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Browsing The Business of Art

Making Your Purpose Your Business Step 4 – Organizing & Developing Online Content


By Meilena Hauslendale

Step 4 – Organizing & Developing Online Content

If you have done your homework then you are ready to organize and develop what will be your online content. Your content is very important as it will be used for promoting you, your work, and your website. Content serves a variety of purposes; it displays public relations, target marketing, and general information to build a platform for your product (your purpose).

One of the main items that need attention would be your biography. If you are an artist or writer, you will get asked for this pertinent information every time you make a submission or apply for competitions. Your biography is an essential piece of information that often can get viewed prior to your work. Even if your target audiences are publishers, agents, or clients, you have only one chance to intrigue them and make a good first impression.

There are several ways that you can address your audience. If you would like to be up front and personal, you can write in first person, using "I" in your sentence structure. For example, "I was born in Silver Springs, Maryland." If you want to have a general sound or professional structure, you can write in the third person, referring to yourself as stated in this example, "Meilena Hauslendale was born in Silver Springs, Maryland."

It's really up to you on how you would like to address your audience. I personally prefer writing in third person when referring to my work mainly because I feel it conveys a sense of professional etiquette. It creates a press release persona that can maintain your audience's attention. However, if you prefer to write in first person you can do that and still have strength to your sentences. Either way you want to spark your audience's interest in you and your work.

The difference between a how a hobbyist or a professional artist or writer can be determined simply on how they are conveyed through content. You want your sentences to have strength and power to them. Each word and phrase counts because they are performing a difficult task, representing you, when you are not there to do so. For example you could say, "I'm an artist from Erie, PA. I am trying to make a living doing art. Hope you will look at my work." This sentence hardly provides any credibility to my name or my art. It conveys that I am not really serious about what I'm doing, but I still would like you to look at my work. That's a lofty expectation to have of my audience when I lack taking myself serious.

A professional sentence structure as an example, "Meilena Hauslendale was raised in Erie, PA and began her career as a professional artist in 1997." You want to state who you are, where you come from, and what it is you do. You want your opening sentence to really state a few basic facts about you and your work. This is not an easy task and perhaps one of the reasons why many artists and writers procrastinate completing a biography. Perhaps one of the reasons why, just as Alan Wilson Watts states, "Trying to define yourself is like trying to bite your own teeth."

It's quite the challenge to write about yourself and really expand on your talents. You have to convey your work and yourself from almost another person's perspective. Imagine yourself as a Public Relations Specialist and you were just hired to write about an artist or writer. What are some things you would need to know about that person? What strong points do you want to enunciate about this person's life and accomplishments? What active role does this person assume now?

You don't have to be overly personal but you really want to give your audience a sense of who you are. Let them know how you began your career. Write about your technique or your style. It is possible to be personal but also professional. You may have to work on several drafts until you get a nice flow of words and a functional biography. The time you put into writing this valuable piece of information will pay off by getting people to take notice in something very dear to you, your purpose. So share your passion with your audience. You just may notice that your enthusiasm might be contagious.

You want to have a short version (100-150 words) of your biography and then a long version (500-1,000 words). It's advisable to work on your long version first so then you can easily copy a short version by taking excerpts. As an example you can view my biography online: I had a shorter version posted several months back, but because of numerous requests to know more about me, I had to rewrite it. You may experience similar feedback from your viewers. The long version will be for your website and the shorter version will be used for promotional websites that commonly limit your biography to 100-150 words.

You can also write a statement about your work. A statement simply is a personal claim about your work or perhaps on what inspires your work. Get creative here and really just type what you feel you need to express about your creativity. I was asked for an artist statement back in 1999. I had no clue what that was but I wrote one down. I've used the same statement ever since. You can view it online to get an example:

Take time to really write down your talents and accomplishments and don't be afraid to express them in your content. The more people learn about you, the more they will be able to relate to you.

Your challenge for this month is to create a full length and short version of your biography. As a bonus create an artistic statement if you would like. Read other artists' or writers' biographies and ask yourself which ones interested you and then explain why. Which biographies had strong statements, which ones were weak? Then take that information and apply it to yourself. Evaluate what traits you want to express, organize an outline, and then write your biography.

Inspirational Artist & Author Meilena Hauslendale's work and articles are displayed internationally. She is the founder of Silence Speaks International Artist Association and the Editor of Intrigue Magazine. Published books include, Making Your Purpose Your Business and Recognizing Unhealthy Relationships. Email:

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Marketing Your Art to Your Niche Online


By Nina Alvarez

You've found your niche online and have interested readers filtering into your website through forums and social networks. How do you get them to make a purchase?

* Know your competition. Study the work of other online artists with work truly comparable (popularity, experience, subject, style, size) and note their prices. Take a hard look at what they're offering and for how much. Then undersell them. People shop online because they are looking for good deals. Give them one.

* Know your audience . Try posting a friendly, anonymous survey up on your site, asking your reader some basic questions: where they live, age range, gender, and their art-buying price range. If they already like your art, they will be happy to help you out. If they don't, then you don't need their demographic information anyway. Use your findings to think strategically about where you promote your website and how much you sell your work for. (Note: Many blog servers like Blogger and Wordpress offer survey widgets which will also do the trick.)

* Write Like a Pro . Pull out your best writing skills to describe the pieces you want to sell. Include a bio and artist statement on your site. Often, a timid buyer will be reassured by this professional touch.

* Make buying REALLY easy . Allow your potential buyers to become actual buyers. Next to each image of your art keep its price, shipping costs, and a "Buy Now" button (use Paypal if you don't have a shopping cart). Don't force them to go through the rigmarole of sending you a query email and awaiting your response. More likely than not, you'll lose the sale.

* Give them a reason to come back . Just because someone leaves your site without buying doesn't mean they won't be back. Collect email addresses with a newsletter sign-up on your webpage. Promise it'll be a good read and deliver. Once you have their email address, follow through at least once a month with a newsletter that is sharp, witty, informational, and full of your art.

Nina Alvarez, Chief Editor of - an online artists community, and writer of the Artspan blog on art marketing. She also created the Philthy Art blog offering encouragement to writers and artists, and the popular poetry blog Nina has an master's degree in English and is

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Master Quality Song Demo Reels That Sizzle!

Author: Tom Gauger

As a former talent booking agent with the William Morris Agency and founder of, I can tell you that reviewing demos can be both a curse and a blessing. Even as demos pile up on the desks in A&R offices and music industry professional's office floors as well, I can almost guarantee that the vast majority of demos 1) won't have a chance, 2) don't get listened to, at least by the major A&R folks and not through a pres-screening process utilizing college interns, and 3) it might not even be the music itself, but the packaging and marketing colors, etc that are used for the artist press kit that result in the artist contract denial. What makes for a master quality demo? What makes for a master quality demo that will get listened to? These are great questions and I can tell you that a host of folks will have all kinds of ideas and suggestions; I will consider some gut level thinking and ideas that I have mentally compiled through the years that I've always felt would be an asset not only musically, but from a marketing perspective as well. Hopefully there will be some nugget of truth that you can capitalize on to further your music career and song demos

As we begin to look at master quality demos and what makes them up, what are your goals and ambitions? The reason I am asking this is because not only does it help to mentally prepare you and help you set goals for your career, but it also helps set the blueprint for where and what your demo ought to be sounding and looking like. There is a big difference in submitting your demo to A&R folks and to the club owner trying to gain playing gigs. But regardless of where you are submitting your demo, you have to exude a professionalism and character of not only your music, but in the credibility of the act as well. That last statement is critical. If your act is perceived as credible with the ball rolling and with some key elements in place, you are much more likely to be 1) reviewed by the actual A&R director and 2) any enthusiasm might snowball down the halls of the record company ultimately landing you a record deal.

But let's get back to your demo. At we compile demos for songwriters and for jingle singers trying to break into the jingle singing market and I can tell you from experience, that it's difficult to create a master quality demo when the song itself is not master quality song demo material. So be honest about any material you are recording. Is this top 10 if given the chance, or is this a filler, b side song? Yes, you can take a fair song and make it "listenable" to with a great production, but it still reasons that a fair or b side song cut is still a fair or b side song. You look back through the years at songs that held your attention and were almost mesmerizing and this is before the onslaught of incredible and affordable recording gear. These songs were just plain great songs even without the slickest of today's recording abilities.

As you record, don't rely on a bunch of "recording tricks" or padding type effects that detract and try to uphold an otherwise fair song. Many individuals with a lot more authority can speak about effects, etc than I, but I will say that less is more, and you ought to be concerned about the quality of the song and production utilizing all effects that are needed and not just effects thrown in there without reason or cause.

Who are using for players on your demos? Obviously if you are a band you are recording your whole group, but if you are a solo act or a writer creating master demos, then consider a couple of options. If money is not an object, then go for the whole rhythm section and keyboard pads, etc. One thing that you need to know and understand is that it is better to use fewer players who are just incredible, than to have the full rhythm section with less experienced players or players that just can't support your song. I remember years back when I was first starting out before all of our TV and radio credits, that for the sake of having a full sound I compromised the overall production for players, while more affordable, not as seasoned and consequently my productions were not as strong until I learned that valuable lesson. And even today, I will choose to use a first string guitar or piano player in lieu of a full rhythm section on projects if that's what the song and production call for. Always get the best musicians - It always pays. These players oftentimes have ideas and broaden your production and bring incredible artistical elements that you wouldn't have thought of – Which leads me to my next point.

Keyboards are incredible and there is a vast array of sounds and pads that can be used to create all kinds of emotional tones in your music, but don't get caught in the, "I have a keyboard, mic and computer syndrome. Your music will suffer. You want the creativity of other players. They bring the musical magic that most of us, quite honestly, aren't creative enough to capture, but with their experience, and talent, they are able to deliver not only incredible rips, but a professionalism your demo might not never otherwise of had. Utilize the best players possible whenever you can. I can tell you that our demos at sound incredible because of our effort in obtaining the best players - Get the best!

With a few moments left, let's look at some important final notes and ideas. Don't get discouraged after recording a song you thought would turn out differently. You know, without sounding cliché, productions and songs do getter with time and practice. Always look at money spent on demos as schooling. Where would you go to learn the lessons you just learned? - From a textbook, of course not. Keep at it; be honest about your writing and productions. Continue to learn from great writers and producers. Listen to great classical writers as well and broaden your next pop ballad string arrangement. Don't be afraid to try new ideas. Get the best players in an affordable, yet quality studio, and hopefully you'll start recording the next top ten hit!

About the Author:

Mr Gauger is a former talent booking agent with the William Morris Agency and founder of . You may contact the author at . Free e-books "The Jingle Singer's Guide," and "Secrets To Great Song Demos," may be downloaded at .

Article Source: - Master Quality Song Demo Reels That Sizzle!

Natural Artistic Talent Myth Plagues Fine Art World

Author: Eric Hines

The subject of talent and creativity has been mired in a healthy amount of confusion over the last century. Plaguing the art student, the instructor, and even the accomplished artist.

Until recently, like the majority of contemporary society, I too believed that to be a fine artist one had to be born with an abundance of artistic talent - you either had it or you didn't.

