Became a professional artist is easy and you will be get it. When you know the key. at the paragraph bellow will be explain more how to be professional artist. it just simple and easy. just know and learn more
- Look for Good Deals on Materials
Try to keep your expenses low. You can find “oops” paint at Home Depot and Lowe’s for a fraction of what paint usually costs. Also, every time we make a purchase at Michaels, a 40% off coupon is printed with our receipt. Use those coupons to buy canvas or expensive paint brushes. Andy prefers wood over canvas, and he can usually find what he needs at Home Depot or Lowe’s in the scrap bin.
- Price Your Art
Pricing your art is one of the most difficult tasks. I would suggest visiting multiple galleries or searching for original artwork online. How do you feel your art compares to the competition? My thought is that comparable art quality should have comparable pricing. Also, take into consideration how long the piece took to make and how much you spent on materials, then do
What is the problem of your watercolor ? here the simple solution that will be help you you more. then, just know it more in the sentences bellow.
Warping and Buckling Paper
Watercolor tends to pool on lighter weight papers, often causing warping and buckling. Keep tilting your paper and moving the color to prevent pooling. A hair dryer will speed up the drying process. Hold it approximately 10 inches (25cm) away from the paper and keep the airflow moving evenly, or you can end up with areas that have dried too quickly, leaving unwanted lines.
To help control the drying time, remove excess water with a clean natural-hair brush. These are more absorbent than synthetic brushes. You can also use the tip of a paper towel, but don’t press too hard or you may lift color, leaving an uneven dry area.
Backwashes and Blooming
Two areas drying at different rates can create back- washes and blossoming. During the drying process, water from the wetter, slower drying area seeps into the drier area, resulting in a blossom. Sometimes these are “happy accidents,” but they can
Once The shapes are sketched, it waill learn to add about textures and details. why like that ? it will make the scenes jump off your page. Well, I will help you to bring greater and interest to your sketch. actually It is simple. just stay and learn more in the following sentence bellow. Then get tips for capture at the same subject in a variety of fresh.
1. The introduction
Tthen goes over all of the supplies you likes to use in the field when sketching and painting landscapes, including mechanical pencils for her initial sketches, micron pens of different thicknesses (for a variety of shrub and tree limbs), and several types of brushes that she uses primarily for washes or adding specific kinds of textures.
The color palette she uses is described in the materials list which comes with the class, so you’ll know exactly which colors to use. I noticed that it has a few extra yellows and blues, which no doubt come in handy for mixing all the different greens found in landscapes. There is, however, no black. you must be prefers to
There’s a powerful belief that people with talent can achieve beyond the reach of ordinary mortals. Talent implies that everything is easy for a chosen few and difficult or impossible for everyone else. Those who believe they lack talent feel they are outside a charmed circle with no magic way to get in.
Well, as Richard Bach says in Illusions
, “Argue for your limitations, and sure enough, they’re yours.” “No talent” is a self-fulfilling prophecy. Saying it makes it true.
What is talent anyway? Here are three definitions: A special natural ability or aptitude. A capacity for achievement or success. An inborn characteristic that has to be cultivated. The first doesn’t amount to much without the second and third. Talent is a potential, not a guarantee of success. There’s no real test for talent–it’s a matter of faith and experience. Talent consists of wanting to do and believing that you can.
It requires the relentless pursuit of your creative goals. Practice, patience, perseverance. When you feel disappointed about your progress, remember that it took Beethoven twenty years to compose his “Ode to Joy.”
Which is the best brand of paint to use? When I compare paints (for me, watercolors), here are some of the things I look for:
- Does the pigment compare favorably with that of other brands that have the same pigment name? For example, if it is named Burnt Sienna does it look like I expect or want that color to look? Is it manufactured with the appropriate pigment. Read my article on paint labels.
- Is the paint adequately pigmented with high tinting strength? Or weak and pasty?
- Is the pigment lightfast?
- Is the pigment transparent (like phthalocyanine) or opaque (like cadmium); is it consistent with what I expect of this pigment? If it’s named Cerulean Blue and is transparent, then it isn’t true Cerulean Blue.
- Are there any unusual handling characteristics, for example is it grainy or clear? Settling or spreading? Staining or non-staining? What is the paint consistency, fluid or heavy?
