reworking of brushstrokes of colour was used. I emphasied and exaggerated the shadow of the bowl by adding pure blue and red. Yellow was my highlight for the pears and bowl.

Looking at the finished painting now, what I would change would be the sharpness of the yellow highlight on the bowl and maybe blend the graduated colour of the purple tablecloth into the foreground more. But true to the nature of the technique (wet-in-wet), it is dry now and I have left it. But just because I am not correcting my mistakes doesn't mean its a bad painting. I was not wanting to achieve photorealism or proportional perfection. I recognise what needs to be changed, and thats the main thing.

I am happy with this outcome, because for me it is loose and a different style. I hope this has been a simple enough tutorial for a beginner to follow. Choose a simple still life if your a beginner. Good luck.

The Spectrum (Colour) Song

2011-07-09T22:43:00.001+10:00

I have just discovered an amazing song about colour, and indirectly about blending colour.

A song created in 1961 by Paul Fress aka Ludwig Von Drake (Duck character), The Spectrum Song, for the Television series A Wonderful World of Color. The song was introduced as an educational segment for viewers for the transition from black and white t.v. to colour t.v..

Though this song was before my time, and I am only now discovering it by chance, I LOVE it! I find it very catchy and funny. I checked out Utube and found a clip of the original video, and another presentation someone created. Here they are:

Here is the link too: http://www.youtube.com/watch?v=arZRYbtb20M

Here is the second link: http://www.youtube.com/watch?v=5dczpjt5HLo

Here are the lyrics:

The Spectrum Song Lyrics

Red, yellow, green, red, blue blue blue
Red, purple, green, yellow, orange, red red
Red, yellow, green, red, blue blue blue
Red, purple, green, yellow, orange, red red

Blend them up and what do you get?
Cerise, chartreuse, and aqua
Mauve, beige, and ultra marine, and every colour in between
Hazo ka li ka no cha lum bum

Colour has it's harmony and just like I have said
Red, yellow, green, red, blue blue blue
Red, purple, green, blue, purple, red red

Blend them all and what do you get?
Cerise, chartreuse, and aqua
Mauve, beige, and ultra marine, and every colour in between
Ing za ri ka fo zi brun brun

Colour has it's harmony and just like I have said
Red, yellow, green, red, blue, pink, grey
And white, and plaid and blue,
green, white, yellow and toodinz 'n' and and and
right and and strips with blue and a black and Plaid and a....a

oo and ...vut vut, vait a second, vut vut's going on wid all da colours?
Blue, red, green, green, white, white, black....
vut ever happened to just plain old
lavender blue dilly dilly dilly dilly.......dilly...silly

Text sourced from: http://artists.letssingit.com/paul-frees-lyrics-the-spectrum-song-paul-frees-4v2bd9v

Description of Colours:

Cerise = Deep pinkish red. Think of a cherry

Chertreuse = yellow-green

Mauve = also known as Mallow is a pale gray purple (sometimes more blue or more pink)
Ultramarine = deep ocean blue

Plaid = Not a colour but refers to the type of cloth pattern.

Please if anyone has any other information about the funny lyrics and what some things mean like "Hazo ka li ka no cha lum bum" please leave a comment. Also, if anyone else has discovered some good colour theory songs and other song about art related topics, do share.

How to make a painting -Step 3 Blocking In Colour

2011-07-08T15:28:00.000+10:00

Ability Level -Beginner

Step 1 -Tonal Drawing

Step 2 - Blocking In underpainting

Step 3 -Block in Colour:

Once your have completed the tonal underpainting of your composition, whether in greyscale or monochromatic, now block in your painting using the colours (hue) which match the tonal underpainting. You may choose to use the same process as working your darks, midtones or lights first.

When you have blocked in an area with colour, work back into it with highlights and shadows/contrasts.

In this demo, I have taken a Cezanne inspired approach to my painting technique. This kind of technique would probably suit beginners because you don't need to worry about blending.

Cezanne was a post-impressionist artist. His technqiue was to use brushstrokes of colour next to and overlapping each other. He saw the world in planes (geometric shapes) and painted to the shape of objects using squares and rectangles. So pears, rather than looking nicely and smoothly curved, look blocky to show shape.

Unfortunately in my demo, as I mentioned my process, I block in using colour and then add detail. So this image here shows just passed that step. I had forgotten to take a photo in between, but as you can see, the pears still have the original underpainting. What I would have done, was just flatly and smoothly painting the colours, for example, the cream of the wall, the purple of the tablecloth (with graduated variations to show dark and light patches). Here I have started to use the Cezanne technique of blocks of colour brusk marks.

Don't get caught up in detail. Use a short or long flat brush of a medium size so you can't fixate on detail.

This image is copyright of C.Dwyer

How to make a painting -Step 2 Blocking In Underpainting

2011-07-03T19:05:00.000+10:00

Ability Level -Beginner

Once you have decided on your composition, or if working from a photo, and have made a tonal drawing, and a colour scheme drawing if you wish, the next step is starting your painting. (See How to make a painting -Step 1 Tonal Drawing).

I always re-gesso my canvases even though the pre-stretched premade ones already have 2-3 coats. For me it helps me get in the frame of mind. Plus I feel it is nicer to have a fresher grip.

Gesso is a white undercoat base paint primer with a chalky texture to give better grip to the paint. Apply 2-3 coats and if you want a smooth finish sand in between layers. Apply with a brush or roller, again depending on the desired effect.

Next, draw in your composition outline. I use charcoal or pastel pencil, as using graphite pencil can come through thin layers of paint and is harder to rub out.


Outline drawing of composition on canvas board using a light blue pastel pencil. First stage of blocking in underpainting

Blocking in the underpainting in greyscale (variations of black and white paint using shades of grey to make your tonal scale). You may also choose to do a tonal underpainting using a single colour (monochromatic) either similar to the overall tone of your paint or the opposite or complementry colour to add a different effect. By using greyscale or a colour, this helps you get the tones correct before applying paint. If you jump in and use colour straight away, you may find yourself repainting over areas again and again because you just can't get the colour right. Especially as you continue to paint, because as you paint in more areas of colour, it affects the colour next to it.

This underpainting I choose to use a red underpainting to contrast with the overall green focus being the pears. I added black to the red to create my darkest darks and white to the red to create my lightest lights. I used clear painting medium to help dilute and spread the light colour.

If you start by applying your darkest darks first, this establishes the value range and I think makes it easier to go backwards in value. Or you may wish to start at mid value range and go either side.

Now is the time to check your values as close to correct. Use the greyscale chart from Step 1 to assess if your close. I do this before I put the paint on the canvas.

Next is blocking in the underpainting using a mid tone range of the colour for that area.

How to make a painting -Step 1 Tonal Drawing

2011-07-03T09:25:00.002+10:00

Ability Level: Beginner

First do the very basics; select reference photos, or choose subject matter and draw/sketch compositions.

Then do a tonal drawing. It doesn't matter if it is abstract painting or realistic, by making a tonal drawing, you are making sure you get the foundations of the painting right first. Think of it like a house, if the frame isn't good and correct, you will encounter problems later on.

So what is tone and tonal value?

Tone is the scale of lightness to darkness of a colour, but you are not looking at what colour (or hue) it is. You are assessing the colour value (ie Tonal Value). When assessing tonal value, you match the colour to a tonal chart; the lightest colour value is 1 and the darkest colour value is 9 (some charts vary and value from 1-10). Check tone by squinting and if the colour or tone blends in then it is a match.

This is my own Tonal Value chart I made. You may print it out and use it. Cut out the above squares. Place over your colour or tone or paint and match it up. Adjust your paint until you achieve your desired tone.