I would imagine that this would be the reason behind my working as an art dealer and owning an art gallery in Los Angeles, instead of being an artist and selling my own works of art.

Today I am quite relieved to find that, even though I was not born with a large currency of innate visual artistic talent, such talent can be acquired and developed.

I can imagine that quite a large number of this article's readership disagrees - perhaps some vehemently - with that statement.

This is why I am bringing in someone exponentially more qualified to address the confusion on the subject of talent which has permiated societies around the art world for 100's of years.

I didn't just find any art instructor to help sort this out, Larry Gluck has been teaching others how to draw and paint since 1975. His 20 Mission: Renaissance fine art studios are currently teaching more than 3,000 students every week. His unique method of instruction, known as The Gluck Method, is also taught in various colleges in America.

So without further ado here is Mr. Gluck to help dispel this "talent myth..."

"I'm not very creative, I have no talent.If you had a dime for each time I heard a student tell me this before I got their agreement to enroll for drawing or painting lessons you would be quite wealthy.

Perhaps you too believe you lack the "artistic gene" or "special gift" called talent. Let's get real about this thing called talent, shall we?

Talent implies a degree of skill or ability. Ability in any field can be acquired. Were you born with all the talent and skill required of you to perform in your current career?

Of course not, you acquired the skills you needed in order to perform. Would you be able to acquire the skill to play any music instrument you wanted too, or would you need to be born with this skill?

Like anything else, you can learn to draw and paint beautifully. The only requirements then is a desire to procure the technical skills and a teacher to provide you with workable instruction.

Moreover, people often confuse talent with creativity. Each is extremely important, it takes both combined to create art, but they are not one in the same.

The dictionary defines 'create' as; to cause to come into being, as something unique that would not naturally evolve by ordinary processes. Create is what evolves from one's own thought or imagination, to bring about, as by intention or design. Creativity could easily be described as what one imagines and then produces using one's skills.

People use their skills to bring their creative concepts into the real world for others to see. The painter observes a spectacular view. He imagines painting it in vibrant colors. Thus, using his talent and skill, transforms his original idea onto canvas, it becomes a 'real' painting.

Not all of us are born with an affluence of talent, however all of us are born with a goldmine of potential artistic creativity. It is imprisoned within all of us. We have only to free it.

Natural artistic talent alone is not enough. Those who possess natural talent, an instinct for color, the ability to draw an excellent likeness, are frequently thought of as gifted. However in life, innate ability often turns out to be more of a liability than an asset.

It is often found that the Natural doesn't know how he does what he does. Natural talent, devoid of understanding, can be unreliable. One small failure can shatter it.

The Natural may eventually invent "reasons" as to why he can perform only some of the time. Examples are the author who must drink to write a good story, or the painter who "knows" for a fact that he can only paint when Saturn is transiting Orion.

Unfortunately artistic talent and creativity are not properly married in the majority of fine art instruction curriculums. Studying under the Italian portrait master Giuseppe Trotta ' a classmate of Picasso himself, graduating from The Pratt Institute in New York, and founding the world's largest fine art program for drawing and painting instruction, have provided me much insight into art education.

I have seen both sides of the talent and creativity coin hobby-horsed in colleges and private art instruction programs. Rarely have I seen both sides given proper merit simultaneously. On the talent side of the coin you have the art teacher who will ignore any form of the students creativity. The music teacher, believing all great music was originated hundreds of years ago, who disallows any original work from students.

On the other hand, focusing on creativity alone, you find the art teacher who applauds the unrecognizable blob of paint smeared across the canvas. No fundamentals are taught, thus there is no improvement in the student's artistic ability to reproduce what he or she envision in their mind.

In developing talent one should begin with the fundamentals of drawing and sketching; the proper technique for holding a charcoal pencil, how to create depth and realism, the ability to capture light and shadow...

Once the ground work for these fundamentals is thoroughly laid the precise principles that underlie all drawing and painting skills can be taught.

This does not stifle originality, but instead provides the best possible environment for it to grow.

When the fine art student has both a solid technical foundation and strong nurturing of creativity, they are then capable of producing what they conceive in their mind.

And that is exactly where any artist wants to be."

About the Author:

Eric Hines has worked in the field of art for over a decade as a musician, art dealer and is currently employed by Mission Renaissance , the world's largest drawing and painting instruction program in the world. He is currently taking art classes to how to draw and paint , very soon he will be selling his own art work and not just the works of others.

Article Source: - Natrual Artistic Talent Myth Plagues Fine Art World

Licensing Artwork? How to Protect Your “Assets” When Entering into an Agreement to License Art

Author: Chris London

For an artist or graphic designer there's nothing more rewarding than seeing your art on actual product out in the retail environment. I've been designing and developing art and products for licensing for quite a while now and it's still like Christmas every time I receive product samples for approval. I can't tell you how much I enjoy opening boxes filled with various product samples that I have designed and created. Maybe you already know this feeling or maybe you are just starting to venture out into the world of artwork licensing. I hope so! If you are just starting out then you should check out Surtex National Stationery and Gift Show in New York. This show is one of the best ways to show your work to people actively seeking new talent.

Artwork Licensing can be an extremely rewarding and profitable venture. There are many benefits to licensing your artwork. The obvious benefits are that you retain ownership and copyrights to your creations while other people market and distribute your creative works for sales. This allows you to gain passive income through royalty payments, usually payed quarterly, and the ability to use that same art in new ways for future profit.

As fun and exciting as Art Licensing is, there are some things you should know before entering into any contractual agreement. First of all, there is a lot that you won't know in the beginning of your licensing career and a ton that you will learn along the way, but you should have a good understanding of what the terms of your agreement will be before signing anything. If you are presented with a licensing contract - review it and understand that you are the one licensing the art and you have the power to negotiate your terms. Also, it's always a good idea to have your own copyright attorney review the contract.

Before we discuss this topic further let's get familiar with a few terms, that is if you are not already familiar with them.

1. Licensor - You!
2. Licensee - the company you are licensing artwork to.
3. Royalty - The percentage you will be payed on the sales of your art.
4. Net Sales Price - the price for which the Licensee sells the Licensed Products
5. Licensed Design - shall mean those designs owned by Licensor and incorporated into one or more Licensed Products
6. Sell-off-period - A period of time used by the Licensee to clear out licensed product. This usually takes place at the end of a contract when the licensee needs to dispose of all of its existing inventory of Licensed Products on hand. During the Sell-off Period, no royalties shall be payable to Licensor for the sale of Licensed Products that must be liquidated (sold at or below cost).

Every licensing contract can vary in detail, however, there are some key points that should never change. Your licensing contract should clearly state that the licensed artwork is yours and that you retain the rights to the artwork being licensed. You should specify that the "licensee" (the company you are licensing your artwork to) does not have the right to sublicense your art to other companies without your written approval. Also, under no circumstances is the licensee entitled to any ownership rights to your original art nor do they gain any copyrights to any piece of your art. In fact, you should specify your own copyright line to be used on every product that the licensee produces. Would read something like;

© YOUR COMPANY NAME HERE All Rights Reserved
Licensed by (Licensee's Company Name Here)

You will probably find that most negotiation comes into play when determining your royalty percentage. Here are a few common ranges of royalty rates in the giftware industry that may help guide you in determining an appropriate royalty percentage.

* Greeting cards and gift wrap: 2% to 5%
* Household items such as cups, sheets, towels: 3% to 8%
* Fabrics, apparel (T-shirts, caps, decals): 2% to 10%
* Posters and prints: 10% or more
* Toys and dolls: 3% to 8%

As I previously mentioned this is a scale of acceptable industry standards. In my own experience, I have found 5% to be a very standard and acceptable rate for most items. However, for some stationery items like gift cards and gift wraps 2% is the acceptable standard. If you are just establishing yourself as a licensing artist it would probably be wise to aim for the 4-5% as opposed to the 10%. In this part of your contract you can expect to see a line stating that no royalties shall be payable to Licensor for the "closeout" sale of Licensed Products that have been deleted from Licensee's line of products. The licensee will almost certainly include this statement in your contract, however, one thing that you should stipulate directly after that line is that the Licensor must be notified in writing prior to the "closeout" of a line or products and that any licensed products sold during the "sell-off-period" that are non-liquidation orders are subject to royalties. Yes, a company will liquidate it's products and product lines to clear out inventory, but not all sales made during the sell-off-period are liquidation sales which you should be paid a royalty for.

Keep your licensing arrangements clear, concise and simple. You may get advice from people to get an advance against royalties or negotiate a one time licensing fee. These are not common practices for people just getting into licensing. An advance against royalties is exactly what the term states - an advance payment on future royalties on a licensed work. My personal belief is that it is better to negotiate terms with a fair percentage that works for you. Then make sure to avoid unnecessary deductions such as sales commissions, undefined "fees", or any marketing, promotional and advertising expenses that the licensee engages in. Some deductions are acceptable, for instance deductions made before the royalty is calculated for taxes, credits, and quantity discounts.

I really enjoy art, graphic design, and the rewarding feeling you get from seeing your art out in the market place. I would like to see more artists reaching out to the public with their creative works. It takes time to build a successful licensing career. The key is always play to your strengths. Stand apart by doing what you do well and not replicating others. When it comes time for you to enter into a licensing arrangement - I hope that you have found this article helpful. I would also like to offer a template for a standard contract regarding the licensing of artwork as a resource to help give you a heads up on how to protect your "assets". This licensing contract template, set up for a standard 5% royalty.

You can find this template at:

Please note: This contract is intended to be used as a reference to help artists looking to establish licensing agreements for their artwork. Any legally binding agreement that you enter into should be reviewed by you and your attorney prior to enacting said agreement. This material is a reference for you, but we are not responsible for any legal agreement you enter into.

About the Author:

As the Art Director for Pixel Productions Inc., I have had the privilege of creating and designing art used for licensing on hundreds of products from stationery to mugs and door mats. You can find our art in retail environments like Hallmark, Michaels, and Target. As a graphic designer, being able to take part in designing art for licensing is such a rewarding experience and one that I hope many young artist will be able to know. You can see my work at:

Article Source: - Licensing Artwork? How to Protect Your "Assets" When Entering into an Agreement to License Art

Interactive Art Installation for Art Exhibition Promotion

Author: Antonia Marino

There are so many art exhibitions around that it is essential to make your exhibition stand out from the crowd. One way to achieve this is by having a drawcard to attract visitors. An interesting and successful idea is to create an interactive art installation at the venue to entice visitors into the exhibition and to engage them with participation.

An interactive art installation is usually a large sculptural piece specifically created for the event which the audience can use, play with, interact with, influence, solve and/or manipulate in some way. Their participation allows them to experience a result of some kind. This adds an additional dimension to their exhibition experience and is particularly successful if your installation is unique, fun, challenging or enlightening in some way.

When designing your art installation consider the overall theme of your exhibition, your intended target market, and the available facilities at the exhibition venue.