- Which brand has more of the colors I like?
- Is the brand easily available in area stores or by mail order?
My conclusion, after many years of studying paints and testing more than thirty brands of both student and artist grades of paint, shows that you get what you pay
Marketing for artists isn’t all that different from any other kind of marketing. You’re simply promoting a product and, along with it, yourself. However, most artists find it hard to sell their own art, let alone go all out and sell themselves, but that’s what a collector is buying. You may feel awkward talking about your art process and describing your techniques to non-artists. It seems pushy. Artists often claim they don’t want to sell their art because they’re just painting for personal satisfaction, but I’ve met very few who aren’t pleased when somebody likes a piece well enough to put hard cash down for it. Once that happens, they usually begin to think about how they can make it happen again.
You may just need a little shove in the right direction. Here are a few tips to get you started. Use these recommendations as a starting point for your art marketing plan.
- Do you know what you do?
You must have a clear picture of yourself as an artist. Describe yourself in 25 words or less, for example, “I paint watercolors of wild baby animals and sell originals, prints and notecards at art fairs
Q: My art is best experienced in person. Images on the Internet don’t do it justice. It’s unique and I’ve spent years perfecting it. When I meet, speak with or contact gallery owners, artist representatives, art consultants, collectors or anyone else who shows interest in my work, I always invite them to my studio because the only way for them to truly understand my work is for me to explain it in person. Unfortunately, I’m having a hard time getting many people to take me up on my offer. Can you help?
A: Yes. The answer is simple– immediately stop insisting people come to your studio, especially those who know little or nothing about you or your art, and slow things down. Asking people to see your art entirely on your terms and in a rather intimate setting that many people don’t generally feel comfortable in until they get to know you better won’t get you anywhere fast. Think about it. You are asking people– complete strangers in many cases– to go somewhere they’ve never been before, listen to someone they don’t know talk about their art, and basically submit to your agenda for as long as
These handy color-mixing tips will help you to achieve better color throughout your artwork.
- Use mixtures rather than colors straight from the tube for more interesting color. For example, mix blue and yellow to make green or add other colors to tube green to modify the color.
- Most color-mixing problems come from overmixing. Mix very lightly on the palette or directly on the support to prevent this, and once the color is down, leave it alone.
- Some books tell you to use no more than three colors in a mixture, but the problem isn’t usually concerned with the number of colors; it’s a matter of which colors you use. Paint characteristics and your choices of colors determine how they will mix. Refer to the article on Split-Primary Color Mixing to learn how to mix clean, bright color every time.
- Complements (opposites on the color wheel) create color vibrations and enhance each other when placed side by side. When mixed, they neutralize each other.
- To lower the intensity of a color, mix it with its complement or Burnt Sienna rather than black, gray or sepia. These colors tend to deaden mixtures.
- For high-intensity mixtures avoid the third primary. The third primary is the complement of the mixture
Q: I want people to understand what my art is about. How can I do The subtler aspects of my work aren’t immediately obvious and I want viewers to get my overall intent ?
A: A great way to make sure that viewers understand your art is to provide some form of written introduction or explanation whenever and wherever you show your work and with every piece that you sell. It doesn’t have to be long, a page or so at the most, but more like a paragraph or two. If it gets too lengthy, you risk complicating matters rather than clarifying them. A personal explanation from you is best, but you’re not always around to explain it, plus the fact that a written one is forever. This information might include your standard artist statement, your statement in combination with a brief explanation of the particular work or body of works in question, or unique information customized to each piece. Documentation like this not only helps viewers and collectors to understand your artwork in the moment, but also benefits everyone who will come into contact with it for all time.
Good documentation tends to positively impact
The number one question artists ask is how to get representation. This is a bit of a catch-22 because you have to sell art in order to attract galleries or agents or whatever, while on the other hand, you can hardly make sales without them. Or can you? The answer is that you can– especially in the Internet era– and if you can’t, you’ll have to learn how. Once you learn how to make sales (translation: communicate to people that your art has merit to the point where they have to have it in their lives) you’ll be ready for representation.
