It's a story that will tug at your heart. Enjoy!
Monday, February 01, 2010
When Words Are Not Needed to tell a Story
Just a short post today, short on words but long on photos. My husband forwarded a beautiful photo-narrative to me. Unfortunately I know nothing of its origins, or who the people are who are involved... but it's pretty clear what became of the little dog. Does anyone know where this came from?
It's a story that will tug at your heart. Enjoy!
It's a story that will tug at your heart. Enjoy!
Thursday, January 28, 2010
Why Painted Feathers?
It's a question I'm asked very frequently whenever I do a show or other public appearance. In fact it's probably the most commonly-asked question, right after "Are those eagle feathers??" but that's a whole other topic!
I got going in this twenty years ago. My mother had a large flock of peafowl that ran loose on her ranch. Consequently, every summer we'd have shed feathers of all sorts everywhere! My mother could sell the long beautiful tail feathers easily enough, and my sister would craft beautiful earrings from the iridescent neck and back feathers. There wasn't any use for the wing feathers. As attractive as they were, there just wasn't a need or want for them.
One day as I was thumbing through a magazine, I saw a Louis L'Amour color ad. This ad, while showcasing his set of leather-bound books, also presented a nice array of western paraphernalia...Navajo blanket, wooden cartridge box, and oh hey, a big wing feather that had a few blotches of paint dripped on its end and ornate multicolor lines and stripes down its quill. That turned on a light for me! I had a few jars of acrylic paints because I had been painting blown eggs, so I proceeded to experiment and see if a feather really would hold paint... not just the quill, mind you, but the body of the feather. Let's see if we can actually do something that's more than drips.
I tried the dots first, and they held fast. So it does work! Next I tried Native pictographs. It was tough going as the feather tends to want to split, but I eventually figured out how to avoid that and create what looked rather like cave paintings on the body of the feather. From there, and still on a Native/Southwestern theme, I tried still lifes of pottery and lithic artifacts, then some very unrealistic animals that incorporated the quill as part of the animal depicted... that quill tip makes a dandy lizard's tail! Ok, this is turning out to be a lot of fun!
My painting ability was very amateurish at best. Other than a few egg shells and a bit of watercolor play when I was a child, I didn't know how to paint. It was the feathers, over the course of these twenty years, that taught me to paint. Fortunately in that time I have progressed from cave paintings and cartoonish animals to works of a much wider range and higher detail. I've taken a few classes from great artists like Fred Oldfield, Robert Walton, and LeRoy Jessfield. Their expertise in handling paint on traditional support has helped me immensely in understanding how colors work.
Then and Now
I had a very rewarding task recently, in painting the same subject matter that I did twenty years ago for my cousin. When I was beginning, I had given him a painted feather with a mountain lion. It was far from realistic, rather cartoonish, but represented the best that I could do at the time. Much to my surprise he still had that feather tucked safely away. His wife contacted me and asked me to paint another mountain lion at my current level of ability.
I felt a bit intimidated at this, and wanted it to be the very best I could do. The first try was unsatisfactory. It was on a striped peacock feather like the original, but I knew I could do better. The second try was on a Sweetgrass turkey feather, and probably would have been ok had it not been for a sudden deep freeze in this region and half-frozen paint in the studio. Tip: This is when I learned that dropping your jars of paint in a bucket of hot water helps immensely in warming them up and making them workable. I learned that too late though and had unfortunately irreparably split the feather. The third and final effort was successful- of a mountain lion at rest but ever watchful on his mossy granite perch within the confines of a blue slate turkey feather.
The framing you see posted here represents twenty years' worth of progression in this artistic journey. For that it is truly one-of-a-kind. I don't know how many of my earliest efforts are still floating around out there, but it would sure be fun to try this again.
I got going in this twenty years ago. My mother had a large flock of peafowl that ran loose on her ranch. Consequently, every summer we'd have shed feathers of all sorts everywhere! My mother could sell the long beautiful tail feathers easily enough, and my sister would craft beautiful earrings from the iridescent neck and back feathers. There wasn't any use for the wing feathers. As attractive as they were, there just wasn't a need or want for them.
One day as I was thumbing through a magazine, I saw a Louis L'Amour color ad. This ad, while showcasing his set of leather-bound books, also presented a nice array of western paraphernalia...Navajo blanket, wooden cartridge box, and oh hey, a big wing feather that had a few blotches of paint dripped on its end and ornate multicolor lines and stripes down its quill. That turned on a light for me! I had a few jars of acrylic paints because I had been painting blown eggs, so I proceeded to experiment and see if a feather really would hold paint... not just the quill, mind you, but the body of the feather. Let's see if we can actually do something that's more than drips.
I tried the dots first, and they held fast. So it does work! Next I tried Native pictographs. It was tough going as the feather tends to want to split, but I eventually figured out how to avoid that and create what looked rather like cave paintings on the body of the feather. From there, and still on a Native/Southwestern theme, I tried still lifes of pottery and lithic artifacts, then some very unrealistic animals that incorporated the quill as part of the animal depicted... that quill tip makes a dandy lizard's tail! Ok, this is turning out to be a lot of fun!
My painting ability was very amateurish at best. Other than a few egg shells and a bit of watercolor play when I was a child, I didn't know how to paint. It was the feathers, over the course of these twenty years, that taught me to paint. Fortunately in that time I have progressed from cave paintings and cartoonish animals to works of a much wider range and higher detail. I've taken a few classes from great artists like Fred Oldfield, Robert Walton, and LeRoy Jessfield. Their expertise in handling paint on traditional support has helped me immensely in understanding how colors work.
Then and Now
I had a very rewarding task recently, in painting the same subject matter that I did twenty years ago for my cousin. When I was beginning, I had given him a painted feather with a mountain lion. It was far from realistic, rather cartoonish, but represented the best that I could do at the time. Much to my surprise he still had that feather tucked safely away. His wife contacted me and asked me to paint another mountain lion at my current level of ability.
The framing you see posted here represents twenty years' worth of progression in this artistic journey. For that it is truly one-of-a-kind. I don't know how many of my earliest efforts are still floating around out there, but it would sure be fun to try this again.
Tuesday, January 19, 2010
Clarity through Seven Words
Slowly but surely I'm getting things migrated over to the laptop. My husband's got my email set up here, but it appears that the old desktop computer has swallowed some of those pertinent emails. Please be patient with me as I get things fully integrated with the new system. and find these bits that are currently MIA.
Recently Todd Henry on Accidental Creative issued a challenge: create a seven word bio. How can you condense what you do down to its bare essence in seven words? It's absolutely brilliant, because 1) it forces you to cut the clutter and focus on the simple basics of what your art, your business, what have you is all about. 2) By trying to concentrate this concept into the confines of 7 words, you try to explain it with great clarity, yet with enough creative punch to compel your reader to want to learn more. It's not an easy task! His is outstanding, by the way: The arms dealer for the creative revolution. Mine is a work in progress, I'm not yet satisfied with it: Detailed wildlife paintings on naturally shed feathers. I've also considered Portraits of nature on nature's own canvas. See? It's not so easy!