So by doing a tonal drawing and identifying the values, you are setting the foundation of your painting and can make corrections. Once you have made your tonal drawing, and if you choose to make a colour scheme drawing, you may choose to make your first painting layer an underpainting (which is the base layer and can be a greyscale or monochromatic painted version of your composition to then apply colour over the top).

When I make a tonal drawing, I actually write the value number in that area as a quick reference -think paint-by-numbers.

Tip: Do not have equal parts of tone in the composition. If you have 1/3 light, 1/3 medium, and 1/3 dark tones, it probably would not be a very interesting composition. As a general rule, mix it up to vary tonal range to create more interest. 2/3rds dark and 1/3rd highlights or vice-versa. 1/5th dark and the rest a combo of medium and light values would create interest. You be the judge.

Painting.com has some good activities, see links here

http://painting.about.com/od/paintingforbeginners/ig/Art-Worksheets/Art-Worksheet-Grey-Scale.htm

http://painting.about.com/od/paintingforbeginners/ig/Art-Worksheets/Art-Worksheet-Value-.htm

Ramblings on being an Art Teacher

2011-06-18T23:12:00.000+10:00

I wanted to post my thoughts prior to my first Prac (which I have just completed) and then afterwards to see how my thoughts on being an Art Teacher or being a teacher of Art was any different. I have been pondering this for many years in the lead up to my becoming an Art Teacher (of high school students). This distinct difference is key to understanding how the two roles, though very similar in nature are also quiet different.

A number of years ago I had posted a thread on an art forum I am a member of, asking if an art teacher needed to be good or a least competent in a majority of art forms to teach. Those that replied, some speaking from an art teacher background or experience answered my query with what I assumed to be the answer. Yes, you have to be proficient in a variety of art mediums and techniques to teach art. Also you need some greater ability then your students.

Bearing this in mind then, I pondered about the differences between being a Tafe or Uni Art teacher, to a high school art teacher, to a workshop art teacher. As mentioned, all these roles are vastly different yet still cater to the single purpose of teaching their pupils about art and creating/making art.

Having been through the institutions (TAFE and Uni) and now being on the other side as an Art teacher (Prac) I have come to realise the difference as a teacher of adolescents or school students. A high school art teacher is just that; someone who teaches art. It is mostly about mimicry by default. That is the way students at this level can learn; getting the foundation skills and knowledge down pat in junior working into more conceptual and wider thinking in senior. So how does this differ to a teacher of art?

I believe a teacher of art is moreso a guide to teaching and learning about art and how to make and create art. I feel Tafe and Uni, and workshop teachers cater more to this style. Neither way is necessarily wrong or negative, it is just different in approach. That is not to say you can't change your approach to teaching high school art. It is about knowing your students and making judgement calls about the best way they can learn.

I think as a high school art teacher, alot of personal artistic sacrifices must be made in your own creative being as the students depend on your ideas and guidance so deeply. I think as an Art teacher, it is still very important to keep your own passion and ideas flowing, and still maintain your own craft. Though the reality of this happening is silm. Just like any job being so draining, with all your ideas being zapped out of you by the end of the day, and the workload, I imagine there would be not much time nor well to keep your own practice doing. Though I hope I still keep my finger in the pot so to speak, as I feel it is just as important to your job as it is to yourself and your well being. Though it may be your job, being an artist is part of who someone is. And I know for me, I feel more fulfilled when I have done some art. They still needs to be something that gives!

Graffiti Vs Street Art -There is a difference!

2011-06-18T22:18:00.000+10:00

I went to an artist talk/forum at the University of Queensland a couple of weeks back to see the travelling show 'Space Invaders'. Space Invaders is a National Gallery of Australia travelling exhibition featuring their collection of street artworks collected over the last 10years. I was lucky enough to participate in an artist talk given by Ghost Patrol and Miso (two well known and established street Artists in Australia).

It was interesting to hear their perspective of graffiti and street art, describing the difference and explaining the ideas behind their art process. Whether or not you agree that what they do is morally right or wrong is your own opinion, however in the eyes of the Australian Law, this type of art is typically done illegally therefore classed as vandalism. Putting the law aside for the moment, it is interesting to take this artform for what it is and better try and understand it, as once you come to understand an artform you can become more understanding of how and why something happens.

Ghost Patrol and Miso made it clear that what they do is Street Art and it does not necessarily fall under the umbrella of Graffiti. They are two different yet similar art styles. Street Art, though still is illegal, is more about the artists creating art and then displaying it for the public to freely see and enjoy. They get pleasure out of sharing their art, however, they still pertain the copyright of their art.

Graffiti is done more for the thrill of the action -doing risky stuff and not getting caught. Graffiti becomes territorial and some is more about 'tagging' then about art. It is also done usually and 'hidden' places such as alleyways where the focus isn't on the public necessarily viewing it but other gangs.

It was interesting to talk to Ghost Patrol and Miso about their view on what they do with their art. They explained that where they are from , Melbourne, it is more prominent and accepted as part of the city's culture. However, somewhere like Brisbane, the council very much stamps down on Graffiti, and it is not ridden in our streets as described by the duo in Melbourne.

They don't feel like they are 'vandalising' the city or the community, if anything, they defend their actions by saying they are sharing their creativity with the people for their enjoyment for free. This type of art makes cities interesting and creates an artistic community. They describe it as beautifying their city.

Miso is so spiritual in her artistic process. She describes how she loves her work being ephemeral, and that something that was made on paper and glued as a 'paste on' somewhere is not permanent. That over time the artwork deteriorates until it is no longer or another artist has stuck their work up. Though she says, unlike Graffiti artists who deliberately overtag other's art, she says street art is very much respected by other street artists and to create over another's work is disrespectful.

Then there is the issue of copyright. People think because their artwork is placed around in public (freely) that it is there for the taking. Some can argue that it is due to it being unlawfully displayed and knowing shared for 'free' while others will argue it is still copyrighted no matter the circumstances -it is still artwork which needs to be protected and values. But, like I said, copyright is another issue.

Since hearing their talk, I did feel more of an appreciation for what they do -street art- and that by understanding it better, I can now see their point of view and don't necessarily look at it like it is vandalism anymore. They said they are conscious of where they place their art and ensure they do not display it so to damage private property ie shop owners walls etc. I agree with their ideas of displaying their art for all to see...and for free, which helps make a city culturally aesthetic. I however don't understand how they could part with their art so freely? As artists we value our work, protect it, and not just give it out. And that is what they do. Each and to their own.

Please bare in mind, the text is my opinion in relation to my knowledge about graffiti and street art, and paraphrasing information from an artist talk I attended. I do not pertain that the information in my article is a correct recount of the artist's opinions. I have to the best of my knowledge and understanding interpreted the artist's talk into my own meaning.

I'm in Fine Art & Decorative Painting Mag!

2011-05-01T14:32:00.003+10:00

I have been published in Vol 18 No 9 (April 2011) of the Fine Art and Decorative Painting Magazine!!!!

What a lovely 8page feature they gave me (this makes my read art mag publication).

The demonstration is on my Whimsical Bird Tree Painting you can see in earlier post in this blog. Just a brief background on the painting; I was preparing for a competition inspired by the Hong Kong bird and flower markets. This idea was one I wanted to do first to see if I wanted to enter it or not. I decided it wasn't the vision I wanted to enter for the exhibition, however this is one of my favourites as it is so simple yet effective.

Here are some scanned pictures of the feature if you haven't seen the mag. (Click on the images to enlarge)

Blue and Yellow makes Green!

2011-04-26T12:07:00.000+10:00

How the wonderment of discovery kids have when they discover something is just delightful. I had two of my nieces visit and of course I encourage all my nieces and nephews in art and craft when they visit, so out I get the paints and a couple of cheap canvases.

I told them they could do whatever they wanted with the paints I had (cheap ones for the kids). I said they could experiement with making colours on paper first before mixing and putting on their canvas. My nieces who are 6 and 9, just about every time came to show me or tell me what colours they had made. They were amazed! It was such a wonderful process that they felt good sharing that new knowledge with me.