In a sense, learning to sell your art means being able to understand and convey what gives it “value,” not so much dollar value, but rather intangible value. We’re not talking used car type selling, but rather being able to dialogue on what your art is all about. Developing the ability to convey your calling is an important aspect of your or any artist’s career. I’ve never met a successful artist who was not aware of the impact that their art has on others, and who was not able to talk about it in ways help people connect with and
Anyone can buy and collect art intelligently. That’s right; I said anyone. No previous knowledge of the art business, experience collecting art, or degrees in art history are necessary. All you need is a love and appreciation of fine art, a desire to collect, and a willingness to familiarize yourself with a few simple techniques that will allow you to evaluate any work of art dating from any time period by any artist of any nationality.
Even though the following article contains recommendations and suggestions relating to particular works of art, keep in mind that there is no right or wrong art and there is no right or wrong way to buy or collect art. Anyone can collect whatever they feel like collecting and buy whatever art they feel like buying, wherever and whenever they feel like buying it, for whatever reason they decide to buy it, and for however much money they feel like spending on it. Consequently, these techniques are not for everyone, but they are designed for people who like to spend their money wisely and who prefer to pay fair prices for quality art. If that happens to be you, then what you’re
Here’s the basic idea. Take two identical artworks. One you know nothing about. The other you know a whole bunch about. Now they’re both the same price, you like them both equally well, and you can buy either one or the other. Which one would you rather buy? That’s right.
First and foremost, sign it. Or if it is signed, but only people who know you can read the signature, sign or print your name legibly somewhere else like on the back, so people who don’t know who you are can read it too (as astonishing as this may seem, not everyone will always know who you are– so make sure that if they don’t, they will once they read that signature). You can’t do anything more important than sign your art legibly because without exception, the number one most common question people ask when they first see a work of art is, “Who’s the artist?” And given two identical works of art, one signed and the other not, the signed one is worth more and will sell for a higher price than the unsigned one. Why? When an artist applies his or her name to a
The most important consideration in approaching any gallery you think might be a good match for your art is to take your time. Don’t be in a rush. About the worst thing you can do is show your art to a gallery without having any idea who they are, what their history is, what they stand for, what type of art or artists they represent, what their politics are, what price ranges they typically sell in, or other particulars with respect to how they operate.
To begin with, get on the gallery’s mailing or email announcement list. This way, you get invitations for their openings, learn how the gallery introduces and positions their artists, what types of art and artists they tend to represent, how they describe their art, how they introduce their upcoming shows, and how they communicate with their client base. In combination with this, go through the gallery’s entire website. There, you’ll learn plenty more about who they show, what they show and how they present to the public. Understanding where a gallery’s coming from, their perspective on the art world and what specific types of art and artists they represent is critical to
Do you wonder how experienced art world professionals separate out the best art from the rest?
DeWitt Cheng, freelance art writer and critic, Bay Area, CA: Jorge Luis Borges wrote, “Music, states of happiness, mythology, faces molded by time, certain twilights and certain paces– all these are trying to tell us something, or have told us something we should not have missed, or are about to tell us something; that imminence of a revelation that is not produced is, perhaps, the aesthetic reality.” While art has become, in the experimental 20th and 21st centuries, impossible to define– critics learned long ago to stop being prescriptive, perhaps a little too well– Borges’s tentative manifesto makes a good starting point– as long as we don’t succumb to mystical mush. Good visual art looks stunningly right and, in retrospect, obvious, or inevitable– yet it’s also continually surprising. It is a powerful paradox. How can someone have possibly made this? How in the world could it not have been made?
Cheryl Haines, Haines Gallery, San Francisco: Clear intention, unwavering dedication, patience, perseverance, self awareness and the drive to make for yourself and no one else.
In order to price your art realistically, you need a basic understanding of how the art business works and how collectors shop and buy. You also have to step back and objectively evaluate the significance and quality of your art in relation to the vast quantity and variety of art that’s on display and available for sale both online and at galleries. Be able to assess the art world accomplishments and get a sense of how you’re positioned in comparison to other artists is an essential part of this process.
Understanding common mistakes artists make when setting prices is the first step in this process. Perhaps the most significant error is the tendency to focus too much attention on only that segment of the art world that pertains to you and too little attention on the rest, or even worse, dismissing the rest as irrelevant. If you let this happen, your prices may make perfect sense to you and to your inner circle, but make little sense within the broader context of the the overall art community. The more aware you are of the big picture, of what other artists are creating, how it’s being priced and marketed, and who’s buying
A: I need to sell more art than I’m selling. How do I find out the names and contact information of collectors?