Have you ideas of a seven word bio for yourself? Please do share it here in comments. You'll be surprised how it will inspire you to employ it, or at least its influence, elsewhere. This little challenge has already compelled me to cut all the clutter on the 'about me' portion here on the blog and pare it down to its current simplicity... but that, too, is a work in progress. :-)
Recently Todd Henry on Accidental Creative issued a challenge: create a seven word bio. How can you condense what you do down to its bare essence in seven words? It's absolutely brilliant, because 1) it forces you to cut the clutter and focus on the simple basics of what your art, your business, what have you is all about. 2) By trying to concentrate this concept into the confines of 7 words, you try to explain it with great clarity, yet with enough creative punch to compel your reader to want to learn more. It's not an easy task! His is outstanding, by the way: The arms dealer for the creative revolution. Mine is a work in progress, I'm not yet satisfied with it: Detailed wildlife paintings on naturally shed feathers. I've also considered Portraits of nature on nature's own canvas. See? It's not so easy!
Have you ideas of a seven word bio for yourself? Please do share it here in comments. You'll be surprised how it will inspire you to employ it, or at least its influence, elsewhere. This little challenge has already compelled me to cut all the clutter on the 'about me' portion here on the blog and pare it down to its current simplicity... but that, too, is a work in progress. :-)
Friday, January 15, 2010
Making more technology adjustments
Well, the camera wasn't the only thing that's reached the end of its life, it appears the old desktop computer is nearly there too.
It's an 8 year old Dell and has served me well, but has reached that stage where not even dumping the entire system and reinstalling would be worthwhile. The processor can't keep up with everything online anymore, the RAM is far below current minimal requirements, the hard-drive has LONG since been far too small (using an auxiliary hd these days for images and iTunes)... the poor old thing has to think hard just to process a right-click.
My Navy son did me a great kindness and has gifted me with modern technology. He's just completed Basic and has gone on to A-school. He'd been having a lot of trouble with his new laptop before he left. Now that he's in Florida, he's gone out to get a new laptop and told me to fix up his old one and keep it. My husband dumped the system and reinstalled Windows and now it works like a charm. I'm used to the great Beast that is the desktop, so this is taking a fair amount of getting used to. In comparison to the dinosaur, though, this little Acer is incredibly fast. I don't like the way it shows images though, so I'll need to keep working with the Beast a while longer, at least on that level. It's becoming obvious I'll need to get a new desktop at some point, just for the image-processing if for nothing else.
But for all other functions, I will be migrating to the little laptop wherever possible. It will take some time, and I've things I need to pull off the Beast and put here... things that the Beast wouldn't let me work with and has been cantankerous in even letting me retrieve. I should be back up to full speed soon, and it'll be a little while more before I can take care of those much-needed website updates. New paintings will be along soon... I hate that these blog updates have been so devoid of imagery!
It's an 8 year old Dell and has served me well, but has reached that stage where not even dumping the entire system and reinstalling would be worthwhile. The processor can't keep up with everything online anymore, the RAM is far below current minimal requirements, the hard-drive has LONG since been far too small (using an auxiliary hd these days for images and iTunes)... the poor old thing has to think hard just to process a right-click.
My Navy son did me a great kindness and has gifted me with modern technology. He's just completed Basic and has gone on to A-school. He'd been having a lot of trouble with his new laptop before he left. Now that he's in Florida, he's gone out to get a new laptop and told me to fix up his old one and keep it. My husband dumped the system and reinstalled Windows and now it works like a charm. I'm used to the great Beast that is the desktop, so this is taking a fair amount of getting used to. In comparison to the dinosaur, though, this little Acer is incredibly fast. I don't like the way it shows images though, so I'll need to keep working with the Beast a while longer, at least on that level. It's becoming obvious I'll need to get a new desktop at some point, just for the image-processing if for nothing else.
But for all other functions, I will be migrating to the little laptop wherever possible. It will take some time, and I've things I need to pull off the Beast and put here... things that the Beast wouldn't let me work with and has been cantankerous in even letting me retrieve. I should be back up to full speed soon, and it'll be a little while more before I can take care of those much-needed website updates. New paintings will be along soon... I hate that these blog updates have been so devoid of imagery!
Wednesday, January 13, 2010
Sweeping Up
2009 is not quite out the door yet. I still have a few remaining commissions to complete before bidding 2009 a fond farewell. The going has been slow as I have been under the hammer of migraines for the past several days, which all but brings any chance of doing detail-work to a complete stop. I'm finally starting to feel human once again and have vision back for the most part, so I hope to have the last of 2009's requests done within the next several days.
The poor old digital camera has met its demise. There's a new one waiting to take its place. The old camera had been my companion for 7 years now.... my, how digital cameras have changed in that time, even the simple ones! Photos of new works may be a little slow in coming but they will come, just as soon as I've figured out the new camera. When I am once again photo-capable, expect to see newer paintings added to the website, as well as to the blog.
The poor old digital camera has met its demise. There's a new one waiting to take its place. The old camera had been my companion for 7 years now.... my, how digital cameras have changed in that time, even the simple ones! Photos of new works may be a little slow in coming but they will come, just as soon as I've figured out the new camera. When I am once again photo-capable, expect to see newer paintings added to the website, as well as to the blog.
Sunday, January 10, 2010
Starting off with 2010
Whoops, something looks different here! It's about time I put some proper work into blogging, and to get things started on the right foot I thought it should start with a new look. No more dark and moody colours, let's go with bright and clean and crisp, like a new canvas awaiting that first swipe of paint, just like this new decade that lies before us.
A Word, Not a Resolution. Last year as I was hammering out plans for 2009, I read Christine Kane's blog post about theming your year around a word instead of setting dry resolutions. Just one word, the right word, can bring clarity and purpose to your goals in a way that a list of resolutions never could. Recently she had several guest authors on her blog who gave stories about their Word Of The Year, very inspiring reading!
Last year I had some pretty huge goals looming, and I was more than a little intimidated by some of it. I set my Word of the Year, Commit. By committing to these dreams and ambitions before me, I resolved to see them happen. The goals were constantly in sight, especially that seemingly impossible one, the 3-week solo trip around Scotland. That was the one in which I most feared I would fail, so that was the one I worked hardest toward, and consequently became the 'easiest' goal to achieve as everything fell into place. I bought my airline tickets early in the process, which indeed made the whole thing a true commitment. By clicking 'purchase', I wholly committed to the intent of making this trip a reality. But I didn't do so recklessly, I'd done a lot of research beforehand!
I spent much time roaming Trip Advisor's Scotland Forums, talked with many friends who had been there and who live there, learned where and what is permissible in wild camping as well as the locations of campsites and backpackers hostels throughout the country. It was to be a true adventure, with the only reservations made at the start and the end of the trip, and everything in between left wide open. I'd browsed Flickr in search of inspiring photos of where I wanted to go, and turned them into a screen saver on my computer. the same sort of dedication went to shows I participated in, commissions received, paintings completed... Commit was at the forefront of most things done last year.