Here is what they painted.

6 year old

9 year old (not finished)

The (Simple) Art of Pricing your Art

2011-03-15T22:08:00.001+10:00

Well the ever asking holy grail of questions "how do you price your art". Many Artists before me and many Artists after me will comment on, question and give advice on this very question. The variables are so great. The fact of the matter is...it is NOT as simple as plucking a number out of the air. It is NOT uniform -one size doesn't fit all. And it IS personal and subjective. It is dependent on many factors including;

quality of materials used
your labour/time
your professional status or level. Are you emerging, or hobbyist or semi-professional etc
factoring in the cost to produce, how much your materials costed you
is there an additional mark up involved because your factoring in the cost of a frame, entering a competition, delivering the artwork, commission etc
the economy or competition

These are just suggestions to think about. You could just say it is X amount and that is that, no thought, no consideration. But just like trying to sell a house, one major factor is PRICE, and getting the price right is a must. Then you can worry about your potential buyers. Look at Artists of similar calibre to you, see what similar artworks like yours are priced at in Galleries (depending on the gallery, consider subtracting 33-50% commission) etc.

Here are some example forumlas some Artists may use:

Some work out their pricing by using an additive formula. For example; Materials + Labour + Margin = $x
Some use a subtractive formula. For example; there know they want to get $y profit for the painting so then they subtract Labour, Materials from $x to get on or more then the $y amount.
Others go with a 'feeling' what they think it is worth. I feel this is a good start for hobbyists or emerging artists who could not possible work out the price of their art based on labour as that alone would work out to be too much due to the nature of the learning process, that learners (and now I am generalising) would take a long time to complete a work of sellable quality. So therefore it is not so much about recouping your whole costs, just the satisfaction in selling.
$x amount per inch or centimeter. Times the length x width of canvas and divide by $x per inch or centimeter. For example, some may charge $2 or $3 per inch as a hobbyist, so working on a standard small size of an A4 sheet 12x8inch = 96inches x $3 per inch = $288

These are just some ideas on examples. I have gone through the stage of "feeling" what I think the value is as a hobby artist and as I have progressed I have worked my way to using Artist quality materials, not student quality anymore, I mentally I feel I have made the transition from hobbyist to semi-professional/professional and therefore consider Labour and Materials costs, and add on a margin.

I hope this helps a little when you think about pricing your art. I know as I progress I change and modify how I work mine out to suit so that I price more desirable to my target.

ARTISTS, please feel free to share some of your strategies on how you price or art or know of another Artist pricing methods.

Here are some links which may be of help:

http://www.visualartexchange.org/forms/Price%20&%20Presentation.pdf

http://www.artistdaily.com/blogs/theartistslife/archive/2009/12/18/a-simple-formula-for-pricing-artwork.aspx

An explosion of colour

2011-03-01T22:49:00.000+10:00

Inspired by 2010's News Years Eve celebrations of the FIREWORKS display I decided I wanted to capture this burst of colour, celebration and excitement. I wanted to do something very 'freeing' and use my body for movement to create the effect. I choose old 'student' paint to 'waste' and use up.

I gessoed the background of a used canvas (as this was just a fun one) and once dry, I made my masterpiece within 15minutes! Hows that for record time!

Here is the result:

INSPIRATION. Where does it come from?

2011-02-10T21:17:00.000+10:00

Having lived in Cairns (tropical Far North Queensland, Australia) for pretty much all my artistic life, sourcing inspiration from where I live; tropical lush mountainous rainforest greenery, I started to ponder what my new found inspiration would be as a result of my impending departure. A scary thought, about loosing what inspires me, though I was not being ridiculous thinking I would never find inspiration again, just worried a little about the direction my art would take as a result of a relocation.

I have moved to Brisbane about half way down to the South East corner of Queensland, halfway between the East Coast of Australia. Brisbane is sorta an inbetweener in environment. I would describe it as more bush/country with gum, eucalyptus, and paperbark trees, and a bit more ruggered, but it still has some rainforest qualities. Brisbane has a different beach/seascape scenery -it actually has a surf!

Though I will be ever so missing the tropical rainforest elements of inspiration from Cairns and surrounds, I have many reference photos to still draw inspiration from, AND a new environment to explore -different animals and landscapes.

My point about inspiration though is...does where you live influence your art and make your art what it is? How has a relocation altered your art? If your an abstract artist, would your art really appear different? If your a realist artist would it be just the subject matter thats different however your 'style' remains the same? How did you cope artistically with a change. Please feel free to leave a comment with your replies.

Chinese New Year -Year of the Rabbit 2011

2011-01-30T11:28:00.000+10:00

I wonder what all the hype about this year's Chinese New Year is all about and why this year seems to be soo different and 'mediarised'???

Well it doesn't matter so much what all the fuss is about as I have celebrated it in my own way anyway. Late last year I was asked by a fellow artist to participate in an exhibition to celebrate the Chinese New Year sponsored by the Cairns and District Chinese Association (CADCAI) and shown in the Cairns Regional Gallery. See snippit of exhibition here in this UTube clip UTube: Birds of a Feather Exhibition

BIRDS OF A FEATHER EXHIBITION

The theme of the exhibition was to be inspired by the Hong Kong Bird and Flower markets. My research through google images very much inspired me and as a result would consider travelling to China in the future. So I guess you can conclude that this celebration is about cultural awareness and tourism and an in direct way.

My artwork I produced for this exhibition is a painting, acrylic on canvas, 40x90cm. I choose to paint, and is the title of the artwork "Oriental Lanterns" as these objects are iconic of Asian Celebration, and and keeping with the theme of the exhibition, typically have patterns or flower designs. I did not want to do every lantern in the common red colour (though is symbolic of this culture) because I wanted to differentiate between the lanterns with slightly changing the colour and bouncing and reflecting colour and light. What is different about this painting is I started with a black gessoed canvas. It was liberating and ususual to do this. I used a palette knife to create the textures of the flowers on the lanterns as I wanted to create a 3D look.


	This image remains copyright of (c.) Chrissy Dwyer 2011.

Brief History on the Chinese New Year

The Chinese New Year -Spring Festival or Lunar New Year are other known names- is one of the most important holidays for the Chinese culture. It is a festival which runs for 15days (ends with the 'Lantern Festival' -how appropriate for my painting).The symbolic colour of red is represents fire and is belived to drive away bad luck.

In a very simplified interpretation: The celebration is thought to originate around 2000BC with the legend of the Nien (meaning Year) was a beast who ate the villagers on the New Year's Eve, so to keep the Nien away, fire, decorations and loud noises resulted in the celebration.

Related Art:

Origami -The art of papar folding resulting in folded shapes

Kirigami -The art of paper cutting resulting in shapes cut out

Links on Chinese New Year

Culture.gov.au

Wikipedia: Chinese New Year

Brisbane Valley Chinese New Year Festival

How to package a painting for delivery

2011-01-16T22:22:00.000+10:00

See link on how to package paintings for delivery

Use your own disgression on your own artwork, this approach is just my way, and depending on what medium, canvas/support, size etc you use it may vary, use this approach as a guide and adapt to suit you. I hope this helps you. Please leave a comment if it has or the way you package your artwork to send for delivery.

How much TIME does an exhibition take?

2011-01-08T22:24:00.000+10:00

Just as you may wonder about how much does an exhibition cost so too may you wonder how much time you need to allocate to producing your exhibition, from brainstorming and researching to the launch night.

From my experience with my first solo exhibition, I tried to keep tabs on the time I spent on different tasks to get an idea. (Also I was curious to see how long it really took me to do a painting).

