Sharon July 30th, 2010
Like many artists I promote my work online through my own web sites but that isn’t the only way to get the art to the public. There are hundreds of opportunities for artists to exhibit and sell their work on the Internet. I know some artists who sell on Ebay but that can be daunting and not necessarily profitable. Personally I do sell art from my web sites as well as reproductions through Imagekind.com and greeting cards through Greeting Card Universe. Small originals are available through ArtFire.com. Many of these sites offer limited use without a fee but others cost a monthly membership.
No matter how you choose to show and sell your art on the Internet, you will need to be consistent and keep adding new work as well as promoting what you have. It is not always easy to find the time to put in the necessary effort to make a profit. If you know how to resize images and can upload them from your computer, you can do it though, and for little or no expense, it is worth giving it a try.
For an extensive list of marketing opportunities for artists online, visit this List of 120+ websites for artists to build online presence.
Sharon May 31st, 2010
Recently I completed this painting with fluid acrylics on ampersand watermedia board. For me, the process of using fluid acrylics is much the same as for watercolor. Because this was such a complex drawing, with lots of almost hidden treasures (snail, toad, butterflies etc) I had to draw the individual elements and add them to the painting as I went.
I found that my watercolor method of painting individual subjects and then masking them before doing a background works as well with the fluid acrylics as it does in watercolor. I painted the mouse on the white ampersand board and then (after the acrylic dried) covered the painted details with pebeo masking gum. When that was good and dry, and I had done the same to many other details in the same area of the painting, I could go back and paint the leaves and mosses behind the subjects more freely. I didn’t have to worry about messing up the details I had already done.
When the background was dry (only minutes with the acrylic) I was able to easily remove the masking but rubbing on it. None of the color or details came off and the results required very little touch up. While I still prefer watercolor on paper for the soft focus backgrounds, the acrylic is just what I needed to put together this complex painting with many of the forest flora and fauna I found in the early spring.
Sharon April 9th, 2010
Recently I met a friend at the National Gallery in Washington DC and spent a peaceful day wandering the exhibits and talking art and more. It is always inspiring, and often intimidating, to peruse the works of master artists from past centuries.
I am intrigued by miniature painting and was very interested to view the exhibit Hendrick Avercamp and the Little Ice Age’ which runs through early July 2010. The paintings are from an unusually cold period in Europe of the 1600s when Dutch canals regularly froze over during long winters. Avercamp (1585–1634) painted the active life of the city’s residents as they used the frozen waterways as roads, meeting places and entertainment.
Each of the small paintings is full of tiny figures, painted with loving detail pursuing a wide variety of activities. Ice skating was depicted of course, but also dogs and carts, sleighs and horses, even men seriously pursuing a golf game! Each panel has a rich depth of field and becomes a view into another time and place.
Technically the paintings are gems of realistic accuracy with an affection of detail and a delight of color. The soft golden skies glow and rich colors of ultramarine and crimson decorate the ornate clothing of wealthy Dutch families. More than just realism, however, the paintings celebrate an artist’s pride in his city and the simple pleasures of it’s citizens through a cold winter.
Sharon March 10th, 2010
Sometimes it is the small things that makes painting session go more easily. Here are a few notes from my easel:
- If your palette colors have dried out, put a drop of honey or glycerin on the pan and let it sit. The honey or glycerin will attract moisture from the air and hydrate your paints. If they are REALLY dried out (petrified) give it up. Scrape the paints out and start fresh. I prefer to let my palette dry out between uses because it avoids mold growth. The one time I did put a wet sponge on the palette and covered it with wrap, I found a disgusting blue fuzz on the paints the next morning!
- I avoid using a hair dryer to speed drying since it dries the paper from the outside in instead of the inside out and even when the outside is cooked the inside is likely still damp. I prefer to take my time and let a painting dry naturally (usually overnight) before putting another layer on the next day. It is possible to add a few drops of alcohol to speed drying but the paints will settle differently.
- If you want paint to dry more slowly, mix a bit of ox gall or flow medium with the water. You can also prime paper with it.
- If you are working on a large painting you may want to mix your colors in larger containers to avoid having to stop and mix colors. I use ceramic muffin pans (for microwave use) or ceramic divided plates for the purpose. Those are nice because you can get a wide brush full of paint.
- Keep piece of scrap watercolor paper near to test colors. If you make notes on that paper you can punch holes and keep the color notes in a looseleaf notebook for later study.
- Test for paint dryness with back of hand. If the surface is cool, it is still damp and it is better to wait a while before adding another layer.
- Prevent harsh edges between light and dark. Dampen the paper on both areas and lay down light tones and allow paint to flow in areas to be covered with darker
- Don’t press down when painting washes or you’ll get streaks and be careful not to put pressure on the paper with the side of your hand.
- Turn paper around and upside down when working to help the paint flow where you want it to.