Exhibition Theme

It is important to make your art installation and art exhibition theme cohesive. If your audience cannot see a logical connection between them your drawcard may not be as successful. Therefore give plenty of consideration to this aspect of your idea. For example, if your exhibition theme is "Urban Landscape", choose an industrial type installation using inorganic materials, hard shapes and modern fittings.

Other questions to ask yourself when designing your art installation are the possible results of audience participation. Do you want them to have a unique experience, or a pre-determined answer? Are you trying to make a statement, tell a message relating to your theme, or do you want your audience to come up with their own conclusions? These questions will help you to refine your idea and create a installation that best suits your exhibition.

Target Market

Tailor-make your art installation to your target market for maximum success. This is important in all areas of business marketing and your art exhibition should be no exception. A target market is usually defined as demographics such as age, gender, geography and socio-economic group.

If your audience is predominantly young middle class college students, your installation should be young, fresh, innovative and modern. On the other hand, if your target market is mainly elderly, upper class art investors you would approach both the exhibition and your art installation in a totally different way. Ask the venue what their customer demographics are in order to give yourself the best start.

Exhibition Venue

When creating your art installation it is very important to consider the venue in every aspect of the design. Visit the exhibition space and plan out the shape and size of the area available to you. Take lots of photographs, capturing every angle. Use a long retractable tape measure to take measurements of the room, noting the dimensions of the walls, including ceiling to floor height. Measure and record the size and locations of all doorways, windows, pillars, permanent light fixtures and electrical sockets. Take particular note of the main entrance way and how the audience will move around the installation.

Finally, ask the venue what resources they have on site, such as ladders, plinths, partitions and portable lighting. These will come in handy for your installation, and may cut down construction or display costs. Whether you are using props and equipment belong to the venue, supplying your own, or hiring them, ensure they are safe to use. This is particularly important if using electrical appliances such as portable lighting. Your audience safety and well-being is paramount.

An interactive art installation can become a value asset to your next art exhibition by making it stand out from the crowd. With just a few important design considerations you can maximise its promotional potential and make your exhibition a huge success.

About the Author:

Antonia Marino is an artist and business owner with over 15 years experience in the art industry. Her current project is ArtBiz Resources, which provides downloadable art business documents and forms for artists, galleries and exhibitions at

Article Source: - Interactive Art Installation for Art Exhibition Promotion

How to be a Professional Tattoo Artist

Author: Kelvin Eng

As tattoos become more popular these days, more and more people are getting tattoos or talking about getting one. This is great for the industry and even better for those who would like to get involved in the tattoo industry. But don't think that becoming a professional tattoo artist is easy. There really isn't any such thing as easy money by becoming a tattoo artist.

Many tattoo artist aspirants believe that purchasing a D.I.Y. tattoo kit from the advertisements of tattoo magazines is the starting point towards becoming a successful tattoo artist. Be aware that this equipment is of inferior quality and lacks precision. What next? Find a person to practice. And the result is dozens and dozens of people with awful tattoos and terrible scars and who will put you in their hate list forever. Furthermore, a true artist will be reluctant to take you under his wings because he is going to have a headache trying to guide you back on the right path.

The alternative is to pay a fee to a tattoo artist or shop to teach you the trade. So what is the type of fee to pay? As far as I know there are no reputable artists teaching you all he know for a fee. A true artist is not a true blooded businessman. If an artist is willing to teach you for a small fee, then consider this. Is he willing to part with all he knows for what you are paying? In one Asian country, the majority of tattoo shop websites advertise tattoo courses for a very small fee. But the problem is that after completing the course, you will have to come back for one refresher course then another and another. And I understand that after completion several such courses, you will not be able to tattoo properly. So the chances are you will be paying good money to some businessman who is just trying to make a fast buck.

So then, how to become a successful tattoo artist? For starters, you'll need talent. You will never make it in the tattoo industry by tracing or stenciling, you will need to be able to draw great designs. To even get considered as a tattoo artist, a portfolio is needed. This will require you to draw lots of great designs to build up a portfolio. Your portfolio is proof that you have the skills that are needed to succeed in the industry. Without a portfolio, don't even bother. I remember one South American guy asking me to train him to become a tattoo artist. And he said money is no problem. I told him that money is not an issue, just draw me a colored dragon and then a reaper. He came back after one week, and said he couldn't draw a proper dragon or reaper. So end of story.

Once you have a portfolio to showcase your talents, you will need a mentor, someone who is willing to teach you the trade and share their secrets with you. Now this is the tricky thing, tattoo artists don't like giving away their secrets. Simple reason is because many of them have been let down by their apprentices. Just take the case of my mentor. He has taken more than 20 people under his wings (all without any fee), but today only 3 of his graduates still "recognise" him as mentor. What happened to the rest? They have their own shops, but tell their customers that they can do the same quality of work as their mentor (also my mentor), but their prices are cheaper. So you know how much it hurts to be treated like my mentor? If you do find someone good, a real professional who is willing to tell you anything at all about the industry, then be grateful.

To train as a tattoo artist, you will need proper, high-quality equipment such as a precision tattoo machine, power supplies, shading equipment, needles, medical equipment and sanitation supplies. You will also need to know about cleanliness and what can and can't be reused, as well as how to clean and sterilize your equipment. The popular professional tattoo artists are successful for a number of reasons, but mainly because they are clean and very talented.

You can succeed in the tattoo industry, but you will need to be talented, self-driven and dedicated. If you want to make lots of money as a tattoo artist, you are wasting your time. Become a tattoo artist because you love the art and love to create breath-taking pieces of body art. Be prepared to work for free and, most of all, if you get someone to stop and share a secret or two with you, take their advice. You will definitely need it.

What you do is you apprentice and work for a tattoo artist for very little pay. You do this so that he/she can take you under his/her wing and show you how to take your artistic skill and transfer it to the art that is called tattooing. If the master you're apprenticing for is good, then along the way you'll also learn about how to run a shop, what it takes to succeed, and what NOT to do...

How long does it take? Well...that depends on how fast you pick it up and how good your master is. It's not uncommon for tattoo artists to apprentice for more than one artist in their careers...and each apprenticeship can last for several years.

This is not to discourage you...but the guys on Miami Ink didn't just "decide" to become rock star tattoo artists one day. They scraped just to get by for many years before they became successful...and, chances are, you'll have to, too.

About the Author:

Author is a tattoo artist at Tattoo City Art Studio

Article Source: - How to be a Professional Tattoo Artist

How to be creative and find motivation for designing websites

Author: Dinah John

Website Motivation - Whatever your skills, whatever your interests, everyone has the ability to be creative in their work. However, we can often lose our motivation and drive to create, making it difficult to stay focused on a particular work plan or project, especially in web design. So what is the best method for staying motivated?

The key to maintaining your own motivation to be creative is actually a long term effort. Starting out can be tough, and in most cases the most difficult part. But with the right methods and consistency you will be able to reach a point where staying motivated is easy. It is a simple case of knowing when to make the right choices at the right times.

Obviously everyone is unique and each of you will have your own methods and actions into being creative. But here is the chance to read something that offers some possible methods and solutions when getting motivated and staying motivated.

The main things to take into consideration are:

Set goals
You will find it is a lot easier to stay motivated when you feel like you've reached a target. Give yourself something to achieve and break the work load down. If it is a large website project you are working on, set yourself mini goals so you are reaching targets every few hours or days rather than spending weeks trying to get the lot done.

Small bite-sized objectives
As mentioned briefly above, set yourself up for more success than failure by being realistic in goal setting and come up with small, bite-sized tasks to start with. As you complete more tasks, start making your goals more ambitious.

Build a creative workstation
Whether you design websites at your desk, in a dark room or a home office, you need to assign a place to yourself where you can be creative. Once you've decided on that place, use it! Each creative task and success you achieve in your 'creative workstation', will slowly train your mind to be creative within it. When I first set up my creative workstation it took me about 3 months for it to click in my mind that it was actually my workstation but as soon as I enter now, I can focus my mind that I'm ready to work.

Walk away, but don't quit!
Whatever you do, you must always remember to never give up on a website or problem. Put them to one side for a while but always come back it later on, even if it means coming up with a theory for solving the problem. These problems build confidence and develop a nice portfolio.

Find your creative time zone
Just like your body's sleeping and eating times, there is also a best time when your body can be most creative. For me, the best time to be creative used to be late at night, now-a-days it's usually between midday and late evening. Although I do have a creative burst where I get most work done after 9pm. Your main objective is find out when you are at your most creative side and start using that time to your advantage.

Using the right tools
When being creative designing websites you need to ensure that you are using the right tools for the job. The 'right tools' doesn't necessarily mean the best tools but being creative can be difficult enough, therefore, the idea is to make the job / project as easy as possible. For example, my best choice design software has got to be 'Photoshop', you may make this more difficult by trying to use 'mspaint' to come up with some amazing graphics. It's something you just don't do!

Following progress
One of the key points in being creative is to follow your own progress. As mentioned in step 1; the main objective is to break the task down into smaller parts. Therefore, after a few weeks working on a project look back and see how far you've come. If you don't stop every so often to see where you were a couple of months ago, and where you are now – do it! You might just surprise yourself on how much progress you've made and how your creativity has grown.

Get out of the house
This may seem a bit like the step where you walk away from your work and come back to it later, but there is a fine line between setting aside some work and actually taking a break from your workstation. Whilst a creative workstation can often be the best practice, it sometimes helps to go somewhere different to work. It can provide a different level of ideas and influence your creativity and work.

Work through it
You may think that it's pointless trying to force yourself to be creative when you're 'not in the mood' but often it can work in your favour. It may feel difficult to start with but as you gain momentum you'll find your motivation returns almost every time! After all, you have nothing to lose; you get the job done and you're still producing quality work / websites. It may not seem like they are of good quality but you may still be working the same as you usually do, you're just in the wrong state of mind to realise.

About the Author:

Read more about web design and Ecommerce web design

Article Source: - How to be creative and find motivation for designing websites

How to Become a Famous Artist

Author: I.ivabov

How to become a famous artist.

1. It does not matter what kind of painting or graphic techniques you use.

2. By painting oil is the easiest to use.

3. Talent is undoubtedly the biggest, but not the main factor.

4. Hard work is one of the main factors.

5. Ambition is almost the main factor.

6. A good and up to date concept is decisive factor in creating your artwork.

7. Bad critic is in most cases a positive critic.

8. Try to be as much eccentric as you can.

9. Don't mind critic and unpleasant statements from eccentric "art" activists.

10. Attend an Art College, Art School, or take some private lessons. Even if you don't like realistic stiles, it is very important to study the human anatomy. Picasso creates "childish human forms", but he possesses perfect knowledge of the human anatomy and that makes

him Picasso.

11. Who you know, is a very important factor of success. Of course most of the really good painters and artists are not the most social people in the world, but please try to make contacts, be social, in most cases the help and the best solutions came from friends of friends.

12. Something which should motivate you is the phrase: "The best artists are made, not born."

13. Invest as much time as you can in your art initiative. Take your time, concentrate on your work. Very few famous artists were hobby painters. If you practise it as a hobby, you can forget it! If you feel it strong enough, you will probably sacrifice everything in the name of art. Once again ambition is almost the main factor but hard work is one of the main factors.