Here is a table of tasks and timeframes in an Exhibition Time Sheet Example

Calculations are based over a 12month exhibition development period; estimating 40weeks could be used for development. Allow for interruptions such as school holidays if you have kids or are expecting visitors, busy periods such as Christmas and Easter and general sick or other leave.

Add extra time to your estimate, about 10-20hrs more or less depending on the size of your exhibition, your working process and other tasks to organise for your show.

I believe I have grossly underestimated by another 10-20hrs as there is so much time I didn’t consider for example, I included driving time to collate resources but not the time spent in the art shop, for instance I could spend 0.5-1hr at the art shop each time. I am not sure on the research time as I do spent a lot of time on the internet research reference images. Try to minimise your computer time as it is never ending and does take so much of your time. Set yourself a limit, and if you haven’t found what you are looking for, seek alternative such as research the library.

How much time do you allocate to work on your exhibition?

My initial allocation was to be minimum 6hrs per week or 1day per week for the 40weeks. From calculating research, painting and administration time which could be spread over 40weeks, it works out to be approximately 4hrs plus a week. Though there were weeks I spent as little as an hour or no time and on the other scale some weeks had 5-6hrs plus.

Consider your life; work, family and leisure time. I worked part time, had a newborn baby and still had to make time for family and going out. So in the scheme of things you may think ‘oh I could spend more time then X amount a week working on my exhibition’ but in reality time just gets taken up with things. I was lucky and as my baby got bigger, and slept less therefore less painting time, I was able to put her in daycare 1-2days a week for a few hours which allow me to find my allocation time. Also working an hour or 2 at night sometimes.

Research
Start taking notice of how much time you spent researching reference material, sketching ideas, making tonal drawings and/or colour scheme examples. Average it out. Some ideas are straight from the head and you know exactly what you want to do, others don’t come so easily and you need to work them out. For me I can spend anywhere from 1-3hrs researching reference images alone. I can take 0.5-1hr on a pencil greyscale tonal sketch and a quick chalk pastel colour scheme.

Painting
Start ‘logging’ your time spent on how long it takes from start to completing a painting. If you are not confident yet, don’t worry yourself about your time, don’t feel pressured, it is just good to be aware if you are spending too much time fixating on detail when you could have stopped hours ago. For me a small painting can be 1-3hrs, medium painting about 6hrs and a large painting 10hrs plus. This does not include research time or varnishing, just painting time.

Administration
As listed in the exhibition time sheet example, there are many facets to the ‘administrational tasks’ required to work on during the creation process to just prior to the exhibition date. These will vary task-wise and time-wise depending on what you want to include or exclude and how long it takes you to complete. I believe I have grossly underestimated the approximate times as I was not recording every instance I engaged in working on a task, sometimes it could be 5mins here, 30mins there or a good block of time in between other things. What did take up A LOT of time was the computer and graphics work. Working on documents such as the Artist Statement, Exhibition Statements, Mail out contacts list, Guest Book Sheet and Price List, and taking photographs of the paintings then editing them in a Photo manipulation program, then uploading images to my website and so on.

Other tasks & Activities
Other tasks and activities such as attending a workshop or art class may or may not be directly linked to your exhibition but also may benefit the execution of a painting. Working on business cards or even updating your online social networking sites etc, keeping your profile up leading up to your exhibition all helps getting you noticed so people attend.

This information is available in the Exhibition Time Sheet Example Document

How much does it cost to have an exhibition?

2011-01-08T22:05:00.000+10:00

When you have never had an exhibition before, it is hard to know what costs your need to consider and how much. Most artists will have the same basic needs, but it is the details that will differ and make your exhibition more or less expensive. Things to consider when working out a budget include;

the size of the exhibition

how many pieces?
what type of medium

Consider the cost of materials
venue cost. Are you hiring an artist run space, a commerical gallery or a public gallery, is it a cafe/resturant show etc? All these different types extremely differ in hire fees from low cost and affordable to rediculas.
How long will the exhibition go for. A typical time frame could be 4wks. Any shorter and it makes for alot of time and money to be spent on such a short timeframe, any longer and you pay alot more.
Are you having a luanch? Is so what kind of catering are you having? Or many people do you expect? Find out how much the cafe/resturant/gallery cater per head. Are you paying for alcohol or providing a complimentary drink on arrival. Is there a service fee involved at thye catering venue?
Consider the cost for a graphic designer if necessary to produce the invitation, cost of printing and the cost for postage
Are you going to get professional photos done?
Are you getting any other materials printed such as a catalgue or price list?
Don't forget to consider your time -the Artist's labour, and any other people providing services and need to be paid. Consider applying for a grant or getting sponser or donations.

Download the above summary in a table with example costs in the Exhibitions Costs Example Document.

Note: This information was based on a small exhibition, 12 paintings, held at an artist run space, with a luanch.

______________________________________________________________________

Now that you have a general idea on what your costs are to hold an exhibition, see here how to work it out in an Exhibition Budget example.

* The green highlighted area is what is to be funded.

Table Notes:

Artist fees: worked on approximately 6hrs per week x 40 weeks x $20/hr = $4800

Art Space Volunteer Fees: Estimate approximately 23hrs spent per exhibition period @ $20/hr = $460 round to $500

Materials: I estimate $1000 as I went online and added stock to an art materials shopping cart including paints, brushes and canvases. The figure neared $1000.

Invitations: I estimate approximately $350 from obtaining online quotes

Hire Fee: This is a standard flat rate, each art space will differ, this price is VERY cheap. Artist Run Initiatives (ARIs) tend to be low cost. Galleries can charge up to a few thousand. Research your options.

Exhibition Launch Catering: Again, this figure will differ on number of heads being catered, the type of food, if alcohol is provided (in this example it is not), if there is a function room fee etc. In this case, a local café restaurant opened afterhours to cater for the launch.
_____________________________________________________
Of course your exhibition costs and requirements will differ depending on your needs, this information is just a guide to give you an example of the costs entailed in a small exhibition.

Reflecting on my Arts Practice 2010

2010-12-31T11:56:00.001+10:00

Well what a year 2010 has been. I became a mum for the first time, and while trying to me a mum I (stupidly) held my first solo exhibition, eScapism, in November. It was certainly a challenge, but somehow I got through it. (Probably because I missed out on alot of naps I should of taken). The first few months was ok because bub slept more, then as time got on, and naps became fewer and shorter I found finding the time to paint even more difficult. So I put bubba into daycare 2days a week. This was a godsend as it meant if didn't have to spent as many late nights working on my paintings for the exhibition.

So I accomplished 12 paintings for my exhibition from large to small. I even managed to paint 2 small postcards for two gallery's annual members auction exhibitions during this time (and I SOLD them!). And when my exhibition was installed, it meant the last two months of the year were free to do my own painting. So my first piece was the Whimsical Bird Tree featured earlier in this blog. Then I was on a roll of creativity, bursting from my seams...I started doing some pen ink drawings, and ink and wash drawing, and a few more painting (4 finished and 2 works in progress).

Visit my gallery here to see the most recent works I painted this year; Whimsical Bird Tree, Oriental Lanterns, Chocolate Cupcake, and Wrapped Sweets. And sold paintings include; Botanical Garden Bridge, Garden Flowers in Vase, Breaking Wave, as well as two paintings sold from my exhibition eScapsim and a commission.

I had two articles published in Artist Palette Magazine; one a feature article on Cell Art Space, the management committee I was a member of, and the second was a feature article on demonstration on me.

I started my Redbubble and Zazzle store sites. I have bought some products and very impressed by the quality. Great for gifts! Check them out. You get unique products with my original art images on them.

So all in all, completing 16 paintings in a year is a mighty feat to have been a new mum, working part time and having my own exhibition! So I think a pretty successful year of creating art.

Contract to Commission Art Template

2010-12-26T21:20:00.000+10:00

As an Artist progresses in their art career they may be approached to do a commission.