This year I gave the word theme a lot of thought. Where do I want to go? What goals to I hope to meet? How do I want my art and my business to develop? After a lot of thought, the word finally came - Grow. A nice simple word, yet filled with so much potential. Professionalism, dedication, my in-studio inventory, the level of shows I would like to participate in, gallery representation, marketing efforts... all of these aspects would do well to grow. Growth in courage and character to step into new and bigger things. Growth through education and professional development. Growth through much studio time in practice and improving the art. I'm thinking of it as a seedling that needs nurturing - with proper care and attention it can blossom.
Lisa Call has gone a bit further and has set a word theme for this new decade, a brilliant idea. Her word fits her perfectly - Joy. She inspired me to set a word for this new decade as well. Unlike the word I chose for 2010, the idea of theming the decade actually came much easier - because I fully believe I began living this last year... so Adventure seems to fit perfectly. When you live it fully and without apprehension, life most definitely is an adventure!
Roll on 2010, let's see what we can grow this year!
A Word, Not a Resolution. Last year as I was hammering out plans for 2009, I read Christine Kane's blog post about theming your year around a word instead of setting dry resolutions. Just one word, the right word, can bring clarity and purpose to your goals in a way that a list of resolutions never could. Recently she had several guest authors on her blog who gave stories about their Word Of The Year, very inspiring reading!
Last year I had some pretty huge goals looming, and I was more than a little intimidated by some of it. I set my Word of the Year, Commit. By committing to these dreams and ambitions before me, I resolved to see them happen. The goals were constantly in sight, especially that seemingly impossible one, the 3-week solo trip around Scotland. That was the one in which I most feared I would fail, so that was the one I worked hardest toward, and consequently became the 'easiest' goal to achieve as everything fell into place. I bought my airline tickets early in the process, which indeed made the whole thing a true commitment. By clicking 'purchase', I wholly committed to the intent of making this trip a reality. But I didn't do so recklessly, I'd done a lot of research beforehand!
I spent much time roaming Trip Advisor's Scotland Forums, talked with many friends who had been there and who live there, learned where and what is permissible in wild camping as well as the locations of campsites and backpackers hostels throughout the country. It was to be a true adventure, with the only reservations made at the start and the end of the trip, and everything in between left wide open. I'd browsed Flickr in search of inspiring photos of where I wanted to go, and turned them into a screen saver on my computer. the same sort of dedication went to shows I participated in, commissions received, paintings completed... Commit was at the forefront of most things done last year.
This year I gave the word theme a lot of thought. Where do I want to go? What goals to I hope to meet? How do I want my art and my business to develop? After a lot of thought, the word finally came - Grow. A nice simple word, yet filled with so much potential. Professionalism, dedication, my in-studio inventory, the level of shows I would like to participate in, gallery representation, marketing efforts... all of these aspects would do well to grow. Growth in courage and character to step into new and bigger things. Growth through education and professional development. Growth through much studio time in practice and improving the art. I'm thinking of it as a seedling that needs nurturing - with proper care and attention it can blossom.
Lisa Call has gone a bit further and has set a word theme for this new decade, a brilliant idea. Her word fits her perfectly - Joy. She inspired me to set a word for this new decade as well. Unlike the word I chose for 2010, the idea of theming the decade actually came much easier - because I fully believe I began living this last year... so Adventure seems to fit perfectly. When you live it fully and without apprehension, life most definitely is an adventure!
Roll on 2010, let's see what we can grow this year!
Friday, August 14, 2009
Catching Up
Please pardon the mess whilst I try to recover... it's been an amazing few weeks.
I'm back Stateside now, still recovering from jet-lag but much improved. For the last three weeks I've been roaming all over Scotland on a solo trip. Not exactly a tour, more of an adventure. I hired a car, I traveled by train and bus, I stayed in youth hostels and campgrounds, and I wild-camped. This adventure began with Edinburgh's Gathering and concluded with Glasgow's Piping Live festival. I shot well over 1200 photographs, hiked through glens and along ridges, visited castles, met many great friends, and built upon a plethora of experiences from which to develop a new body of work.
I will be posting writings from this adventure very soon, as well as a few select photos. To those who have recently joined my newsletter mailing list, welcome! That newsletter will be rolling along again soon. There will be a lot of new works coming out this late Summer and Fall.
So in the mean time while I get sorted, I'll leave you with a video I found from Edinburgh's Gathering. These fellows are the Red Hot Chilli Pipers - if you haven't seen them before, you'll be amazed at the calibre of music. They were truly phenomenal. Maybe some day we can get them to come out to the Pacific Northwest - one can hope! until a little later - Cheers!
I'm back Stateside now, still recovering from jet-lag but much improved. For the last three weeks I've been roaming all over Scotland on a solo trip. Not exactly a tour, more of an adventure. I hired a car, I traveled by train and bus, I stayed in youth hostels and campgrounds, and I wild-camped. This adventure began with Edinburgh's Gathering and concluded with Glasgow's Piping Live festival. I shot well over 1200 photographs, hiked through glens and along ridges, visited castles, met many great friends, and built upon a plethora of experiences from which to develop a new body of work.
I will be posting writings from this adventure very soon, as well as a few select photos. To those who have recently joined my newsletter mailing list, welcome! That newsletter will be rolling along again soon. There will be a lot of new works coming out this late Summer and Fall.
So in the mean time while I get sorted, I'll leave you with a video I found from Edinburgh's Gathering. These fellows are the Red Hot Chilli Pipers - if you haven't seen them before, you'll be amazed at the calibre of music. They were truly phenomenal. Maybe some day we can get them to come out to the Pacific Northwest - one can hope! until a little later - Cheers!
Wednesday, May 27, 2009
Expanding
The title applies to both art style and the purpose in my upcoming trip.
The painting at left was an experimentation, in trying to ramp up the detail and fill the whole support... not an easy trick in such an oddly-shaped "canvas". The resulting image is a Bengal tiger coming at you with full intent and purpose. He means business, and seems as though he's going to stride right out of that feather. This painting, "Prowl", a Bengal Tiger on a peahen's tail feather, is available at Fusions Gallery in Ocean Shores WA.
This painting had further purpose. It is the predecessor to another painting of a Scottish Wildcat. I'll be delivering that donation piece to the Scottish Wildcat Association in Edinburgh this summer, for purpose of auction later this year in supporting preservation and breeding programs. More on this later.
These highly elusive untamable creatures are critically endangered in Britain, and without help the purebreds in the wild may be lost forever in another ten years. About half again the size of a domestic cat and similar in appearance to a gray tabby, they are by no means anybody's housecat. Fierce and elusive, they have the reputation of being the only animal that can never be tamed. The pure bloods only number about 400 now, and can only be found in Scotland... they've been extinct from other parts of Britain for over 100 years. Their numbers are dwindling from habitat loss and from crossbreeding with feral domesticated cats. You can read much more about these beautiful felines and watch videos on the Scottish Wildcat Association website.
Tuesday, May 12, 2009
Preps for UK travel
I am a novice when it comes to travel, let's be honest. The last time I was overseas, I was active-duty in the Army, more than 20 years ago. Now here I am with a flight booked on British Airways, a passport safely tucked away, and counting down the weeks til mid July.