14. Travel as much as you can and can afford.

15. Visit as many museums as you can.

16. Take notes when you visit a museum. If you like an artwork, just write down the name of the author and study his biography and works. Try to get as much as you can from brochures and books.

17. Read as much books as you can, most of the famous artists are well educated and well-read people. Nevertheless classic literature will influence your ideology.

18. Take your time to explore the internet, find suitable galleries for your artworks and apply to the best art galleries online, or by the traditional way.

19. Visit public events and try to make contacts.

20. Create accounts in online sources. Very important! Nowadays internet plays a very important role.

21. Please don't cut your ear!

22. If you don't live in a big City, try to move to one. Most of the galleries and considerable

art dealers and galleries are situated in big cities.

When you create, never forget, that less is more. Try to be as minimalist (especially nowadays) as possible.

23. Be unique.

24. Be your self. When you create, try to be yourself, try to be unique, create something special.

25. Expose your art, don't be ashamed, if you feel it, show it, if you are sure, you are going to make it. Believe in your self.

26. And once again Ambition is almost the main factor.

27. And the last thing; I am an art collector and you can contact me and present me your artworks. Please write to me at or check on

About the Author:

Artimpresia Gallery,

Article Source: - How to Become a Famous Artist

How to Make an Art or Craft Portfolio?

Author: CD Mohatta

Having a portfolio is still a very valuable tool for every crafter or artist with a business. Today a crafter or artist may keep their portfolio in a binder or keep digital images in an online portfolio. Each has it's advantages and you may wish to have both. A binder is accessible without a computer and you can keep in your car or take it with you when you meet with people. With an online portfolio you can send a link to the website through email, or print it on your business card, and a person can see your work without having to meet with you in person.

If you think a portfolio will help you, the most important thing to do is to begin it now, with whatever you have. Don't fuss on perfection before you have an existing portfolio. Books are written about professional portfolio making and seminars are taught at art schools, however, you can always improve the content and the appearance of your portfolio later. You can't, however, recover lost opportunities because you didn't have one to show to people interested in seeing what you do.

A binder portfolio can include small 2-dimensional art and photographs of larger or 3 dimensional art. Choose a binder of adequate size, but keep in mind that larger binders are more difficult to carry or take with you. Whatever style of binder you choose, do not permanently affix any of your photographs or art. This way, you can swap better pieces or photos for the least ones in your portfolio easily. Usually 12 - 24 items makes a good portfolio.

Sometimes, if your work is particularly small, for example, as with jewelry, you can make a sample case of the items instead of a binder containing photos. For a digital portfolio you will need a web page or other online location and digital images. Some artists choose a website that shows items they have for sale, and this doubles as a portfolio. It must, however, be kept current to display only what is available for purchase.

About the Author:

The author writes text and advises for content for myspace comments , myspace graphics and designs creative ideas for myspace layouts .

Article Source: - How to Make an Art or Craft Portfolio?

How To Write An Artist Statement


By Molly Gordon

Your artist's statement can be a moving testament to your creativity and integrity. The expression of this commitment will vary, but the effectiveness of your artist's statement stems from the authority with which you write it.

Think of your artist's statement as a nourishing stew. The rich flavors and inviting aroma will feed your spirit and summon wonderful people to your table. You'll want to make sure your stew is made from the freshest, finest ingredients and that it has been simmered and seasoned with care. Do this, and you will be proud to share your creative vision -- your authority -- with others.


STEP ONE: Assemble the Ingredients.

1. Take five minutes and think about why you do what you do. How did you get into this work? How do you feel when work is going well? What are your favorite things about your work? Jot down short phrases that capture your thoughts. Don't worry about making sense or connections. The more you stir up at this point, the richer the stew.

2. Make a list of words and phrases that communicate your feelings about your work and your values. Include words you like, words that make you feel good, words that communicate your values or fascinations. Be loose. Be happy. Be real. Think of these as potential seasonings for your stew. You don't have to choose which ones to use just yet, so get them all out of the cupboard.

3. Answer these questions as simply as you can. Your answers are the meat and potatoes of your stew. Let them be raw and uncut for now.

What is your favorite tool? Why?

What is your favorite material? Why?

What do you like best about what you do?

What do you mean when you say that a piece has turned out really well?

What patterns emerge in your work? Is there a pattern in the way you select materials? In the way you use color, texture or light?

What do you do differently from the way you were taught? Why?

What is your favorite color? List three qualities of the color. Consider that these qualities apply to your work.

4. Look at your word list. Add new words suggested by your answers to the questions above.

5. Choose two key words from your word list. They can be related or entirely different. Look them up in a dictionary. Read all the definitions listed for your words. Copy the definitions, thinking about what notions they have in common. Look your words up in a Thesaurus. Read the entries related to your words. Are there any new words that should be added to your word list?

6. Write five sentences that tell the truth about your connection to your work. If you are stuck, start by filling in the blanks below.

When I work with__________ I am reminded that___________.

I begin a piece by______________.

I know a piece is done when__________________.

When my work is going well, I am filled with a sense of _____________.

When people see my work, I'd like them to ________________.

STEP TWO: Filling the Pot.

Write a three paragraph artist's statement. Keep your sentences authentic and direct. Use the present tense ("I am," not "I was," "I do," not "I did.") Be brave: say nice things about yourself. If you find that you falter, write three paragraphs about an artist whose work you admire. Then write about yourself as though you were an admiring colleague. As a rule, your artist's statement should be written in the first person. Refer to yourself with the pronouns "I, me, my." If this blocks you, write in the third person, then go back and change the pronouns as needed when you get to Step Four. Use the suggestions below to structure your statement. Write three to five sentences per paragraph.

First paragraph. Begin with a simple statement of why you do the work you do. Support that statement, telling the reader more about your goals and aspirations.

Second paragraph. Tell the reader how you make decisions in the course of your work. How and why do you select materials, techniques, themes? Keep it simple and tell the truth.

Third paragraph. Tell the reader a little more about your current work. How it is grew out of prior work or life experiences. What are you exploring, attempting, challenging by doing this work.

STEP THREE: Simmering the Stew.

Your artist's statement is a piece of very personal writing. Let it simmer overnight before your reread it. This incubation period will help give you the detachment necessary to polish the writing without violating your sense of integrity and safety. While your statement simmers, let your mind wander over the ingredients you assembled in Step One. Allow yourself to experience the truth of your creative experience. Marvel at the wealth of seasonings and abundance of vegetables you have at your disposal. Enjoy the realization that your work is grounded in real values and experience. If you think of things you might have left out of your statement, jot them down, but leave the statement alone.

STEP FOUR: Taste and Correct the Seasonings.

Read your statement aloud. Listen to the way the sounds and rhythms seem to invite pauses. Notice places where you'd like the sound or rhythm to be different. Experiment with sounding out the beats of words that seem to be missing until they come to mind. Do this several times until you have a sense of the musical potential of your statement. As you read your statement, some phrases will ring true and others false. Think about the ones that aren't on the mark and find the true statement lurking behind the false one. You may find that the truth is a simpler statement than the one you made. Or your internal censors may have kept you from making a wholehearted statement of your truth lest it sound self-important. Risk puffing yourself up as long as your claims are in line with your goals and values.

By now your taste buds are saturated. You need a second opinion. Choose a trusted friend or professional to read your statement. Make it clear that you are satisfied with the ingredients on the whole, but you'd like an opinion as to seasoning. You alone are the authority for what is true about your work, but you'd like feedback on clarity, tone, and such technical matters as spelling and punctuation.

STEP FIVE: Summon the Guests.

There's little point in concocting a fabulous stew if you don't invite anyone to dinner. Every time you use your artist's statement you extend your circle of influence and build new branches of the support network for making, showing and selling your work. Enclose a copy of your artist's statement whenever you send a press release, letter of interest to a gallery or store, or contact a collector. Send it to show promoters and curators. Enclose a copy with shipments of your work so it can be displayed wherever your work is exhibited.

STEP SIX: File Your Recipe!

Save all the notes and drafts that you've made. You'll want to revise and update your artist's statement from time to time to reflect changes in your work.

Molly shows accidental entrepreneurs how to make a profit without losing their minds. Molly Gordon , MCC, is an internationally recognized business coach helping small business owners, independent professionals and artists to do business in a way that feeds their souls as well as their bank accounts. Visit her site to learn how to write a compelling artist statement in six easy steps. While on the site, don't forget to join 12,000 readers of Molly's Authentic Promotion® ezine, and receive a free 31-page guide on effective self promotion . Join one of Molly's free special interest groups to receive periodic emails about resources for related to your needs including invitations to both free and fee-based programs including teleconferences, tools, and special reports.

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What Stands Between You and Your Artist Statement?

By Ariane Goodwin
Is it a dry creek bed, or the Grand Canyon? A closed door, or the Chase Manhattan Bank vault? Or maybe, it's the whisper of many doubts: Artist statements are so predictably icky. What can you say about your work that someone else can't simply see? What's the point of words for a visual experience? How am I going to be authentic, but not arrogant? Sincere, but not sentimental?

And yet, you know that pros consider artist statements an essential part of a good portfolio (or About Me pages essential to a web site). Gallery owners are relieved by your professionalism. People who love your work will know more about you. Offering your audience more ways to connect with you increases their delight, as well as the perceived value of your work. But, goodness, all those daunting words between here and there!

For artists, words are a completely different experience from the tactile world of art making. Paper and paint inhabit the world of our senses, while words remain the detached curios of our mind. If we're an Independent Professional, we want to reserve center stage for our business. Once in a while, when the two worlds of work and words connect, language entices our senses and engages our imaginations, and we love it.

So what stops us from using words to describe our art? Tell about ourselves? These are the same words that have been with us since we could walk. What causes us to be deeply suspicious of language, one of our fundamental connections to being human?

The answer, in part, relates to a fatal combination of art critics and education. Art critics use language as scepters of judgment. If words are the messengers that determine our self-worth, then by all means, kill the messenger. Formal education uses language as bastions of control. If we are told when, where and how we can, or cannot, use which words, we grow to mistrust our relationship to language. The mistrust smolders underground, mostly unnoticed, until our words are thrust into a container, like the artist statement or About Me/Us web page.

Suddenly, words make us visible targets for judgment and criticism, so we hide our discomfort at this possibility with what we consider rational responses. "My work speaks for itself." "Statements are inconsequential to my work." "I have nothing to say that my work doesn't already convey." And the list goes on.

An opportunity, like writing a personal or artist statement, often causes us to second guess every idea we ever had about our work. We convince ourselves that we have nothing, really, to say, or for certain, nothing of value. Our first instinct is to either turn off the light and head out of the studio or office, or pump up our peacock feathers.

But running away only confirms our unspoken fear: there must be something to run away from. And pumping up encourages us to use flimsy or pretentious words to smother over our mistrust of language. This, in turn, fuels our perception that language related to our work is simply ludicrous.

Luckily, there is an alternative. Try pretending, that you have a lot to say, which is neither self-important nor trivial, but relevant and revealing. Imagine that all of your objections have been met and you are simply going to write whatever you believe to be true, at the moment, about your relationship to your work. Because, the good news is: you can recover your own words.