A commission is a contract between you the supplier of a service (for work and materials) to the client. Basically someone is hiring you to create an artwork for them and in return pay you for your services.

Just like any negotiation, it is important steps are taken to ensure your rights are protected. So drawing up your own Contract to Commission Artwork document protects you, explains what both parties expectations and responsibilities are, and is a legal binding document.

A legal document does not necessarily mean you have to have a witness or get a JP to sign it. It can be a verbal agreement. It is always better to be more prepared and take safer measures to ensure you do not get screwed over. So having a contract in place is a great idea for Artists. I send mine to the client while in the enquiry stage so they know what to expect and are aware of the conditions.

So some things to consider in your commission contract:

Your details of course
Describe what is the purpose of this contract -what is being commissioned
Discuss payment options and methods
Give details on timeframe to complete artwork and for payment to be made
Delivery details e.g. insured, shipping? When?
What happens if the client does not like the finished product? How flexible are you? What is your 'policy' for returns or refunds?
How can the client take care of the artwork to ensure its longevity?
Most importantly -COPYRIGHT -clearly state your rights

Here is an example template similiar to the contract I use, Contract to Commission Artwork. Please do not copy this word for word. Alter and modify to suit you and your arts practice.

Other links which may be of use to you creating your own contract:

Links

Creating Art on Commission Without Getting Burnt: A Short Guide for Artists, Empty Easel, 27/05/2008. by Dan.

Commission the Artist by Jan Keen

Sample Art Commission Contract by Kelly Borsheim

Commission Contracts by The Art of Business

How to write a Letter of Support for Grant Applications

2010-12-14T18:50:00.005+10:00

During my years of TAFE and University studies in the arts, we have learnt and studied much about grants and applying for them, even practising with made up grant applications to get the experience in filling out the forms. But until you either finish your studies and are ready to embark on your professional art career do and actually do one for real, do you come across things practising does not inform you of.

For instance, we know and are told and learn that you need to get quotes, budgets and letters of support...but it wasn't until I was applying for my own first time real grant application did I find it a bit of an obstacle.

There is not really a "formula" on how to write a letter of support (LOS) nor really what to do. Yes some grant applications do describe the things they require, but it is not always clear what is actually required.

For me I am someone who likes to know the 'structure' or template to follow something.

So from my experience of securing my own grant therefore have completed the relevant components such as acquiring LOS and also writing them for fellow colleagues here is some information on what could be required and what you might include. The easiest example I can tell you is think of your LOS like a job application cover letter (but written by someone else).

Things to be included for someone else writing a letter of support for you, the artist, applying for the grant or vice versa if you are writing a LOS for someone else:

Who is the artist/Who are you
What is your relationship to the application? How do you know them?
At what stage is the applicant in their arts practice (ie emerging or professional)
What qualifications do you know of the applicant possesses
What similiar experiences in skill or knowledge whether work, volunteer related or other do you know of the applicant has which could assist completion of the project.
Provide information on you, the referee, to give credence to the applicant. E.g. Your professional background. Your profile in the arts industry if applicable.
Summarise how the applicants' project would be beneficial to the arts and therefore should be funded

Tips:

Give your referees as much notice as possible. As they have to find time to write this for you.
Give your referee a sample of what is required to help them know all the facts and what to write. I.E. Sent them information about you and the grant you are applying for. It is better to provide more information then what is required as sometimes it can take a couple of days for them to get back to you.
Give them a deadline a few days or so before you need it. As sometimes they will take right up to the deadline or over.
Include this information on a letterhead if you have one

Here is an template to use as a guide, and an example. Please do not copy this template word for word, it is to be used as a guide, modify it to suit your own needs.

I do not profess to know if this information is correct or true to what the funding bodies seek. Each organisation is different in their expectations. Read through your submission guidelines on what they require, they do say what they want, read between the lines. Always go back to how the grant will benefit your project (and them of course).

Resources:

Grant Application Writing Factsheet from AbaF

How to make a rainbow butterfly cake

2010-11-29T22:36:00.000+10:00

With the expectation to do something great for my daughter's first birthday cake, I decided Iwanted to do a butterfly. Later I decided I wanted it to be a rainbow cake. So researching online I found some examples and here is my example of how to make a rainbow butterfly cake. (it helps to have a tin shaped in a butterfly as I did so you don't have to figure out how to cut the shape and how many cakes to cook and in what size tin).

What you will need:

Two (moist) Vanilla packet cake mixes (I choose Betty Crocker)
Ingredients required on packet (ie eggs, water, oil etc)
Food colouring
Tin
Bowls and spoons to divide mix
Lollies and chocolate for decoration
Icing (frosting came with cake mixes)

Steps:

Follow packet cake mix instructions to mix cake. I made cake in two separate bowls as I didn't have 1 bowl large enough.
Get out bowls and spoons. Scoop cake mix into bowls. Choose amount of cake mix in relation to colour process. For instance, lightest colours to have the most cake mix and darkest colours to have the least. This is because the dark colours will dominant. Also, pour in lightest colour or most cake mix first.

1. Divide cake batter into bowls

2. Add food colouring

3. Because my bowls for the colouring weren't big enough, one colour bowl was enough for one half of the butterfly.

4. Layer colours in a pattern if you wish

4. Pour the remaining colour in

3. Pour first colour into tin

6. Add layer 3

5. Layer next colour on top


7. Add layer 4


7. Add layer 4

8. Add remaining layers in decorative pattern

Trying to be artistic

Now its play time! When I had finished with all the batter I needed (remember to leave a minimum of about 2cm from the top of tin to allow for cooking), I decided to play a little with the left off coloured batter. It was a very fun, creative and liberating process to dripple and swirl the cake mix. A great idea to do with the kids and a good excuse to bake ;)

Abstract art: Playing with dyed cake batter

Abstract art: Painting with dyed cake batter


Cooking Cooking Cooking. Add lined tray below in case of overspill

Whola! Cooked cake. Chop off it's top (or is that its bottom?)

Decorate and celebrate!

* I also made some butterfly cupcakes with jam and fresh cream to accompany the cake

LINKS

This blog with the demo was my inspiration (not the recipe but how to go about it) http://www.omnomicon.com/rainbowcake

How to Paint: Hints and Tips

2010-11-28T23:11:00.000+10:00

This post is going to be an ongoing list of hints and tips related to painting I will share as I too come across helpful ideas. Leave a comment if you would like to add yours too.

If you spray the canvas first with water (a water atomiser rather than any old sprayer as the water droplets are finer) for gessoing, underpainting, blocking in or whatever application, the water helps spread the paint without thinning or diluting it too much
Use a medium/s to help the painting process, these really do make a difference. Whether it is for slowing down the drying process or thinnly applying the paint.
Use old Yellow Pages (Phone Books) to assist the clean up process for wiping oil brushes or even scraping and cleaning the palette. The less painting going down the sink the better for your plumbing and the environment.

This is just to start with, stay tuned as I add more...

How to plan an art exhibition: To do/Check List

2010-11-20T22:44:00.003+10:00

Are you thinking of having your own solo show, and want a guide to help you plan your timeline? I have compiled a sequence of tasks to be completed and when from my experience from working as a committee member in an artist run initiative, student exhibition participation and my first solo exhibition experience.

ART EXHIBITION TIMELINE

Generally most exhibitions are planed between 1 to 2 years depending on the Gallery location. Some exhibitions can be executed in a short timeframe of 6-12months or less. This timeline for planning an exhibition is based on approximately a 12month timeframe with room for flexibility. I am using the example of my own first small solo exhibition.

Countdown to exhibition…

12months plus to go

☐ Start establishing your idea and theme. Do this by brainstorming or mind mapping.

☐ Research your ideas. Create Thumbnail sketches.