Back then, I was planning on being stationed in Germany. I would not sign until I had it guaranteed in my contract. Preparing for a long-term stay in a foreign country was so different then-- I bought a "Living Language" course on cassette tape to attempt to become at least partly conversational in German. I talked with friends who immigrated from Schwarzwald, and talked with others who were prior-service military, especially those who did a tour in Germany. I got on a penpal club and wrote letters with friends in Germany. I looked at atlases and familiarized myself with the country. This was all done before I even went off to basic training.
Boy, how things change!! Preparations for this trip have very little comparison to last time. The internet makes all that needed information so much quicker, easier, and more thorough. Virtually everything can be booked from the home computer. Itineraries can be plotted out via Google- one can get a sense of drive-time, alternate routes, stops along the way-- it's all pretty amazing when you think about it.
One thing I didn't have to deal with last time because I was active-duty military, was a passport. I did end up applying for one in Frankfurt back then though, and I do remember what a pain in the neck it was. Passport applications have gotten easier though. I do recommend that you fill out your application online and print it out. It'll save you SO much time when you go to your local Government office to turn it in. I showed up at the city hall about the same time as another lady who was applying for hers, but my application was all printed out and ready to go. She was still writing out all her information by the time I had paid and left the premises. If you can save yourself some hassle, it's good to do so. I applied in April, and the passport arrived on my doorstep in the first week of May. It only took four weeks to arrive.
My trip isn't until July, but I don't want to cut it close with anything. My passport's here, my flight is booked, my car is hired, and hostel beds are reserved at the beginning and the end of this journey. It's just the in-between bits I'm still sorting out-- so much to see, so little time! Where to go first!? Backpacking and camping are definitely going to happen, as are castle tours and a trip to Skye, and a whole lot of exploring by car. I'll provide more info on preps as this trip draws nearer. Hopefully I'll be able to post a bit while I'm over there. :)
Back then, I was planning on being stationed in Germany. I would not sign until I had it guaranteed in my contract. Preparing for a long-term stay in a foreign country was so different then-- I bought a "Living Language" course on cassette tape to attempt to become at least partly conversational in German. I talked with friends who immigrated from Schwarzwald, and talked with others who were prior-service military, especially those who did a tour in Germany. I got on a penpal club and wrote letters with friends in Germany. I looked at atlases and familiarized myself with the country. This was all done before I even went off to basic training.
Boy, how things change!! Preparations for this trip have very little comparison to last time. The internet makes all that needed information so much quicker, easier, and more thorough. Virtually everything can be booked from the home computer. Itineraries can be plotted out via Google- one can get a sense of drive-time, alternate routes, stops along the way-- it's all pretty amazing when you think about it.
One thing I didn't have to deal with last time because I was active-duty military, was a passport. I did end up applying for one in Frankfurt back then though, and I do remember what a pain in the neck it was. Passport applications have gotten easier though. I do recommend that you fill out your application online and print it out. It'll save you SO much time when you go to your local Government office to turn it in. I showed up at the city hall about the same time as another lady who was applying for hers, but my application was all printed out and ready to go. She was still writing out all her information by the time I had paid and left the premises. If you can save yourself some hassle, it's good to do so. I applied in April, and the passport arrived on my doorstep in the first week of May. It only took four weeks to arrive.
My trip isn't until July, but I don't want to cut it close with anything. My passport's here, my flight is booked, my car is hired, and hostel beds are reserved at the beginning and the end of this journey. It's just the in-between bits I'm still sorting out-- so much to see, so little time! Where to go first!? Backpacking and camping are definitely going to happen, as are castle tours and a trip to Skye, and a whole lot of exploring by car. I'll provide more info on preps as this trip draws nearer. Hopefully I'll be able to post a bit while I'm over there. :)
Sunday, March 01, 2009
Where am I at on those 2009 goals?
Ah yes, those goals for 2009 - the ones I said I would post, and here it is March and I haven't done that yet - oops! Even though they were not listed here (yet), I've still been doggedly chasing them.
March 1st, can you believe it's already that late in the year? We're in the final month of winter!
Bound and determined not to let all the bad stuff in the news get the better of me, I gave myself a rather ambitious list to try to conquer. Odd thing is, the ones that seemed impossible are pretty well in my pocket, while the ones that seemed rather straight-forward are proving to be more elusive. Time to get more firmly on-track.
Those Goals
1. -4 new Galleries
2. -2 solo exhibitions in 2 major NW cities
3. -75% of art income from online sales
4. -Build studio inventory to 40 pieces and maintain that number
5. -Go to Scotland! (my one high-flying dream-big goal)
6. -Build on ability in oils, increase proficiency
Now - here we are beginning Month 3 of the year, so where am I in all that? Not where I thought I would be, that's for certain! The one I thought would be inaccessible, #5 going to Scotland, is mostly in the bag. Plane tickets purchased, part of the itinerary hashed out, some friends to meet up with, spending 3 glorious weeks exploring the country. I'm not overly worried about this one any longer.
#4 inventory is proving to be a tough one to conquer. Most of what I'm doing, from January til now, is commissioned work. The few pieces that are not commissioned work that I'm working through are destined to galleries - current galleries that carry my work and galleries that have asked to carry my work. a 40-piece inventory could be the one that will remain just out of reach unless I figure out a way to feed that without neglecting galleries and commissioners.
#1 Four New Galleries. I have them in sight, they are ones who approached me. There's one in British Columbia who has the patience of a saint, but she will have her pieces soon. One in Idaho will be receiving 12, and I am struggling to supply those before the close of winter. There's a museum gift shop in New Mexico that will be carrying them as well, this Spring. There's another in Olympia, and I'm shooting for Spring with that one as well.
#2 Shows in NW Cities. I have not pressed forward with this one yet. It is completely reliant on that pesky goal #4 and getting sufficient good work to show. This one comes into play when that one gains some ground. I am scheduled, however, for a local gallery show in December - so although it's not a major city and not a solo (there will be at least two of us) it's a scheduled show.
#3 Sales mostly being from on-line. that one seems a bit sticky, doesn't it? Actually, that one is already achieved. Nearly all the work I'm doing now is commissioned pieces from folks who contact me through my website. I've laid groundwork in inbound marketing and making these visible on the internet, and have been striving to make myself findable online. So far so good. Bricks sales are not doing well right now, but people are shopping online.
#5 was the one I thought would be the most unreachable, so consequently that one's been heaviest on my mind. Because I've been thinking about it, scheming on how to pull it off, working out the steps and details to make it a reality, that is the one that is the closest to fulfillment.
So I think the lesson in that is pretty clear: nothing's unreachable if you're willing to do the work to make it happen. But you will get out of it exactly what you put into it, no more and no less. And that goes for all the goals on my list. So with that, I'm taking my hand-written list and tacking it above my art table. Every single day i will ask myself, "What will you do today to bring each one of these closer to completion?" They don't have to be big moves, even little things will bring you a little bit closer. But you can't do nothing and expect to attain something. It's just that simple.
Time to bring these other things up to par.
Thursday, February 19, 2009
make a video slideshow of your art
I've been neglecting this blog again, but trying to get better at it.