A: This a bit of a good news or bad news situation. In the huge majority of cases, collectors find you. You don’t find them. One of the great myths of the art world is the belief that simply acquiring names and contact information of collectors is a magical panacea that will result in sales, success, financial freedom or whatever your aspirations may be.
In the meantime, let’s play this out. Suppose you somehow get yourself a list of collectors and their contact information. What are you going to do? Call them? Email them? Mail them? If you manage to contact them, what are you going to say? That you’re an artist and you have art for sale? Or that you’re a gallery and you have art for sale? Invite them to your studio or gallery? Or that you have a show coming up and that they should come and see it? Take any of these approaches and you won’t be seeing any deluge of responses anytime soon. But wait; there’s more. Do you even know what they collect? Why
One point before we even get started. No matter how you get the word out, make sure you have something to say when you do. And make sure it’s something your fans will care about. No artist, gallery or arts organization wants that. Now for a few brief words about how not to get your news out.
Unfortunately, many art-related communications are so poorly written, disorganized or geared for specialized audiences that a significant percentage of recipients lack the knowledge, patience or will power to figure them out. Perhaps the main reason they’re so difficult to hack through is they assume readers already know plenty about the history and background of the senders. In other words, they’re written for existing audiences, not potential new audiences. The irony here is that the overwhelming majority of people who publish these posts and send these emails not only want to get the news out to the regulars, but even more importantly, want to increase their followings and expand their fan bases rather than keep them constant.
So to begin with, write for as broad an audience as possible, especially for people who may know little or nothing about your art, gallery or organization, but who
Many artists have fantasies about how the art world works, believing that someday their wildest dreams will come true and they’ll live fabulously happily ever after. Perhaps they will, but the only way any artist ever accomplishes that goal is to work really hard, persevere regardless of adversity, make the best art they possibly can, and understand the realities of what being a successful artist is all about.
Keep in mind that the following list of artist fantasies has nothing to do with your inspirations or creative process– that’s sacred ground. You can have all the fantasies you want while hard at work in your studio, and in fact you should. But once your art is complete and ready to debut to the world, fantasies can really trip you up. Here are some of the more common ones that can potentially put a crimp in your artistic life
* The only way to get known is for a gallery to represent me.
* Artists should never show their art anywhere that’s not a gallery.
* All I have to do is get my art into a gallery and someone will buy it.
* All I need is a solo show at a good gallery and
Millions of works of art are for sale online. many of them at online auctions nearly 1.5 pieces currently being offered on eBay alone. The competition to sell pretty much all of it is intense and international. Smart artists with online auction selling experience are aware of this competition as well as of their odds for success and have developed various strategies and techniques in order to minimize competition.
The most important aspects of successfully auctioning your art online are knowing how to accurately describe and present it, and understanding who might like it and how much they’d be willing to pay. As in the bricks-and-mortar world of galleries, shows, sales and auction houses, you have to assess your art’s quality, significance and most salable characteristics, and have a ballpark idea of its desirability and value in the marketplace. You might call this “researching by comparison.”
You see, basic details about your art, how much it’s worth– and about you, the artist– are essential to effective selling, and must be presented in ways that position it for the best possible exposure and the most bids. Not knowing how to describe what you’re selling in order to attract people who might be interested,
Keep in mind that this was an informal survey, and the 17 galleries that chose to respond to the question are all located in California, and mainly in San Francisco (plus one veteran collector… scroll to end for his thoughts on the matter). So one might expect, based on the demographics, the proximity to Silicon Valley, and the abundance and easy access to computer-savvy talent, that the ways these galleries do business online, and the percentages of Internet art sales they make is comparatively greater than in other parts of the country.
Percentage of Overall Gallery Sales Taking Place Online
All galleries reported that the percentage of online sales has increased over the past five years. All galleries reported making sales either largely or entirely online, and all reported selling varying percentages of art sight unseen to buyers who have never set foot in their physical galleries. The difference in percentages was marked between younger and older more established galleries. While older more established galleries said online sales generally accounted for 10-35% of total business, younger galleries consistently reported making 60-85% of their sales almost exclusively online. One gallery owner said that sales made either largely or entirely online account for over