☐ Research potential galleries

☐ Research potential funding sources

☐ Draft up a budget (source quotes for; gallery hire space, materials, photography, invitations, postage, catering, courier/delivery if required

☐ Apply for gallery space

☐ Apply for funding

12months to go

☐ Further research, investigation and exploration of ideas.

☐ Start sourcing materials (i.e. canvases, paints).

☐ Begin painting if you are ready. Even if it is just priming (Gesso) the canvas ready

9months to go

☐ Start working on paintings if you haven’t already done so. Have 2-3 being worked on at the same time so while one is drying another one could be worked on.

3months to go

☐ Design and draft invitations

o Have a general idea of invitation design. Consult a graphic designer if required to draft up invitation designs. Or if you’re doing it yourself, start thinking about it.

2months to go

☐ Finalise invitation ready for printers

☐ Start sourcing contacts for mailout if you haven’t already. It is a big job.

o Tip: Create an Excel spreadsheet as you can merge your information into Word later and print no fuss on sticky labels. This helps save heaps of time and you don’t get hand cramps then!

6weeks to go

☐ Send invite to printers. Allow 2-3weeks buffer for corrections and changes, the printing process and their level of busyness

☐ Write an artist statement

☐ Update your website with information on your upcoming exhibition

4weeks to go

☐ Complete final touch ups and changes to artwork. Start varnishing completed paintings if you haven’t already done so.

☐ Start drafting artwork details for price list

☐ Start writing exhibition statements (brief blurbs on each artwork about inspiration, technique, subject matter etc) if required

3weeks to go

☐ Organise catering.

o Depending on your launch date (if it is the date of the install or a week later as typically the case) allow for 4weeks notice to caterer of; budget, food requests, estimated number of attendance, time etc.

☐ Package invitations for mailout. Add invite, business card.

2weeks to go

☐ Ideally be finished painting. Get artworks ready to hang

☐ Update your website and other online social networking sites with photos of your artwork and information about the exhibition.

1week to go

☐ Email contacts and media with invitations and artist statement of upcoming exhibition opening and launch

☐ Post mail out of invitation in time for launch (usually 2weeks before launch, however 3-4weeks depending on your art scene)

☐ Get installation bag ready (artist statement, exhibition statement, price list, extra picture hanging equipment for emergencies)

☐ Touch base with caterers. Pay deposit or complete payment

Installation

Week 1

☐ Get launch night bag ready (DL price lists, extra invitations, business cards, receipt book, pen, guestbook)

☐ Send reminder emails of upcoming launch -1 week away.

Launch

Demount

Download the above information from this document exhibition timeline countdown

Click the image below to see a visual chart of the exhibition process timeline


This table highlights possible timeframes to complete tasks as outlines above.

TIPS & ADVICE

Aim to be finished 2-4weeks prior to your installation when planning your timeline. Take into consideration school Holidays if you have kids, Visitors visiting if your live far way, Illness is your susceptible to getting colds and flu’s and bed ridden
Try to have a plan B. For instance, if you catering venue should close down who would be next in mind. If your art space losses it’s funding, could you still go ahead with the exhibition and where could you have it?
Start collecting your contacts as your progress through the exhibition to help ease the burden of searching for them in one goes. It is a big job. Add people from art organisations, fellow artists, if you’re a past student at institutions, family and friends, newspapers.
Marketing is crucial. Advertise and promote your upcoming exhibition every where as you reach a wide audience and hopefully get those people attending your exhibition.

Look for FREE event listings online.
Contact your local art organisations you’re a member of to publish in their e-bulletins and e-newsletters

Keep your invitations and business cards on you always to hand out. You never know when it is a good opportunity to network.

LINKS TO RESOURCES

Here are some useful links I have come across in my searches:

Exhibition Development Timeline http://www.magsq.com.au/_dbase_upl/workshopD_2.pdf
Exhibition Planning Fact Sheet by ABAF http://www.abaf.org.au/files/Artist_Business_factsheets/Exhibition_Planning.pdf
How to set up and run a successful artshow by Glen Wooten. http://www.terriesmith.com/artshow.html

Artists Exhibition Kit by Brimbank www.brimbank.vic.gov.au/Files/ArtistsExhibitionKit.PDF

Exhibition Kit by Gigantic Art Space www.giganticartspace.com/pdf/kit.pdf

Exhibition Timeline by Artinsight http://www.artinsight.org/exhibition_timeline.htm

eScapism exhibition: first solo

2010-11-14T20:32:00.001+10:00

For the past 14months I have been working on my first solo exhibition, eScapism. From September 2009 I submitted the application, to applying for a grant, than researching for a few months, than working on multiple paintings at once for about 8months and the last 2months focused on the 'business' side of things.

eScapism is a series of bold contemporary realism paintings of scenery depicting tropical far north Queensland, specifically Cairns, Australia. From the mundane and ordinary everyday life subjects to the picturesque beauty of lush greenery rainforests. The exhibition was on show at a local artist run initiative Cell Art Space from 6th November 2010 to 4th December 2010. The launch was 12th November. This exhibition was proudly supported by the Cairns Regional Council's Arts and Cultural Funding Grant.

Visit my website here to see all 12 paintings I created for the show and read more about the concept behind it.

Studio Time. About midway working on a painting.

Installation

Me in my exhibition

View from outside the space

Launch night

Launch Night

Exhibition at night

Having fun with Mixed Media

2010-11-14T18:55:00.001+10:00

Just before I finished my paintings for my first solo show, I was in need of some creative TLC (Tender Loving Care). I needed some fun creative 'me-time'. So I went back to my roots, what I like to do for play and experiment, and dabbled in some mixed media.

Difficulty: Very Beginner

Materials:

Acrylic Paint
Roller
Newspaper
Brushes
Palette Knife
Printing Objects (stamps, containers (dish), milk container tops)
Palette
Paper Towel
Paper (Watercolour) or Canvas Sheets or Canvas

Here in this image you can see I have my set up. I have rolled some paint on my palette and put down a base or underpainting. Next I roll another top colour and use my rubber stamp. See the rim around my painted paper on the newspaper is the excess stamped paint. This makes a lovely effect too.

Work wet-in-wet if you choose or wait to dry.

Here is the next layer. I used the ceramic white dish rim to create the half circle by twisting only some of it in the paint. I used the green milk cap for another circle

Here I used a thin liner brush with black paint to freely paint an image. I tried not to have a preconceived idea as I wanted a flowing and unrestricted image to to shape and then I just went with it (so opposite to my working method of everything is planned).

Here is another fun piece. I tried to compose the image by only using the black from pure strength to diluted wash to create the image.

Last I had an idea of wanting to do a bookmark. So I went along with the rose theme as this was very fitting for the size format.

Once dry, I laminated it and hole-punched the top and feed a ribbon through...whoola! A bookmark.

Keyring Taggies

2010-11-14T18:19:00.003+10:00

Since having a baby and discovery the many toys available, but also discovering many crafty people out there make soft sewn toys...I stumbled across the Crinkle Taggie Blankets (see earlier post of one I completed http://artycraftystudio.blogspot.com/search/label/crinkle%20tag%20blanket )

While juggling my baby on my hip, with just keys and purse in hand when I am just quickly ducking into the shops etc, often my baby likes to play with my keys or purse. As I try not to let her play with either as she sucks on my alarm and could hurt herself with the keys, and soaks my purse fabric, I was trying to think of something to add to my keys she could play with, that was baby friendly...

So I came up with a Keyring Taggie.

Keyring Taggie Mark I

My concept was to have something flexible and 'chewable' as babies like munching and putting things in their mouths. So I painted a piece of watercolour card, cut to size to fit a business card size laminating pouch. Stuck it in when it was dry and laminated it. Hole-punched one end for the keyring and hole-punched the opposite end in a few places and feed some ribbon through and let it dangle (as they LOVE playing with ribbon).