What ways have you been trying to show your artwork? Have you been attempting the social media circles, Facebook, Myspace, Twitter? How about Youtube?
I've been dabbling in all of those, and recently worked up the courage to try creating a video of sorts. I've been seeing my paintings frequently popping up in videos and slideshows, and so thought it necessary to create one so that viewers would know where to find more... many play with creating these, but don't list their image sources so it becomes a dead end for the original artist who created the work.
Shop around. There are a lot of inexpensive programs, and also free ones that do a decent job at putting together a video. I used Photo Story 3 for Windows. Yes, my computer is so old I did not have this or any other already existing on my hard-drive, I had to go out looking for it. It's a little clunky, at least on my machine. Every time I previewed the video within the platform, the playback would run at a slightly different pace and alter the timing between image and music. Once you save the video and play it back in Windows Media Player, then you can see the true timing and pace. The program also comes with a lot of transitions to play with. I only used a few, as I didn't want those to take center-stage. Keep it clean and simple.
Here's my attempt at it. The video runs a bit long, but the music fits the work well and will hopefully carry the interest through. I still have a few timing issues in there, but - it's a start!
"Painted Feathers" on YouTube
Go on - play with making a video yourself! It's a great way to show your art in a different format. Here are some things to keep in mind when doing so:
-Remember to list your pertinent info at the beginning and at the end, so that people wishing to see more can find you. If you're Youtubing it, also put that info in the video description.
-Don't get too crazy with the transitions... remember, the focus should be on your work. Keep it simple and smooth, allow the viewer to enjoy the images.
-If you're doing motions across an image, don't zoom in too tight on one part of the image... you don't want to force the viewer to look at one small part, it may not be the part they wanted to look hard at.
-If you've a wide variety of work, pick out images with a common theme and use only those. You can always make another video with another group of images.
-Select audio that really fits the mood you're trying to create. There's nothing worse than clicking into a video and being bombarded with music that absolutely Does Not Fit what's going on in the video.
-Credit your sources.
Video is becoming more and more prevalent on the internet, and a lot of hosts and platforms are now supporting it. Blogger has a video upload feature now. Homestead web hosting has also incorporated Youtube and video uploading to their website-building software. It's everywhere, and it's a great way to get your work out there. Browse around on Youtube at other artists' videos to get some ideas on presentation; you'll find a wide range of possibilities.
If I can figure out how to do it (cheaply!) I want to do a time-lapse video, showing a painted feather from start to finish. Do you have any suggestions for such a thing? if so, I'd love to hear about it.
What ways have you been trying to show your artwork? Have you been attempting the social media circles, Facebook, Myspace, Twitter? How about Youtube?
I've been dabbling in all of those, and recently worked up the courage to try creating a video of sorts. I've been seeing my paintings frequently popping up in videos and slideshows, and so thought it necessary to create one so that viewers would know where to find more... many play with creating these, but don't list their image sources so it becomes a dead end for the original artist who created the work.
Shop around. There are a lot of inexpensive programs, and also free ones that do a decent job at putting together a video. I used Photo Story 3 for Windows. Yes, my computer is so old I did not have this or any other already existing on my hard-drive, I had to go out looking for it. It's a little clunky, at least on my machine. Every time I previewed the video within the platform, the playback would run at a slightly different pace and alter the timing between image and music. Once you save the video and play it back in Windows Media Player, then you can see the true timing and pace. The program also comes with a lot of transitions to play with. I only used a few, as I didn't want those to take center-stage. Keep it clean and simple.
Here's my attempt at it. The video runs a bit long, but the music fits the work well and will hopefully carry the interest through. I still have a few timing issues in there, but - it's a start!
"Painted Feathers" on YouTube
Go on - play with making a video yourself! It's a great way to show your art in a different format. Here are some things to keep in mind when doing so:
-Remember to list your pertinent info at the beginning and at the end, so that people wishing to see more can find you. If you're Youtubing it, also put that info in the video description.
-Don't get too crazy with the transitions... remember, the focus should be on your work. Keep it simple and smooth, allow the viewer to enjoy the images.
-If you're doing motions across an image, don't zoom in too tight on one part of the image... you don't want to force the viewer to look at one small part, it may not be the part they wanted to look hard at.
-If you've a wide variety of work, pick out images with a common theme and use only those. You can always make another video with another group of images.
-Select audio that really fits the mood you're trying to create. There's nothing worse than clicking into a video and being bombarded with music that absolutely Does Not Fit what's going on in the video.
-Credit your sources.
Video is becoming more and more prevalent on the internet, and a lot of hosts and platforms are now supporting it. Blogger has a video upload feature now. Homestead web hosting has also incorporated Youtube and video uploading to their website-building software. It's everywhere, and it's a great way to get your work out there. Browse around on Youtube at other artists' videos to get some ideas on presentation; you'll find a wide range of possibilities.
If I can figure out how to do it (cheaply!) I want to do a time-lapse video, showing a painted feather from start to finish. Do you have any suggestions for such a thing? if so, I'd love to hear about it.
Saturday, January 17, 2009
Inceasing Value and Quality of Studio Time
"Bugle Call" on peacock wing feather, available at Lucas Art Gallery, Graham WA
How do you enable yourself to stay at work for long hours in isolation in your studio? Have you found means through good music, scented candles, maybe a radio show? Do you find your enthusiasm waning after several hours with no one to speak to or listen to?
It's a problem that I'm sure all of us encounter from time to time. One can only take so much isolation at work with our craft before we just have to get out, have someone to talk with, see something different. Breaking up the monotony is most definitely needed with some degree of regularity, lest the very quality of our work stagnate and grow stale.
I try to toss in variety wherever I can. During the cold, gray, dark winter months though, that can be a challenge. When the weather is bright and the days are long, a quick escape into the mountains offers immediate reprieve and refreshes the spirit - the scents on the wind, the bright sun, so many colours in nature around us. When skies turn a cold gray, though, and access to those hiking trails become challenges in their own right, not to mention the short daylight hours keeping us on shorter treks, I've turned to breaking up the monotony within the studio.
Music certainly helps a lot, and adds so much to the working environment. My tastes in music are a little obscure, centering heavily on Scots-Celtic, or Trad. The internet has made obtaining such music so very easy where it would have been nearly impossible without. A cheerful tempo comes through on the other end of one's brush and adds lively strokes to the painting itself. After a while, though, one again feels wanting... for something.
I found all new steam within audio books. This was something my husband had turned to back when he drove long-haul. Books on CD made long hours in a truck much more endurable. I thought I'd try this option in the studio. I began with "The Other Queen" by Philippa Gregory. I'm a sucker for an historic story, and was stuck between this and "Master and Commander". I must say I am amazed at how a good story well read and told can make the studio hours fly by! Even more so, at the end of the book I was amazed at the amount of production that had flown across my table!
Yes, I think I can spend the remainder of these dark months working away, and I don't think "cabin fever" is going to get the better of me as it once had. Now instead of selecting music labels, I'm also selecting book titles for studio time. I am looking forward to trips down to the library to see what sort of history books they might have on CD, or historic fiction- or any sort of adventuresome tale to liven up the work. Hmmm, a fifteen-hour book? Oh yes, I should think I can get a LOT of work done while listening to that!