Why and how do you do what you do?

There is an unselfconscious language about your work, which you use all the time. Every time you talk or think about your work, you create a relationship between words and your chosen passion. The trick is to learn how to catch yourself doing this, and then faithfully write it down. Yup, I said: write it down. How else will you engage that part of your brain for continued support and help?

But why bother at all?

Because an artist statement or personal statement builds a compelling bridge between you and your audience. An inspiring statement gives the people who see your work another reason to remember you. It's reinforcement, clean and simple. And there's not an artist or independent professional around who can't use a little extra reinforcement to make it's way through the crowd.

Equally important, a statement gives you the opportunity to see what you do through the eyes of language, to validate your creation and profession from a new perspective. Really, you can't lose! You can only procrastinate.

Want to get started? Try this:

--TAKE care: Treat your statement with the same care that your treat your work; after all, all of it is you.

--GATHER raw materials: Use a notebook that is lovely or practical and keep it with you in the studio, in the car, in the office, beside your bed and take a few weeks to catch any fleeting thoughts that come to you about your work. Give your self permission to gather. Selecting and sorting comes later, when you have enough in your basket. Find a writing pen or pencil that flows smoothly across the surface. Make it a tacticle pleasure.

--TIME: Make a specific date with yourself. Respect this time. Do not tolerate interruptions.

--PREPARE your internal space: Close your eyes and conjure up your worst critic. In your mind's eye, lead this person out of the room. Give them another task, besides breathing over your shoulder, say, climbing a tree, skipping stones, or going to the local library. Tell your critic not to come back until you are ready. Critics are terrified of being abandoned, that's why they are so tenacious, so reassure yours that there will be a place set just for them at the editing and revision table. Critics are also stubborn. You may have to do this more than once.

--WRITE more than one: Like different works of art, a statement also thrives on change and rising out of "the moment." What suits this month's work may not work for the next month. Independent professionals need to revisit their intentions from time to time, and writing a new personal statement gets the juices flowing.

--GIVE yourself permission to make mistakes: Let yourself write badly. Crumple up lots of paper balls and throw them in a corner. It's the beginner's way. Then, when it comes out great, which it eventually will, you will know the difference.

--WRITE as much as you want: Winnowing down is so much easier than filling in later.

--DON'T hesitate to ask a professional: Some things just beg for help. If you find yourself endlessly circling a dead pigeon, really...aren't there other things you'd rather do and still get that statement written?

Ariane Goodwin helps artists take their careers to the next level, so they can make an honest living doing what they love. Besides art-career coaching and my seminal book, Writing the Artist Statement: Revealing the True Spirit of Your Work I also host the annual smARTist Telesummit , the only professional art-career conference online or off that helps you build your art career from the comforts of home You can also sign up for your weekly smARTips to advance your career one tip at a time.

Chance for unknown artists

Author: rukhsana

When Clear Channel controls the radio and the monopoly newspaper does not love you as you win new audiences?

The good news: There are many, many ways. Here are ten of my favorites.

1. The approach at the local college or alternative radio station or community access cable TV station programming idea how to live songwriter showcase. Other musicians will want to participate in your show, and you'll build an audience for his music - and for them.

2. Recording a CD or concert reviews for the local alternative (or primary) document.

3. Give copies of CD out of the public radio and television stations for their fund drive premiums.

4. Organize, promote and perform at charity events for your favorite causes.

5. Lead songwriting and performing workshops in schools (as a rule, these payments concerts, tickets and all parents to hear your name). Invite some children to perform with you, they always bring a bunch of relatives, and who will pay for the ticket, and perhaps buy a CD.

6. Declare your concerts in each community calendar. Newspapers, magazines, radio, public Web sites, cable TV stations - they all run the event lists. View of one paragraph, which includes the tag line that you do, for example, "Sandy, executing, River City's' homegrown Bono, 'will perform labor songs and love ballads in the trombone stores, 444 4 Street in the city center river, Wednesday, January 15, 7 pm "When you receive a free or a charitable connection, say so. Include contact phone number and e-mail.

7. Find Internet discussion groups related to your case. Whether in the field of immigration, voting reform the world, safe energy, the right to choose ... will not be discussion groups on the Internet. Post the answers and include a "signature" - short for the business card. Using different sigs for different purposes. Here's one of mine (in real e-mail, it will be single-spaced):

8. Create a simple low-cost website. Include a few sound clips, pictures of you performing, a place for people to register your fan news, and links to your favorite musicians, and, of course, the route and schedule of concert availability.

9. Get exposure on other people's sites. Write CD reviews, to support their music tickets with an ad, submit articles about local music ... and be sure to include your contact information and a statement that encourages people to visit your site.

10. Use the letters columns. Call talk shows. Post a message on a web forum ... in a word, use any tool of feedback you have for the distribution of words.

About the Author:

TicketFront deals in all mega events around the globe. Our online ticket inventory offers best ticket deals for Concerts, Theaters, Sporting events and Las Vegas. We not only provide tickets for all sold-out events but we are your premium source of ticketing and venue information for all upcoming entertainment events. Whether it is a sporting event or a theatrical act, a live musical performance or shows at Las Vegas; we provide you best ticket tickets deals for each and every event around the globe.

Article Source: - Chance for unknown artists

Artist Statements Do’s and Don’ts

By Alyson Stanfield

An artist statement is a necessary component of any professional artists' portfolio or promotional packet.

When writing your artist statement, DO:

* Write in the first person. It is a statement, after all.

* Be brief, 2-3 paragraphs at most. Always err on the side of brevity. You can write more, but why would you want to? People have short attention spans these days. Load as much punch into the delivery as you can. Combine sentences and delete ones that aren't vital. As Henri Matisse said in his treatise on painting, "All that is not useful to the picture is detrimental." The same could be said of your statement.

* Describe the current direction of your work and your approach, particularly what is unique about your methods and materials.

* Sit on it for a few days and come back to it with a fresh mindset. Most artists, in my opinion, hate their statements because they rushed them in preparation for an exhibit and didn't care to spend any more time on them. How do you expect it to be any good if you don't work at it?

* Consider more than one statement if you are trying to discuss more than one body of work. If you try to get too much into a single statement, you run the risk of saying nothing and trying to be everything to all people. This is bad marketing/bad promotions.

* Allow your artist statement to grow, change, and mature along with your work. Don't let it sit on a shelf and collect dust. It should be organic and you shouldn't be afraid to change it and make it better.

* Make sure your statement passes the litmus test. Above all, viewers should be compelled to put the statement away and look back at the work. Your statement isn't successful if people read the words on the page, and then put them down and go on to the next artist.

When writing your artist statement, DO NOT:

* Use too many personal pronouns. Yes, I said to write in first person, but try to severely limit the number of "I"s, "me"s and "my"s that are used. You'll be amazed at how many other ways there are to phrase things. You want people to relate to your words and to your art. Too many personal pronouns will put up an unnecessary a barrier.

* Tell your life story. You can keep that for your bio (as long as it's interesting). Your artist statement is only about the current direction of your work.

* Quote or refer to anyone else by name. Keep the focus on you and your art. Mentioning another name shifts the readers' attention from your art to the other person.

* Forget to use spell check and ask someone else to read it over for you.

View the time to write your artist statement as an opportunity to clarify your thoughts. A well-written statement, approached deliberately and thoughtfully, can be a boon to your self-promotion efforts. You'll use the language on your Web site and in grant applications, press releases, brochures, and much more.

Copyright 2008 Alyson Stanfield, All rights reserved.

Alyson B. Stanfield is an art-marketing consultant, artist advocate, and author of I'd Rather Be in the Studio! The Artist's No-Excuse Guide to Self-Promotion. Sign up for her free Art Marketing Action newsletter at

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Attention Artists: You Can Make Money with Your Art with Six Sure-Fire Ways


By Arnold White

Artists are a special breed. They march to a different drummer. Artists have been given a special gift, and that gift can be very rewarding as well as very frustrating. The rewards are self-evident. The frustration comes from how to make money from your creative efforts. The purpose of this article is to provide you with some tools to solve this problem.

It is important for the artists to understand that they are the most important part of the "Art Market". Without the artist there is no art market…no art galleries, no art shows, no art books, no art magazines, no art workshops, no art supply houses, no art agents. In fact, no businesses of any kind relating to the art world exist if not for the artist.

Making money will never be your primary motivation, but it must run a close second if you want to make a living from your talents.

How should you represent your work in order to make a professional presentation of your artwork? As a professional artist it is extremely important to put your best foot forward when submitting your art for review. The following six components are the foundation for making money with your artwork.


So, let's start with how you communicate visually; and let's also remember that as an artist you are in business, and every business should have a professional image. Here is what you will need in the category of "Professional Stationary": your letterhead; your business card; and your mailing envelope.

Your letterhead should be simple and creative. It should have your telephone number, address, e-mail address and web address. Your business card should have all of the information that is on your letterhead. Finally, your mailing envelope should have your logo and return address.


You will also need some "Professional Quality Slides and Photographs". What does professional quality really mean? As an artist you are creating a visual product, a product that needs to be seen before it can sell. Slides and photographs are your product inventory. If you are capable of taking a high quality photograph of your work, that is fine; but unless your photography truly captures your work, get a professional to do this for you. It is important when photographing your art that you never photograph your art framed. Framing is fine when your work is sold and hanging, but those reviewing your work are distracted by the framing process.

When submitting your art for review or consideration, your slides should have at the minimum your name and telephone number. However if you really want to be professional, your slides should also have the title, the medium and the size. The lab that does the developing can do this for you. If submitting photographs instead of slides, be sure that all of the above appears on the back of every photograph.

Every dollar you spend to make your art appear professional is more than worth the cost. Photography is a business expense and tax deductible.


What about a "Professional Website" you ask? Absolutely! Four or five years ago, most artists were not aware of any of the following terms: URL,, Internet, Hosting, On-line, Search Engines, etc. Only now are they beginning to see the value of an online presence as an incredible new opportunity for exposure.

If you don't already have a web site, you should remedy that as soon as possible. The fact is the Internet offers contemporary artists a unique opportunity to showcase and sell their art. 4. Professional Brochure

A first class brochure can be the most effective way to visually present what you do and how well you do it. A professional brochure can create a better impression than an entire book with cheap reproductions. Your brochure should contain a representative sampling of the scope of your work and should also include your biography.

A photograph should also appear on your biography page. Although this is not essential, an interesting picture of the artist can influence the reader's interest in the artist's work. Be sure your brochure is produced using the four-color process and is printed on 80-100lb gloss stock.

5. Professional Biography

Your biography is basically an artist statement. It is comprised of why you do what you do, who has influenced your work and anything that has been written about you. Your biography should incorporate a photograph of yourself.


Finally, who should you submit your art to for review? The most readily available sources are: galleries; juried events; competitions; print publishers; agents and representatives; art fairs; and art festivals.

Take these simple steps one at a time to help get going on the road toward making money from your artistic talents. Remember to put your best foot forward and to represent yourself and work as if you were in a business because, indeed, you are.