After 'testing' a number of times, the laminated pouch did not stay 'stuck' as the watercolour card was too thick so the edges didn't seal properly, and the handling and sucking from bub unstuck the double sided card. Also, the holepunches through just the laminate didn't hole with the tugging on the ribbon.

Left: Laminated painted paper. Right: Finshed -Hole-punched with ribbon

Back to the drawing board...

Keyring Taggie Mark II

So after some time I was trying to think of another solution...I decided just to do a keyring taggie with just ribbon. So I just various some pieces of ribbon, cut and knotted to metal key ring and attached to keys. So far no problems.

Whimsical Painting: Bird Tree

2010-11-14T18:01:00.002+10:00

Acrylic, 100x100cm.

Just after I have completed my first solo exhibition paintings, and working in a more detailed realistic and precise manner with planning...I decided I wanted to do something simple, relaxed and fun! Something sooo totally different to my working process and style.

So here is my whimsical piece. The idea of a simple blue graduated background, with a silhouetted tree with birds and cages. This has a hidden symbolic meaning of caged and freed birds. Inspired by the Hong Kong Bird Markets, many trees are filled with birds in cages, some cages have a number of birds. One cage in this painting is open and the bird or birds have flown free.

Still deciding whether or not to add some dabs of colour for flowers or leave it simple like it is?

What do you think? Leave a comment? Flowers or no flowers?

Well after a week or so I decided to do what I was always going to do to it...add splotches of flowers. I did this by getting a paint spatula and just smeering blobs of paint on. I like the effect.

Cell Art Space Energy awards - ABC Podcast

2010-10-30T21:52:00.001+10:00

Cell Art Space Energy Awards (Oct 2010) interview with ABC: Video Podcast.

As a former Committee Member of Cell Art Space, and as a local artist who supports the art community, I wanted to share with you a short snippet interview from the Energy Awards. This exhibition at Cell is a selection of high school student artists who were award recipients at the larger Energy Exhibition awards held just prior to this at the Tanks Art Centre. These selected artists showcase some of the highest talent in the surrounding Cairns Region. Watch out for these budding young artists.

Click the link below or visit http://www.abc.net.au/local/videos/2010/10/10/3034217.htm?site=farnorth

Cell Art Space Energy awards - ABC Far North Qld - Australian Broadcasting Corporation

Writing an Exhibition Statement

2010-10-29T14:32:00.002+10:00

Well I don't know if that is the correct name for it or not, but an Exhibition statement is much like an Artist Statement in that it is divulging information; rather than about you, but your artwork. You know when you are walking around the gallery looking at the artworks and there is a plaque with the artwork details and a description about the art, whether it is the inspiration for creating the piece or factual such as describing the materials, process, technique or even subject matter.

Exhibition Statements tend to be displayed on the bottom left or right corner of the art. They are generally typed statements glued onto foam core. Foam core (or also known as Flute board) is a thick soft material with squashy foam stuff between two pieces of card. It is easily cut with a stanly knife on a cutting mat.

Difficulty: Easy/Beginner

Materials:

Cutting Mat
Cutting Knife
Steal ruler
Normal ruler
Pencil
Rubber
Glue Stick
Foam core (Flute Board)

Questions to help you write your exhibition statements:

Title artwork, materials, dimensions, year
What inspired the artwork
What materials have you used
What techniques have you used
What is the subject matter or theme
What emotions or feelings does this artwork create
Talk about design elements and principals but not necessarily critiquing the work e.g. colours, mood, composition etc.

Length: It is has to been about a paragraph. Get to your point in a few sentences.

Exercise: Try writing an exhibition statement for a well known artwork. For example: If Van Gogh was writing an exhibition statement for his 'Sunflowers' paintings would go something like this:

Sunflowers in Vase

Oil paint

40x50cm

"Sunflowers are my favourite flower and I love painting them. They grow in the fields surrounding my cottage and inspired me from looking out my window. I set up a still life to paint these beautiful glowing flowers. I use oil paint on Belgian linen with linseed oil (how appropriate for the subject matter).  My technique is not traditional of my peers, I take my hue straight from the tube using a palette knife. I slice the paint into the hogs hair brush and paint in strokes. It is a slow and repetitive process as I don't premix my colours, I allow the multiple brushstrokes of colour to optically mix. Though I am colour blind, I hope by using brilliant yellows and oranges that the high key tones bring me a sense of joy as it would in real life seeing those colours..."

This paragraph is completely made up and a bit technical and academic for poor old Gogh, but you get the point. It is person as it is your thoughts.

I hope this helps you to take on some creative license when you write yours.

Kids Painting

2010-10-25T21:08:00.002+10:00

My nieces and nephew were visiting and of course I suggest we do some paintings. So I set up outside on the patio where a mess a be easily cleaned and the least destruction to the house can happen.

What you need: A drop sheet, paints, glass jars, cartridge paper, paper towel, ice-cream lids (palettes), brushes.

It was just a fun free play time of playing and experiment. There was no preconceived idea for the kids to create a specific thing (and they didn't ask what to paint either which was good). I just allowed them to create.

*Reminder: Try to use non-toxic and washable acrylic paint.

Ages: 2.5, 4, 8, 11.

Duration: 1 hr

Here are the results:

Butterfly Paintings:
This activity was instructed as I used it as a good excuse to use up some of my old non usable student paints. I just couldn't bring myself to throw them out years ago, and look, they have come in great to use for painting with kids.

Kids Drawings

2010-10-24T21:42:00.002+10:00

I have had my nieces and nephew visit and of course I encourage creativity and art play. The kids were interested in drawing (in my studio). It has been interesting to see the different ages and their level of detail and perception of objects in space.

5year old drawing

Flowers

A rainbow

8year old's drawings

Love the use of ariel perspective mixed with profile perspective. Between looking at the objects from above and side on as well as seeing the rooms from above and side on.

Portrait

11year old's drawings

Interior

A Beach scene

It is just so magical to see these kids draw without the knowledge of art design principles. To freely express their vision without worry of using multiple viewpoints or compositional rules.

Using a tonal scale to 'see' colour

2010-10-11T10:27:00.003+10:00

When you are using reference photos or even just a greyscale sketch, I find it helps to use a tonal scale to check the darkness or lightness of the colour before putting brush to canvas.

A tonal scale is the graduation of greys from white to black or lightest to darkest using 9 values.

Here is a Greyscale for you to use in your own art practice. The white boxes above the value is so you can cut it out, use as a window and see your colour your matching or checking. Click for larger image.

Free Greyscale Template
Note: This image only is copyright free . All other images retain copyright.

Here is the Greyscale template printed. The holes were cut first and then laminated.

Left: Using the greyscale here to check what tonal value the rock shadow is. In real life it looks like it could be at the 8 or 9 value.

Right: Using the greyscale to check what tonal value the rock highlight is. In real life it could be at the mid range point. About a 5.

TIPS

Use the greyscale on the palette when mixing paint. Remember, a colour's value or intensity can be altered by what other colour is surrounding it. So what seems light a very bright colour on your palette, may actually be more dull then you think what you put it next to a mid tone value colour. That is why a greyscale is great for checking.
Also, use your eyes and quint. Blurring the image helps to see the masses of shape and their tone
I find looking at the painting through the digital camera screen really helps to 'see' too. Because you are seeing the painting differently.

How to Hang Paintings

2010-10-01T19:42:00.024+10:00

There are no hard and fast rules, but there is what looks good and what does not.

Materials:
Hammer/Tack Hammer
Rule/Tape Measure
Nail
Eyelets or "D" Rings
Picture Wire (Thin strings of wire plastic coated)
Pencil
Wire cutters
Screwdriver

Step 1:
A general rule of thumb has been to measure your canvas about 1/3 or 1/4 down from the top and mark for the wire to be placed there.