Thursday, January 15, 2009
Bracing for Growth
A friend does readings that I have found to be incredibly spot-on. Occasionally she generously offers a free one-card-draw with these Balance cards that she created. The card that
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haikujaguar drew for me in her one-card draw did come as a bit of a surprise. The Sapling. It's hard to think that business growth may still be very much in its sapling stage, but it very well could be.This was her interpretation:
Wow, I almost feel sorry for you, because I drew the Sapling and that shows up at the beginning of big and lasting things, indicating that they're about to grow.
I don't know if you can handle much more growth at the rate your growth is growing!
So... um... I will look at this and say, "Please schedule in some rest time for yourself, or you will collapse in the orchard." :)
Being that business and professional pursuits were very much on my mind when I asked for a card, I can't imagine what else it would be, other than business and profession. Though I was hoping for a card that indicated travel and adventure! ;D
The best ways I can think of to be ready for further growth is improving one's workplace and streamlining how things get done.
I think that proper insulation of the studio definitely HAS to be on the must-do list sometime this year. The room is too frigid in winter to work in there, and too expensive to heat. The most I can do in there these days is stain mouldings and join frames. And that's a shame! It's a nice-sized room! Yes, must put some attention to this workspace and make it a better, more comfortable working environment.
With so many eagles and flags being requested, for veterans and for Scouts, I've gotten into the routine of having the mats, glass, and frames all ready to go - several of them - at any given time. It just makes production so much easier, because the formula for those never varies. Red and blue mats, with muted blue mat for the background; bullnose moulding, dark walnut stain. Keep it simple and straightforward, and the work-time will improve. Can't do that with everything else though, because the colours, themes, subject matter, and individual tastes are so varied! There's no buttonholing anything else. But at least with the single most popular, it's a set standard.
I haven't done it yet, but I do plan on charting incoming commissions- orientation, subject matter, customer's stats, need-by date, etc. It will be a tactile thing, hand-done on large paper and tacked to the studio wall. This is to hopefully help streamline things, but even more so to make sure that no one is missed. I'm very much a visual thinker, and if it's all drawn out and in front of me, I can more easily follow.
Email. I must apologize if I have not yet responded to your email! the holidays were overwhelming and I'm still trying to catch up. During all of last year my inbox was admittedly in a constant state of overwhelm- there were so many queries coming in as a result of that wandering painted-feathers email that I just could not get on top of it all and paint too. I'm tackling that problem.
I have divided up business emails in my inbox. I flag any email pertaining to business, from clear queries right on down to a simple friendly "hey, I like your work". All those little red flags greet me and tell me "HEY, you need to get on these!" When I respond to them, I move them to the "answered queries" folder. if I hear back from a person and it turns out that they would like to order, then that email and anything else they sent goes to the "active orders" folder. This way I can follow the conversation and keep up on the little details that they want to include in their commissioned piece.
Admittedly, it's bit cumbersome, but it's a start in organization. :)
Have you come upon any methods and techniques in dealing with business email that you've found extremely useful? If so, I'm all ears! ;D
Monday, January 05, 2009
2009 - Commit
Upon reviewing my goals for this year (which I will post later), I could see that some may be on the ambitious side. Ambitious, but certainly not impossible if the path is clear and the plans are well laid. Most are business related, but some are about personal growth and fun. In the wake of all that happened last year, I've raised the trajectory a bit higher, pushing a little further, and even shooting for something I've never done before.
With some intimidating plans in sight, how do I move forward and put it into action? If I think about one or two of these too hard, a pessimistic little voice nags at me- "What are you thinking? Aim a little lower, it'll be easier!" I start to think of all the reasons why I shouldn't try, things that could prevent any success.
Now aiming higher causes a natural hesitation in people and prevents them from proceeding - it can even cause "fear". Jack White wrote a great e-book for artists on that, called The Malady of Fear. As he has said several times, "water seeks its own level". If you want to move beyond that you have to push yourself. Don't accept "can't" and stay at your current level. As Hannah Moore once said, "Obstacles are those frightful things that you see when you take your eyes off your goal." So recognize them, but see them as hurdles to leap over or find your way around, don't look at them as brick walls preventing you from seeing your goal or from seeing the path ahead that will get you there.
I've summed up my actions on these goals this year in one word: Commit. This is most definitely an action word, one that requires strength and faith and determination. The dictionary defines "commit" in several ways, the relevant ones of which I will list and explain how I'll put them to work:
1. - to give in trust or charge; consign.
2. - to consign for preservation: to commit ideas to writing; to commit a poem to memory.
3. - to bind or obligate, as by pledge or assurance; pledge: to commit oneself to a promise; to be committed to a course of action.
4. - to do; perform; perpetrate
5. - to pledge or engage oneself: an athlete who commits to the highest standards.
I'm trusting my instincts and committing to these goals for 2009. A lot of thought and planning was put into them, and as long as I am committed to them and don't lose sight of them they can be achieved.
I have committed these ideas to writing to clarify how I'm going to get from "here" to "there". I have a cheap notebook specifically designated for that purpose. All the possibilities are jotted down when the thought occurs - any possible lead, time-frame, challenge, procedure or must-do - anything that pertains to these goals is recorded - whether by writing, drawing, pasting clips, whatever it takes to make it all very clear and to show me that these indeed are attainable.
One of my seemingly too-high-to-reach goals for this year is a trip to Scotland. Thinking on that one too hard definitely dredges up apprehensions. I've never been to the UK before. That's a long way to travel, and an expensive trip! Fear and apprehension make me want to back down, but I won't. I'm committed to it. I've already committed by ordering the event passport to The Gathering in Edinburgh. Where will I go beyond that? We shall see! But I do have a lot of ideas, and I'm building on them all the time. :)
With some intimidating plans in sight, how do I move forward and put it into action? If I think about one or two of these too hard, a pessimistic little voice nags at me- "What are you thinking? Aim a little lower, it'll be easier!" I start to think of all the reasons why I shouldn't try, things that could prevent any success.
Now aiming higher causes a natural hesitation in people and prevents them from proceeding - it can even cause "fear". Jack White wrote a great e-book for artists on that, called The Malady of Fear. As he has said several times, "water seeks its own level". If you want to move beyond that you have to push yourself. Don't accept "can't" and stay at your current level. As Hannah Moore once said, "Obstacles are those frightful things that you see when you take your eyes off your goal." So recognize them, but see them as hurdles to leap over or find your way around, don't look at them as brick walls preventing you from seeing your goal or from seeing the path ahead that will get you there.
I've summed up my actions on these goals this year in one word: Commit. This is most definitely an action word, one that requires strength and faith and determination. The dictionary defines "commit" in several ways, the relevant ones of which I will list and explain how I'll put them to work:
1. - to give in trust or charge; consign.
2. - to consign for preservation: to commit ideas to writing; to commit a poem to memory.
3. - to bind or obligate, as by pledge or assurance; pledge: to commit oneself to a promise; to be committed to a course of action.