Arnold White has been a publisher and distributor of fine art prints for over 20 years. He is the President of Winner's Circle Gallery, a firm that represents artists seeking to enter the print market. Mr. White serves as a consultant and reviews work from artists wanting to enter this market. You may contact Mr. White at Winner's Circle Dept. AB, P.O. Box 4814, Palm Springs, CA 92263 or call (800) 748-6400. More on selling your artwork at: Comments or questions can be sent directly to Arnold White

Copyright usage: No permission is needed to reproduce an unedited copy of this article as long the About The Author tag is left in tact and hot links included. Comments or questions can be sent directly to Arnold White

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The Artist’s Statement: A Marketing Tool Every Artist Needs

By  Suzanne Lieurance

If you're an artist or craftsperson offering your art in stores and galleries, you need an artist's statement. Do you have one? If not, you're missing out on a great marketing tool.

Artist's statements vary in length, form, and the material presented. Generally, though, an artist's statement should let readers know a bit about your background, include a few sentences about what you believe to be the most important aspects of your art, and describe the techniques, materials, and tools you use to create it.

Here are just a few ways your artist's statement can be used to promote your art:

1. It can help art consultants, gallery owners, and store salespeople better understand your work. The more they know about what you do, the better they are able to sell your work.

2. It helps reviewers, biographers, and reporters write reviews, profiles, and articles about you. They don't need to call you or meet with you for an interview. They simply use material from your statement, and other information from the store or gallery owner, to craft an announcement or review of your work for their newspaper or other publication.

3. It can be used to submit with grant applications and project proposals. Since your artist's statement offers a short explanation of your work and the techniques you use, it is a good summary piece to include with slides, photos, or other samples of your work when applying for funding.

4. It can encourage viewers to purchase your work because they may feel a deeper connection to your art after reading about it (and you) in your artist's statement.

If you've put off writing your own artist's statement because you've found it difficult to "toot your own horn," so to speak, then hire a professional writer to write your statement for you. Your artist's statement will become one of the most valuable marketing tools you'll use to promote your art.

Suzanne Lieurance is a children's author, freelance writer, and owner of the Three Angels Gourmet Co. Find out more about her children's books at or get information about her freelance writing services (including artist's statements) at Her line of "heavenly gourmet mixes" is available online at

Artist Statement Resources


By Sarah Schmerler

Author: Peter Elbow; Title: "Writing Without Teachers" by far, the best book I've found to advise artists on how to write.

Author: David Bayles; Title: Art & Fear: Observations on the Perils of Artmaking - inspiration and encouragement.

I've taught Writing for Artists for many years at The New School, and that Elbow book (until I write my own book!) is the only one I know that can start an artist off with the right attitude. What does Elbow say?: That you can't know what you're going to write until you begin writing. Writing, my artist friends, is a Process - no different than painting or printmaking or sculpting. Over-think it, over "outline" it, and you'll kill your own creativity. No one wants to read something cliched or boring or dry.

My advice: Don't make your artist statement sound like a "statement." Make it sound like you.

Stay away from telling us what your work is about.' Tell us about' yourself, and what you do. Just start with that, and be honest. Your reader will figure out the rest - and will be grateful to you for letting them make their own conclusions.

Here's my do's and don't list from recent workshops. It's better when internalized, over time. But for those who want a quick fix, here you go:

workshops, '09, statement do's and don'ts List

If you want me to edit or re-write your statement, you can contact me here .

About Sarah Schmerler
I've been an art critic and journalist in New York City for 12 years. My writing has appeared in newspapers like The New York Post and The New York Times, weekly magazines like TimeOut New York and The Village Voice, and monthly and bi-monthly publications like Art in America, ArtNews, Photograph, Art & Auction, and Art on Paper.

I've taught writing at The New School, and art history at Pratt Institute's School of Professional Studies and Medgar Evers College, CUNY, Brooklyn.

I've developed a writing methodology specifically geared toward visual artists. I help artists write great statements about their own and others' work.

And I've run an artist-writer collaborative called CoLAB since 2007. (You can read about our exploits soon.)


Artists – Finding Your Niche Online


By Nina Alvarez

Your website is ready to go and you're just itching for buyers, but where are they? First, find your niche online, then, effectively focus your time and efforts on those who are most likely to buy your art.

* Associations . If you haven't already, join at least one art association in your medium. Associations usually have online forums and will send you emails chalked full of links and info about collectors, artists, galleries, resources, and organizations in your art community, most of which will be accessible electronically and will save you tons of time. The Artspan portals list hundreds of art associations. Check out Painting, Photography, Ceramics, or any of the 30+ art portals.

* Forums . Next, join forums specific to your art at Artspan and WetCanvas and anywhere else with a strong community. Do an online search to find these. Then, join forum conversations populated with thoughtful and interesting threads. Stay away from the vitriolic, rambling, or off-topic. Read posts, visit website links, and check out blogs, leaving comments wherever you can. In turn, talk up your art and post your website link in the forum and website comment sections.

* Social Networking . Join general social networking sites (Facebook, Myspace, Bebo) and vertical (niche-specific) social networks (Ning). List your website URL on your profile and post your website to 'share a link'. Some Facebook groups, like Black and White Photography have over 40,000 members, all potential readers of your website. All you have to do is leave some comments and post your URL. (Extra tip: if you have a niche so specific that you can't find it online, try starting your own social networking site at

* Social Bookmarking . Social bookmarking sites like and digg allow you to bookmark pages you find relevant and see what other sites are getting buzz. Find the people bookmarking the same pages as you and strike up a conversation by sending a 'thank you' for an interesting lead.

Nina Alvarez, Chief Editor of - an online artists community, and writer of the Artspan blog on art marketing. She also created the Philthy Art blog offering encouragement to writers and artists, and the popular poetry blog Nina has an master's degree in English and is

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Artist Statements, Artist Biography Tips, And Resumes – Nuts and Bolts

Nuts and Bolts

By Barbara Bowen

 "If you aim for a market you'll miss the mark." Whoever said that, I'm a believer. It's no good looking over the shoulder at what strangers prefer before creating. True inspiration is the optimal motivator. Quality issues from there, and its purity taps the nerves of audience attraction. That said, there are far too many masterpieces tucked on shelves behind the light of day. Strong promotional tools may be secondary to our motivation, but they're essential. Like the apex of an iceberg, they show first. They introduce our work, foster credibility, and mirror how far we've traveled along the arc of our goals. Those we know may direct us to new connections. But even then, we must support those connections with an effective "portrait" of who we are. Selling is a part of every career. Never underestimate the power of presentation. Why not enter the new season prepared with an updated, incisive, authentic, and powerful one? What do you need? A dynamic artist statement, artist biography and artist resume is the beginning. Effective artist portfolios and proposals are also important. Start now and stay ahead of the pack. So, what are the important elements of these essential artist presentation tools?

Artist Statement: Shaping your essential bond with viewers and sales An artist statement communicates what motivates you as an artist. It's the most personal part of your presentation; an opportunity to bring your viewers and potential buyers closer. It offers a glimpse of the person behind the work. While keeping it informative, let your personality show. Share your ideas and concerns, and how they are revealed in your work. Explain to viewers what your work means to you, not what it's supposed to mean to them. They will arrive at their own conclusions. It's okay to mention influences, but mostly keep prominent names associated with your career for your resume, where they will serve as testimonial and avoid the appearance of boasting. Give some details about your techniques and how they help you achieve your vision. Then, you might add a segment about how your approach is unique. Most general artist statements are around one page or less. Brevity sustains attention, so I lean toward three or four concise paragraphs. In some situations, a statement about a particular artwork may be requested. A statement can act as a marketing piece in certain commercial situations, which may be appropriate. So be sure to tailor your artist statement to its purpose.

Artist Biography: Creating a memorable snapshot of your career life An artist bio contains similar information to the artist resume but is presented in paragraph form, is less formal, and is most often written in the third person. It serves to highlight the information presented on your resume. It's a great way to convey a "snapshot" of your career experience.

Artist Resume: Detailing your career with clarity and professionalism Artist resumes detail the accomplishments, endeavors, and knowledge. They offer a full picture of your career, and the categories featured on the resume will depend upon your artistic discipline. It's important to update your resume on a regular basis, adding and deleting the listed activities, as appropriate. An artist resume can be one to four pages in length. Most artists have two versions prepared: a longer and shorter version. It's often best to use a professional paper stock, in white or ivory. The style of type varies, and can add to the resume's professionalism.

Artist Proposal: Standing out from the crowd with dynamic writing/shaping/editing Artists also use their portfolio to apply for specific projects, funding programs, residencies, or other competitive opportunities. These applications may ask you to submit a project description, details on your approach to the project, and a cover letter. These written materials should be tightly edited and tailored to the particular opportunity. Be passionate and sincere in the presentation of your work, and always conclude with thanking the panel, juror, and/or organization for their time and consideration. Typical questions for you to answer will be: Why are you an ideal applicant? How will you benefit the program or project? What technical qualifications, abilities, or personal assets can you contribute? How will you benefit from the opportunity? How would the project advance your career as an artist? How would you use the money awarded?

Visual Artist Portfolio: Keeping the heart and soul of your work evolving Your portfolio is the most valuable tool in your overall presentation. Your visuals are worth a thousand words, and an arresting portfolio can help close the gap, should your written materials be less developed, as in young artist on the career path. There are many approaches to a portfolio, depending upon the discipline. One universal ingredient to a successful portfolio is a sense of continuity. The transitions between and within subject matter must cohere. Color, tone, shape, scale, all must be considered when choosing what images to include and how to position them. This process involves subjectivity as well as objectivity. Most artists benefit greatly from feedback from a trained eye, and reactions from untrained eyes can also be helpful. A portfolio is most successful when modified and tailored, with acumen, for its particular audience. Many artists now supplement their physical portfolio with a digital version either on the Web or presented on CD-ROM or DVD. Stay current on new formats and choose the method(s) that feature your work most powerfully and support your marketing goals.

*Article by Barbara Bowen, founder of: #NAME? for Creativity Coaching and

Email Barbara your questions about creativity coaching and creating dynamic artist statements, bios, resumes and proposals. Learn about creative action projects through her Web sites. She would love to hear from you.*

Do you need content? You may use this article on your website, or in your newsletter. The only requirement is inclusion of the text above, including the active links. Thank you.

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4 Reasons For Artists To Take Their Masterpieces To The Internet

Author: Sen Ze

Artists who work with oil paints, watercolors and canvases may seem rather old-fashioned with the increasing advancements of computer software designed specifically to draw and paint digitally.

Although there can be no replacement for the skill, purity and simplicity displayed in an oil-on-canvas painting, as compared to a digitally rendered one, the commercial value of artists has certainly declined with much of today's art work being created by their digital counterparts.

So how can 'old-school' artists start generating enough income to maintain their profession, without giving in to the pressure of turning to graphic software? It may seem somewhat ironical, but the Internet (in all its technological glory) could in fact prove a viable way for artists to boost their fortunes.