Fastening is personal preference. Here is how I do it.

Step 2: Pre hammer a nail lightly to puncture a hole if required. Some frames use harder timber then others. Screw in eyelets or "D" rings.

Step 3: Measure the width of the inner frame from D ring to D ring and add desired excess and slack. Feed wire through loop. I add about 10cm to each side of excess.

Imagine a triangle made from the wire. The tip or point is where the nail in the wall will hold the painting. Add enough slack to create about a 2cm high triangle or as desired depending on your placement of the D rings.

Step 4: Loop wire through hole again

Step 5: Wind wire towards the centre about 5cm.

Step 6: At the halfway point of the excess wire (5cm) stop and wind back towards edge of canvas

Finished.

Standard rule for galleries is to hang painting with a nail or screw or alternative hook (e.g. 3M system) at eye level. Now what is eye level??? Everyone is at different heights. Use your judgement. A rule I have used before is measure is between 150-200cm from the ground up.

Here are a few links which might be of interest to you about preparing hanging art
http://www.ifccarts.org/media/uploads/files/hangingdirections.pdf
http://www.arthung.com.au/art_pdf/How2HangaLargeCanvas.pdf

Presentation hanging of the artworks on the wall
http://www.stellersgallery.com/resources/howtohang.asp

Or if you are someone wanting help to hang your art, here is a website which offers an insight into how much it could cost if you hire someone to provide this service http://www.arthangingsystems.com.au/view/page/33.htm l

How to Varnish a Painting

2010-10-01T18:36:00.017+10:00

For those who are new to painting and want to know how to varnish a painting, whether it be acrylic or oil, you can use this process.

So what varnish to use? I am an Acrylic painter so I originally started using a varnish suitable for acrylics. Jo Sonja's and Atelier brand Matte or Gloss Varnish. Acrylic varnishes are water-based polyurethane which creates a plastic like film over your painting which seals it. However I decided to experiment with a few different type of varnishes including Cabots Crystal Clear. You can buy this from the hardware store and is water clean up and made from polyurethane too however I felt this type of varnish was better. I found the Artist's Acrylic varnishes to remain tacky and collect dust, whereas Crystal Clear dried 'dry' with no tackiness. Than I discovered varnish which oil painters use, it is solvent based therefore turps clean up. That is the only downside to using a solvent based varnish, however the result out ways the infrequent inconvenience. The advantage is, no tackiness and therefore easily wipe painting clear with slightly damp cloth. Downside, you must be sure your have completed your painting, as you can easily repaint over an area with acrylic paint as the solvent acts as a resist. With oil paint however I assume it would be ok.

What to choose: Gloss or Matte? Well really the finish is your choice, there is no right or wrong. Depending on your painting will depend on what would be best. For example, a bold abstract piece might look better as a gloss, or a realist scene may be better as a matte. For me, I like to go in between and go for Satin (Semi-gloss). Just remember, if using a Gloss, be aware that photographing the finished piece after varnishing may reflect light. So photograph before and after.

How to apply varnish. Applying varnish again is a personal choice. Ways you can include painting in the direction of the format e.g. Portrait or Landscape, or left/right or up/down. Or paint in the direction of the subject e.g. follow the curves of a portrait; down the nose, round the checks, across the forehead etc. Or the way I varnish is using cross-hatching or hatching technique. This ensures I seal every part of the canvas.

Step One: Step up what you need:

Varnish.
Ceramic container.
Newspaper/Drop Sheet.
Brush.
Gloves
Brush Cleaner
Wood Blocks or Painter's Triangles. This is rather then placing canvas directly on the newspaper as when the varnish dries, the paper sticks to the varnish and leaves unpleasant bits stuck to the canvas.

Painter's Pyramid is something I accidently found in the hardware store (Bunnings for $12.00). They are great for varnishing or just painting to get to those edges without painting the table.

Step Two: Paint the sides first
(except the very nearest side to you incase you touch when leaning over). This is so if blobs of varnish pools on the edge it gets wiped flat when you do the surface.

Step 3: Paint the surface using method of choice. I use hatching and cross-hatching stroke. Other suggestions: Left to right, top to bottom or directional.

Tips

Wether it is water based or solvent based, try not to keep painting over the same area as this folds in air and creates little bubbles.
When you feel the varnish is tacky or 'grabbing' move on, this indicates you have already painted there.
Make sure varnish is dry before storing.
Use gloves if using solvent based
Clean brush with brush cleaner or soap and water
Don't use your best brush but do use a suitable one. A synthetic long flat.
Use glass or ceramic containers so you don't have to throw away disposable plastic
NEVER pour turps down the sink. Pour excess into a jar for next time (yes you can reuse the turps until it is too dirty) or pour onto newspaper and discard

Understanding Colour Temperature

2010-09-22T22:10:00.004+10:00

An article I read on colour temperature and correct colour temperature (CCT) was very interesting. It states, colour temperature, known to artists refer to something being cool or warm in temperature, what we associate those things with for example are cool things being ice, water, shadows. Cool things typically are blues and green. Whereas warm things like fire and sunshine tend to be orange and red in colour.

The article states correct colour temperature is in relation to light and how we see the object. For example, we know a candle is warm and has a warm colour temperature and has a 1800 K rating. . K or Kelvin refers to a unit of temperature and is described in degrees. In comparison to the low Kelvin rating candlelight has, daylight which is seen to be stronger in light though looks cooler than candle light, is actually hotter.

Interesting to know the difference. How does it effect your art? In my studio I have fluoro white lights to paint under, but I have a large studio door allowing natural (yellow warm) light to come through. Notice the difference when you photograph your artwork? I use different settings on my DSLR Camera. I usually take a photo on 'Auto' and then on Program under 'Florescent' lighting. I then compare on the computer screen the two images with the painting in front of me to see which looks closest to the true colour. For fun sometimes I use Program: 'Cloudy' or 'Tungsten' settings to see the difference. The picture turns out very yellow. I also gage the colour by looking at other things in the photo composition in my studio, e.g. walls, floor, or even place a white sheet of paper around the edge of the painting when I photograph to help access the truest colour of the painting.

Check out the article here Artists Network - What Is Correlated Color Temperature (CCT)?

Baby Painting

2010-09-15T22:05:00.006+10:00

Today was the first time I have made art with my daughter, and it only took 9 months! Was wanting to do it sooner, even the daycare beat me to it...and I'm an artist! That's when I knew I had to just do it!

Now I know why you use children's paint labelled 'non-toxic'

Not having ever done this before, especially not painting with a young baby, I realised very quick not to turn my back for a second. (See the paint around the mouth)

So to start with I knew I had to get everything ready. I set up outside on the patio for the mess factor.

I bought a PVC kids mess making sheet (easy to wash off).
The Crayola brand Washable Finger Paint (says recommended age 2+ and now I know why).
A rag.
A bucket of water.
And some plastic disposable bowls for putting the paint in.
Oh, and the hose

All up the preparation took 10-15 mins whereas the painting only lasted a few minutes. I realised pretty quick all bub wanted to do was eat the plastic paint filled bowls. So I rubbed her foot or hand in the bowl, then placed it aside on the table and then 'printed'.

To finish, I begged the completed 'Artworks' on the air dryer, utilised the bucket of water to wash her hands and feet. Hosed the PVC sheet. And then gave bub a bath. Wolhla! Our first painting experience together. And I hope there will be more to come.

My Feature Article in Artist Palette Magazine #89 Sep 2010

2010-08-31T10:33:00.016+10:00

The much awaited feature article of me is now available in issue 89 of Artist Palette Magazine 2010. Read about my professional artist career journey so far and then check out my demo on the painting "Sunset over the Cane Field".

Please go and grab yourself a copy of this great mag.