4. - to do; perform; perpetrate
5. - to pledge or engage oneself: an athlete who commits to the highest standards.
I'm trusting my instincts and committing to these goals for 2009. A lot of thought and planning was put into them, and as long as I am committed to them and don't lose sight of them they can be achieved.
I have committed these ideas to writing to clarify how I'm going to get from "here" to "there". I have a cheap notebook specifically designated for that purpose. All the possibilities are jotted down when the thought occurs - any possible lead, time-frame, challenge, procedure or must-do - anything that pertains to these goals is recorded - whether by writing, drawing, pasting clips, whatever it takes to make it all very clear and to show me that these indeed are attainable.
One of my seemingly too-high-to-reach goals for this year is a trip to Scotland. Thinking on that one too hard definitely dredges up apprehensions. I've never been to the UK before. That's a long way to travel, and an expensive trip! Fear and apprehension make me want to back down, but I won't. I'm committed to it. I've already committed by ordering the event passport to The Gathering in Edinburgh. Where will I go beyond that? We shall see! But I do have a lot of ideas, and I'm building on them all the time. :)
Tuesday, October 21, 2008
Prints vs. Originals
I'm not yet making it to "weekly", but I'm trying. :)
I recently got in a conversation with an art publicity blogger about the necessity of good photos, the conversation being about prints and her reasoning being that good photos by a professional photographer would be the only approach to making proper prints of what I do.
My question to you is - would you be interested in purchasing a quality print of a painted feather, or do you prefer collecting the original framed artwork?
As it stands, good reproductions would be the only immediate reason I would have to invest in proper photography (aside from needed publicity material just a little further down the road). While my own photographic efforts are admittedly poor, they still seem to do their job on my website - which is show you the paintings and also give you ideas for commissions that you might like to request. My substandard photos haven't stopped the interest on the website, for many of you have requested existing paintings as well as placed requests for meaningful paintings to suit your needs. To be honest I've been painting at full-tilt all this year just to keep up.
Now I've a few artist friends who believe that prints degrade the original work, and somehow make the art trivial. Some will only sell original works in shows and galleries, and do the show circuit with a booth full or original one-of-a-kind graphites, inks, and paintings. They do quite well with heir high standard.
There is a downside to this though, as I've come to find out: if you only sell original work, your sales are limited to your speed of production. In other words, you can sell no faster and no more than you can physically paint. This is a ceiling that can only be broken through duplicity - reproductions of one kind or another.
If there is an interest in a series of reproductions, I will most definitely set to work in finding the right photographer for the job. Right after Christmas. The Christmas orders for original paintings are coming in at a steady stream, and I may have to wait for that post-holiday slack-time to do this right.
I recently got in a conversation with an art publicity blogger about the necessity of good photos, the conversation being about prints and her reasoning being that good photos by a professional photographer would be the only approach to making proper prints of what I do.
My question to you is - would you be interested in purchasing a quality print of a painted feather, or do you prefer collecting the original framed artwork?
As it stands, good reproductions would be the only immediate reason I would have to invest in proper photography (aside from needed publicity material just a little further down the road). While my own photographic efforts are admittedly poor, they still seem to do their job on my website - which is show you the paintings and also give you ideas for commissions that you might like to request. My substandard photos haven't stopped the interest on the website, for many of you have requested existing paintings as well as placed requests for meaningful paintings to suit your needs. To be honest I've been painting at full-tilt all this year just to keep up.
Now I've a few artist friends who believe that prints degrade the original work, and somehow make the art trivial. Some will only sell original works in shows and galleries, and do the show circuit with a booth full or original one-of-a-kind graphites, inks, and paintings. They do quite well with heir high standard.
There is a downside to this though, as I've come to find out: if you only sell original work, your sales are limited to your speed of production. In other words, you can sell no faster and no more than you can physically paint. This is a ceiling that can only be broken through duplicity - reproductions of one kind or another.
If there is an interest in a series of reproductions, I will most definitely set to work in finding the right photographer for the job. Right after Christmas. The Christmas orders for original paintings are coming in at a steady stream, and I may have to wait for that post-holiday slack-time to do this right.
Wednesday, October 08, 2008
Resolution
As with many wayward blogs found throughout the internet, this one was begun with the best of intentions. But as it goes with many such blogs, this endeavour was moved to the back burner to make a little more room for pressing matters.
As many of you reading this already know, my artwork received a lot of international attention this year. The results of such mountainous exposure left me scrambling over the last several months - keeping up with contacts, interviews, orders, and what subsequently ended up being an overbooking of shows and exhibitions. the show schedule was by no means too heavy when it was originally set, but it turned out that way in the wake of everything else.
That being said, no more excuses! I believe I've adjusted to the new level of things, so I will be making blog entries at least once a week.
This weekend marks the last BIG show for me this year. It's the annual national exhibition, the Fred Oldfield "Celebrate Western and Wildlife Art" show. You can read the itinerary on the events page at the Fred Oldfield Western Heritage Center's website.
I must say I am just barely prepared, having had the happy problem of keeping up with orders instead of devoting most of my time to rebuilding inventory. Although new works will be few, I will be exhibiting some pieces that go in a new direction. These incorporate lithic pieces along with the feathers in multiple object mount presentations. They are themed around particular animals, and include extra adornments such as stone and bone beads, braided horsehair, leather, and bison wool. Buffalo, obviously, is one of those new pieces - and Wolf will be the other. I've others on the table, but sadly I don't think I'll be able to have them completed and framed in time.
The next blog entry will feature the upcoming Oldfield western and wildlife show, as well as the new lithic-feather combination pieces.
As many of you reading this already know, my artwork received a lot of international attention this year. The results of such mountainous exposure left me scrambling over the last several months - keeping up with contacts, interviews, orders, and what subsequently ended up being an overbooking of shows and exhibitions. the show schedule was by no means too heavy when it was originally set, but it turned out that way in the wake of everything else.
That being said, no more excuses! I believe I've adjusted to the new level of things, so I will be making blog entries at least once a week.
This weekend marks the last BIG show for me this year. It's the annual national exhibition, the Fred Oldfield "Celebrate Western and Wildlife Art" show. You can read the itinerary on the events page at the Fred Oldfield Western Heritage Center's website.
I must say I am just barely prepared, having had the happy problem of keeping up with orders instead of devoting most of my time to rebuilding inventory. Although new works will be few, I will be exhibiting some pieces that go in a new direction. These incorporate lithic pieces along with the feathers in multiple object mount presentations. They are themed around particular animals, and include extra adornments such as stone and bone beads, braided horsehair, leather, and bison wool. Buffalo, obviously, is one of those new pieces - and Wolf will be the other. I've others on the table, but sadly I don't think I'll be able to have them completed and framed in time.
The next blog entry will feature the upcoming Oldfield western and wildlife show, as well as the new lithic-feather combination pieces.
Saturday, June 28, 2008
feather-painting article in Prague
Czech interview
This was exciting! The Blesk is a newspaper in Prague, and one of the largest papers in the Czech Republic. I was recently privileged to be interviewed by them. Sorry, the article is in Czech - I've utilized some of the online translators and they were, ... well, humourous!