Artists who set up their own domains (using their own names, of course) and blogs will find that they have not only uncovered a great method of sharing their art with the world, but have opened themselves up to a myriad of wonderful opportunities. If you are an artist, here are 4 great reasons why you should immediately be investing in your own domain.

1. A World Wide Audience
Because artwork on canvas is significantly more difficult to pass around (as opposed to the ease of a JPEG file!), the people who get to view an artists work are often restricted to those who have visited the artists workshop or has had the artist send some copies of his work over.

With a website or a blog, however, an artist can easily take digital pictures of his work and put them on his blog, even commenting on the inspiration behind the painting and the techniques used. This would be akin to you - the artists - showing someone around a gallery your work!

But of course, the advantage of showing them around on a blog is that your viewers and fans of your work can access your website from all over the world, at any time, from any place with an Internet connection, leaving you to do what you do best - art.

2. Meet Other Artists And Build A Useful Network
It's always useful for artists to know other artists, as it invariably means that you create more opportunities for yourself and your career. For example, an artist you likes your art and has been invited to show his or her work in an exhibition may help to get your work displayed as well.

By having a presence on the Internet, you will meet a large number of other budding artists like yourself from all over the world, which may prove to be invaluable contacts in the future. You will also allow yourself to be found online by art gallery owners and managers, art collectors and other art aficionados, any of whom may play a role in advancing your career.

3. Sell Art Online
Of course, the most obvious commercial aspect of any website for an artist would be the selling of his or her artwork. Once you have set up your domain and blog, you can also arrange for an online merchant account, which will enable you to sell your art online to customers who will pay using their credit cards.

As an artist, this may not the most ideal way to sell your art work, but it can be an effective way for you to make money selling smaller art pieces, which you can then send to your customers anywhere in the world using a decent courier service. Just selling one piece of work a month can more than cover the cost of running and maintaining a blog!

4. Open To Commercial Opportunities
Aside from selling your work, a website or blog opens the artist up to other opportunities from which money can be made. For example, a frequent visitor to your website who enjoys your art may commission you to create an artwork for a decent fee. Or you may be invited to sell your art at an auction after an organizer of the event came across your website.

The opportunities are endless and mind-boggling, and with an open mind, any artist can take advantage of the vast untapped expanse of the Internet to give their career and finances a serious boost!

About the Author:

Sen Ze and his 1-of-a-kind sites at (where else?) and help you make money online in ways you've never known. Discover how to sell your services within days, starting with a dotcom version of your name!

Article Source: - 4 Reasons For Artists To Take Their Masterpieces To The Internet

A Creative Life That Pays the Bills

Author: Mary McNeil

It's a well known predicament... how can you, as a creative, fill your life with your art and still make enough money to pay the bills? And because it's so well known, there's an assumption that goes along with the predicament. An assumption that says you simply won't be able to support yourself financially whilst living a creativity-led existence.

It's a common belief that in order to live a highly creative life and to produce great art, you have to suffer. The starving artist and the freezing writer in their respective garrets - you know the images. And yet this lack of money is actually a choice. For some it's a more conscious choice than for others, but it's a choice nonetheless... A choice against the commercialisation of your art, a choice against the kind of comfort that numbs your wit, a choice against the mainstream, a choice not to have to think about anything so base as money. And if that's the kind of life you want to lead, then it's an entirely valid choice... go for it!

But what if you want to live a creative life and to do so with a degree of comfort? Can't you choose to do that too? And is it possible to do that without having to work long hours and exhaust your best energies in a soulless job? It may take a paradigm shift in your thinking, but I believe it's entirely possible to live a life that champions your creativity as well as paying the bills.

The assumption that so many creatives fall prey to is to believe that they must make their beloved art pay. An assumption that throws up any number of difficulties for them, not least of which often involves them losing all the pleasure in the creative activity they so love. So if you want to avoid this particular trap and are ready to play with the way you think about creativity and money, there are three mental steps to consider...

- Step number one is to treat the processes of making art and making money separately

- Step number two is to understand that both are highly creative processes

- Step number three is to embrace the creativity of making money whilst jettisoning guilt feelings about it

Wealth creation as a creative process, and purely for the sake of creating wealth, can be enormous fun. It can also be practised within your own timescales, it doesn't involve having a boss or an employment contract. And because you're 'creating' wealth, it's not oppressive to anyone else - the money you make is not coming directly out of anyone else's pocket or pay packet.

The creative avenues to take a look down of you want to make money without having to take on an employed job are well known. Which tickles your creative fancy the most? Property investment, the stock market, the internet, or starting your own business? Each has its own challenges, each has its own areas of specialist knowledge and skill (which are all entirely learnable, of course), and each has great potential when approached creatively.

So when you're pondering how you could possibly live the kind of creative life that you yearn for whilst still paying the bills, try turning your creative mind in an entrepreneurial direction. Don't think you have to start big (or you may not get started at all) and don't expect to make enough money to pay all your expenses this way in year one. But if you start viewing wealth creation as an activity in its own right and get started now, you will be able to pay those bills another few years down the line whilst having time and energy left for the creative pursuits of your choice.

About the Author:

Mary McNeil of Create a Space is an experienced life coach, working with artists, writers and musicians. She specializes in coaching and supporting her creative clients as they make creative living a practical and sustainable reality.

Article Source: - A Creative Life That Pays the Bills

Am I an Artist or an Artisan?

Author: John Burton

The English language is extremely rich, and provides the possibility of precise communication. Our language evolves rapidly, and while some new expressions emerge to describe modern life, many existing words have their common usage modified and corrupted. The term "Artist" provides a good example.

As a young boy, I dreamed of becoming an Artist, and that single word proficiently expressed my desire to paint and draw. Today I am a professional Artist, but have to qualify my title with an explanation.

My aging 1990 concise Oxford dictionary defines an " Artist " firstly as a painter (of pictures).

The word immediately before Artist is " Artisan ", meaning a skilled (manual) worker.

The word immediately after Artist is " Artiste ", meaning a professional performer, especially a singer or dancer.

The terms Artisan and Artiste are rarely used today. Our language has evolved, and Artist"" has become a generic word applied to any person who expresses their self through any medium.


The connection between artists and painting has become so diluted that the word is increasingly used to denote "skilled" people in non-"arts" activities, such as "scam artist" (a person very adept at deceiving others), "con artist" (a person very adept at committing fraud), and "p*ss artist" (a person very adept at drinking alcohol).

There is nothing inherently wrong with using the word "Artist" as an all-purpose title, but it does not effectively describe whether you paint, sing, dance, have a manual skill, or are about to empty the drinks cabinet!

So why is it that our language has evolved along these lines? Why would an Artiste or Artisan prefer to use a title that less adequately describes their skill, and invokes ambiguity?

Maybe the change has come about through ignorance, and falling standards of education? Could it be that people think Artiste is the French pronunciation of Artist? Well it is, but Artiste is also an English word with a different meaning - or it was!

Perhaps the change of language is a form of spin doctoring? My dictionary offers a further definition of an Artist as "a person who works with the dedication and attributes of an artist". It's not a very good definition, since it effectively it says that an Artist is "someone who works with the dedication and attributes of some one who works with dedication and attributes" (which is a bit like defining sticky tape as - tape that is sticky)! However, if someone is a singing artiste but prefers to be described as an Artist, they are really saying they are more than a singer because they perform with "dedication and attributes"?

Re-defining the word is possibly just a reflection of changing perceptions, and a growing acceptance that art is the act of creation/expression? If we agree to the modern view, which applauds the act of creation rather than the end product, we all become Artists, because we all create something at sometime. This shift of focus from the Artist's product, to the creative/expressive process severs the necessity for skill, and the title "Artist" is available for use without fear of derision.

I create Portraits for a living. My artwork is not about me expressing my inner self, or being imaginative, but producing a likeness, and working to a client's specifications. Maybe that makes me an Artisan: a skilled manual worker, and not an Artist after all?

Portraits by John Burton

About the Author:

Portrait artist working mainly from clients' own photographs.

Article Source: - Am I an Artist or an Artisan?

An Artist’s Statement

Author: Jo Mari Montesa

Of all the gifts God gave to man the finest is his free will. Second to life itself. It is the essence of man. It is what separates man from all the other creatures of God. By ones choice or action he is judged if he is worthy to be called the man created by God.

The child of free will is art. It is man's self-expression. It is synonymous to freedom of expression. Every art is unique since every man is unique. How man perceives art is also unique as how man perceives beauty. As how man perceive life.

Art is like life. It all depends to the person's perception. Truly beauty lies in the eyes of the beholder. The gauge of how beautiful life is, depends uniquely to every man.

A professor of mine once walked in the streets of Manila during summer. It is very hot, humid and dusty. He noticed a very old beggar asking for coins to the passers while bathing to the heat of the sun all day. Beside the beggar was a newspaper stand. One tabloid headline reads 'Young Matinee Idol Commits Suicide." My professor stops for awhile and asks himself how could this young man kill himself when he has everything. Money, women, good looks, popularity, youthfulness, what more could he ask for. While this old beggar is still striving for a few coins. Why not just threw himself to the vehicles speeding in front of him. Like my professor, my conclusion too is that it's all a matter of perception.

Like life the beauty of art depends solely to the individual. It is how man perceives art that makes it beautiful.

Those who believe that they found the beauty in life. Let as show that beauty to the world. Let as show our art.

About the Author:

Jose Mari Montesa or Jo Mari is a Visual Artist by talent. He has Masters Degree in Business Administration, Accountancy is his profession and currently working in a bank. But his heart really belongs to the Art world.

Since his boyhood he joined many art contests in different mediums. He has informal trainings in Painting, Technical Drawing and Photography. Also, a student and a believer of Humanities.

Jo Mari is also into Photography. He joined competitions both local and international. Some of his Photographic works are now in the hands of private collectors.

Right now the artist is concentrated in painting. Specifically Oil painting on canvas. He hopes that he will be known for this medium.

Most of his paintings are influenced by the rich culture and tradition in the Philippines. For example his series of Immaculate Concepcion oil paintings are inspired by the dark wood used in the icons of the Virgin Mary centuries ago when Spain brought Christianity to the Philippines. This type of wood are used to make the skin complexion of the Virgin similar to Asian or a Filipina.

Jo Mari have also done Landscapes, Still Life and Abstract paintings.

Jose Mari Jose Mari -

This website has received the 2008 Artmajeur SILVER

Article Source: - An Artist's Statement

20 Tips for Artists for a Good Website


By Isabelle Garbani

Designing a good website seems to require an endless checklist of chores: organize and select the materials, photograph the artwork, write a bio, an artist statement and an updated resume. You need to decide how to display the materials, what color scheme will look best with your art, what fonts will compliment your work… and more!

Don't give up! I have compiled 20 important points that Artists should keep in mind when designing their website. Keep these guidelines as checkpoints during your site creation, or to check and improve an existing site.

1. Keep it simple . Don't try and put every piece of information about your career or display every single piece of artwork you ever created. Choose relevant information that will keep the site simple and elegant. Try and include materials that reinforce your site's purpose (is it to sell work? Attract new collectors? Or present a portfolio to galleries?).

2. Keep your file size low . People viewing your site don't necessarily have a high speed connection to the internet, so be aware that too many images or too many large files can slow a site down significantly. Remember that a lot of people will not wait for a site to download! Keep your jpgs at 72 dpi, and try not to have images over 540 pixels in any direction. You can also try and minimize the number of large files (music and video are typically very large) in any one page.

3. Keep your navigation simple . Do not try and have too many categories or too many layers in your navigation system. Keep the placement of the navigation buttons consistent: if you choose to have your links on the left side, keep them there throughout the site and don't scramble the order of your buttons from page to page!

4. Have your own domain name . If your aim is to impress galleries and collectors, make sure they know you take your art seriously: your own domain name looks more professional, can be easier to remember, and can be more search-engine friendly! Registering a domain has become quite affordable: typically between $10 and $15 a year with hosting costs between $5 and $15 a month.

5. No under construction page . If you are not done building a page, don't link it to your site. People's time is precious: don't waste it by announcing a category… then have that category be blank!

6. Prominent contact info . Your site is a marketing tool: you can get potential collectors and galleries to discover your work. Make sure they know how to reach you when they fall in love with your art!

7. Label all artwork . Images on the internet give no sense of scale or medium; it is therefore extremely important to label each piece of artwork with dimensions and materials used to make the work. Labeling your pieces with their price can be valuable if your aim is to sell online.

8. Include a brief Art statement and resume . Keep in mind that text is difficult to read on the screen. As an artist, you must include an art statement and resume (people want to know about you), but keep both brief. A few paragraphs for an art statement, and 1 to 2 typed pages for a resume. If you must have a complete resume, give the viewer the option to print the document as a pdf.

9. Keep your text simple . Sans serif fonts such as Arial are easier to read on the screen. Don't overuse bold and italics which make text harder to read and can get confusing.

10. Avoid underlined text . Underlined text is usually reserved to indicate a link: avoid using underlined text that is not a link to prevent confusion and frustration.

11. Keep your color scheme subdued . Don't blind your viewers! Avoid a bright yellow background with red text!!! Bright colors can be difficult to look at on a screen, especially for text. Keep your color scheme with low saturation colors

12. Avoid background image . Background images can slow the site down, and unless properly done, will tile and look unprofessional. Background images also tend to make text harder to read.

13. Avoid background music . Although it can be tempting to have music on a site, I have to recommend against it for several reasons: your viewers might not share your taste in music, music files are large and therefore slow to download, and finally, even if your viewers like your music, it may get annoying to hear the same song every visit.

14. No cutesy mouse animation . This one is fairly obvious: it will annoy a large majority of internet users. Your goal is to make people like your site: don't alienate them with annoying gimmicks!

15. Don't disable back button . Some sites try and keep their audience captive by disabling the back button. It's obnoxious! Don't do it!

16. Refrain from using frames and flash . Both of these methods of coding tend to be unfriendly to search-engines, so use them sparingly and embed them with good old fashioned html.

17. Make sure your site is compatible in all browsers . There are no enforceable rules for website coding, only general accepted guidelines, so browsers tend to display the same code in slightly different ways. Therefore it's important to try and look at your site on several different browsers and screens to ensure that your site looks good for most users.

18. Check that all your links work . It's not only annoying to the user, but you may also run the risk of losing your site's ranking with search engines, or worse, not being indexed at all!

19. Open all external links in new window . It's nice to give extra information to your viewers by providing useful links, but make sure your own site stays on their screen by opening all external links in a new browser window.

20. Keep an honest relation with your gallery . Galleries cannot prevent you from selling work on the internet. However, you need to keep a good working relationship with your gallery. Make sure you both understand who gets or doesn't get a commission through internet sales. For example, if your gallery sells work on their site, or you sell work on your site that's currently in their space, they should get the commission.

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3 Smart Ways To Make Money With Your Art

Author: Greg Gillespie

Before I tell you a story about how just one piece of artwork created over 15 years ago continually and regularly brings me $3,000 every year I would like to ask you a question.

Have you ever wondered how you could be capitalizing on your art talents in way that could generate some extra income for you and your family?

I certainly have as a veteran artist of some 25 years, creating and selling art across the globe, have at times wondered if there were any ways to actually sell my art that would keep on bringing me income long after I have finished my artwork.

The times when my income has dropped for whatever reason, recessions, global financial crisis or just general market dips, have been testing times and have forced me to "think outside the square". After careful research along with some trial and error, I have come up with 3 sure fire ways to make money from your art, that are bound to help you if you put them into practise.

3 Smart Ways To Make Money From Your Art

1. Sell your art online and have royalties come in for years to come

2. Sell your art tution to students willing to learn "how to..."

3. Other people sell your art & art tution

So how is it done?

1 Sell your art online - collect royalties for years.

This is my preferred Smart Way No1 as it has a payoff that just keeps coming, for me personally 4 times a year I receive a royalty check for work done over 10 years ago. This is a very smart way to make lots of money from your artwork, but you have to know what you are doing before you can guarantee success with this method.

Who Will Pay For My Artwork? What are the Markets? First and foremost you need to work out which markets are going to be interested in your artwork. Do you like to paint landscapes? Or animals? Or cartoon characters? Or Cars & Bikes? Or Nudes? Or abstract? Or caricatures?

Each of these have different markets that can be exploited for royalties for years to come. Some of the distributors of such art are: jigsaw puzzle companies, computer and cell phone wallpaper companies and homewares companies, are 3 goldmine areas to explore. Each of these different markets rely on fresh and inventive artists like yourself to come up with more "PRODUCTS" for them. That is right, you are the product creator, they are the marketers. That is how it works.

Let me give you an example:

Several years ago I was approached by a jigsaw company in Australia "Blue Opal Jigsaws" and asked if a piece of artwork I had already made for a former client who allowed me to retain copyright of the original and profited from, could be reused for a new jigsaw they had planned.

After careful negotiations I was offered $1,500 for some slight modifications to the artwork and a 7% royalty, payable quaterly for the life of the product.

I currently recieve approximately $3,000 annually from this one puzzle that keeps on selling over and over. I will give you a hint - it is in the souvenir/tourist category (this market never gets tired of buying your product, because they are a new breed every year, as most people take that big overseas holiday perhaps just once in their lifetime and so they want something classic to remember their trip by) which is the perfect market for a repeat sale of your product. You don't want to choose something that is contemporary if it is longevity is your aim, as it will eventually lose steam and fade out of existence.

Here's an another example:

Visit all the pop culture websites and make a list of the coolest people (celebrities of course!) and create cool caricatures of them(just Google celebrity and follow the leads). They need only be head and shoulders, (face really - you will see why in a minute). Each different subculture idolizes a different mob of heros, so get your mind into their space, in fact MySpace is a great place to start. Learn your market, think like your market and create what you would want if you were them instead of you. It takes a little time but well worth it when you read this next sentence.

Each year the mobile phone ringtone industry sells $7,000,000,000 dollars worth of ringtones to young people around the world. This market has tons of disposable income (mummy and daddy are paying for the house, food, transport and general upkeep) so they love to spend their time (also tons to spare) with friends online and on their cell phones. Guess what they love to spend their spare cash on - "Wallpapers". For those of you youthfully challenged readers are probably wondering what's a Wallpaper and why would they buy it?

A wallpaper for a cell phone or mobile phone is the display image on the full color screen on the phone itself. The picture is small so a celebrity head that fills the screen is going sell better than a whole body, so less work to do (this is easy if you know the secrets to a quick and cool caricature).

Wallpaper sales are the next most popular download (read purchase$) next to cell phone ringtones, so you can see it is a huge market. Yes I hear you say but how do you sell to this young lot, isn't the market saturated with products like this? Well yes there is competition like any field but you only need a small piece of a very big pie to feed the family as they say.

You could setup your own website, (more info on doing this correctly below) and draw in traffic by giving away 5 free wallpapers to members who register for your weekly newsletter (the one you send with your latest "pay for" caricatures, that is the who is hot and in the news this week, follow scandal websites for tons of ideas here!!!) and watch the income increase as your newsletter subscriptions increase. If only 4% of subscribers bought your latest celebrity caricature of the week for .99c and you had a subscriber list of 50,000 you would be $1,000 a week better off.

Work once and get paid many, many times now that is smart.

2 Sell Your Art Tution Onine - Everyone Wants To Learn How To.

Now the obvious suggestion here is to launch a website and setup a shopping cart and off you go to success, but if it were that easy then everyone would be doing it right? Exactly, so that is NOT what you are goint to do. You are going to set yourself apart from the herd and have people lining up for your tution and keep on paying you forever, or as long as your art teaching is popular.

So how is this going to be done?

Everybody loves to watch don't they? Yes, they love to watch others and see if they can pick up some tips on how they are doing their magic, whether it is oil painting a landscape in "plein air", sketching caricatures at a theme park, or creating fantasy art with 3D computer programes. Whatever your leaning towards, if you have mastered your craft then you can get people interested in learning your methods by this very simple technique, that doesn't cost you a cent.

A) Set up a Youtube account

B) Record yourself creating your art

C) Publish to Youtube some introductory video lessons

Once you have published your artwork on Youtube and all the other major video sharing sites, watch the traffic of visitors come in to your website to learn more. That is how it works for me, as some of my videos have had 50,000 viewings in less than a year. That is a lot of targeted traffic for your site and the "Full length videos on DVD delivered to your door - for $39.95" or the "ebook instant download version for $29.95". I personally have "How To...Products" that have been selling on an almost daily basis for months now and the best thing is the market is steady despite the economy being anything but.

3 Get Other People To Sell Your Art & Art Tution!

This one is also a favorite smart way to make money by selling your art online. Creating art as in example 1 and then selling the tution in 2, sets you up perfectly for doing this - getting AFFILIATES to sell your artwork for you.

You see there are whole armies of folks selling things online to their audiences who login on regularly to the websites that they control. Most of their time is spent on creating content for blogs, answering forum posts and keeping the site up to date, so they have precious little time to do what you and I do - make art!

So those with the website visitors, (some popular sites have hundreds of thousands of unqiue visitors everyday) are in the perfect position to sell your wares, your artwork by commission, your art 'how to...' products. I personally have a long list of affiliates who are out there promoting my ebooks who only get paid IF they make a sale. Now that is my kind of workforce, no base salary, no holiday or sick leave to account for, only commisson on sale. It doesn't get any better than that.

Using the contemporary example above for cell phone wallpapers, you can approach hundreds of website owners with your - "this weeks best sellers celebrity caricature wallpaper" and have them sell for you on a royalty basis as well.

The limits to these lucrative areas are boundless and with your crazy artistic imagination you are going to do well to follow these 3 smart ways to profit from your art online.

About the Author:

Click here to see some celebrity caricature examples you could be doing: and scroll down and go to page 3, 4, etc for some very cool looking celebrity caricatures.

For more information on how to draw caricatures and make money with your own website set up to sell, please visit Greg Gillespie's webiste, How to Draw Caricatures Author Greg Gillespie

Article Source: - 3 Smart Ways To Make Money With Your Art

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