The Blesk
Feathers to Australia
There has been an increase in international interest lately, including interest in purchase. That is one advantage of a weaker American dollar - one's product just becomes a little more financially friendly for others. I've received many queries throughout Australia, which prompted me to investigate the limitations in sending such items. this being on a "canvas" that is an animal byproduct, I knew that might be a concern. Australian customs has put me on the right path though, I've begun the process of permit to do so. So- if you're in Australia and have been interested, yes you can purchase one.
Wood Badgers and Boy Scouts
The next time you might be traveling down to Philmont Scout Camp in New Mexico, do stop by Cimarron Art Gallery, very near the Scout Camp itself. they specialize in a wonderful collection of Wood Badge critters in many products and lines. Very soon,they will also feature Wood Badge critters on painted feathers. Nine critters will be available for viewing, and the gallery will be happy to take orders. Because each is created upon request, there would be a 6-week turnaround. Bobwhite, Fox, Eagle, Owl, Bear, Buffalo, Antelope, or Raven will be available upon request.
New at Ocean Shores
"Patience" was delivered this week to Fusions Art Gallery in Ocean Shores, Washington. Below is a detail photo. As you look at it though, you begin to wonder... 'Patience' for whom? I got the idea for this painting down at Nisqually National Wildlife Refuge, where I spent considerable time watching the herons fish.
Fusions Gallery has recently gone through some visual changes inside and out and is looking very sharp! The website will be next up for an overhaul. Do stop in if you're headed out to the Shores, with over 80 artists on display they are well worth a visit.
This was exciting! The Blesk is a newspaper in Prague, and one of the largest papers in the Czech Republic. I was recently privileged to be interviewed by them. Sorry, the article is in Czech - I've utilized some of the online translators and they were, ... well, humourous!
The Blesk
Feathers to Australia
There has been an increase in international interest lately, including interest in purchase. That is one advantage of a weaker American dollar - one's product just becomes a little more financially friendly for others. I've received many queries throughout Australia, which prompted me to investigate the limitations in sending such items. this being on a "canvas" that is an animal byproduct, I knew that might be a concern. Australian customs has put me on the right path though, I've begun the process of permit to do so. So- if you're in Australia and have been interested, yes you can purchase one.
Wood Badgers and Boy Scouts
The next time you might be traveling down to Philmont Scout Camp in New Mexico, do stop by Cimarron Art Gallery, very near the Scout Camp itself. they specialize in a wonderful collection of Wood Badge critters in many products and lines. Very soon,they will also feature Wood Badge critters on painted feathers. Nine critters will be available for viewing, and the gallery will be happy to take orders. Because each is created upon request, there would be a 6-week turnaround. Bobwhite, Fox, Eagle, Owl, Bear, Buffalo, Antelope, or Raven will be available upon request.
New at Ocean Shores
"Patience" was delivered this week to Fusions Art Gallery in Ocean Shores, Washington. Below is a detail photo. As you look at it though, you begin to wonder... 'Patience' for whom? I got the idea for this painting down at Nisqually National Wildlife Refuge, where I spent considerable time watching the herons fish.
Fusions Gallery has recently gone through some visual changes inside and out and is looking very sharp! The website will be next up for an overhaul. Do stop in if you're headed out to the Shores, with over 80 artists on display they are well worth a visit.
Sunday, April 06, 2008
Artists of the West - due out in May!
The coffee table book, "Artists of the West", should be available in about six weeks or so. Cameron Blagg has been working tirelessly on this, and it will have considerably more artists within than its predecessor, "Northwest Artists".
I'll have a page in "artists of the West". I have the proof in PDF format, so if you'd like to see my page, you can view it here.
Ocean Shores Annual Art Show
April 11 - 13, 2008 Ocean Shores, WA
I'll be doing demos in Artists In Action at this event. Initially I was going to be doing demos at Fusions Art Gallery that weekend, but the owners encouraged me to do the show instead. It's an indoor venue at the Convention Center, should be a lot of fun! Do check out Fusions when you're in town, it's a very dynamic gallery with a wonderful variety - well worth the stop!
I'll have a page in "artists of the West". I have the proof in PDF format, so if you'd like to see my page, you can view it here.
Ocean Shores Annual Art Show
April 11 - 13, 2008 Ocean Shores, WA
I'll be doing demos in Artists In Action at this event. Initially I was going to be doing demos at Fusions Art Gallery that weekend, but the owners encouraged me to do the show instead. It's an indoor venue at the Convention Center, should be a lot of fun! Do check out Fusions when you're in town, it's a very dynamic gallery with a wonderful variety - well worth the stop!
Wednesday, July 25, 2007
Westport Art Festival - Aug. 18-19
The poster has finally arrived! This year's featured artists are Karen Lucas, Cameron Blagg, Mark Hoppmann, and myself.
"Cormorants", my feather featured on this poster, *will* be on display at the show - we have been careful not to let that one find a home before the festival. So if you would like to purchase a one-of-a-kind original painting that has been featured on an art festival poster, here's an opportunity!
We are, however, still waiting on postcards. They will be similar to the poster. We're all a little concerned, because they were due at Lucas Art Gallery last week but seem to have fallen into the Postal Service Black Hole. Knocking on wood, and hoping they arrive within the next couple of days... I have 200 postcard stamps just waiting for them.
In the meantime, I will be hanging this poster at the Coupeville Arts and Crafts Festival. That event takes place the weekend before Westport. August is going to be a very busy month!
Wednesday, July 11, 2007
ACEO Cards
Art Cards, Editions, Originals. It's a fun concept, and gives artists a chance to try new things - albeit in a tiny format. These cards are only 2-1/2" x 3-1/2", the standard trading card size, and fit nicely in sports-card sleeves. I have begun playing with production in these, and I must say they are really fun to do!
I've a few up on Ebay at the moment. My favorite in this batch has to be the Tlingit-style wolf, which you see here. Keep in mind the size, there's a lot of detail on this one.
For more of these little cards, go here.
Monday, June 18, 2007
Heavenly fragrance
I knocked the back of a hatchet with the back of an axe, and split into that big red cedar crosscut that I've had in my yard for the past year. I was pleased to see a trickle of water seeping from the cut as I forced the hatchet's blade deeper into the wood.
"Good," I thought. "Still good and green." It is important to keep the wood wet when working with traditional PNW tools and methods-- these were designed for wet wood. Puget Sound's weather did most of that for me, but there were a few times last summer when I hosed this wood down. One more hard blow, resulting in a sharp *CRACK!* as the cedar broke open cleanly and evenly. No wonder this wood is so utilized and so prized. The Tree of Life. The grain is straight, but it's coarse, not tight- a male tree.
I plunked two nice little hunks into a bucket of water on my patio under the deck. One will become a frontlet, and the other is yet to be decided. The fragrance of fresh-cut cedar fills my back yard. I've left my studio door open to enjoy that fragrance even more-- there is nothing on earth to equal the scent of fresh-cut cedar. The bucket sits next to a bag of rawhide, which waits to be turned into drums and other things. Should be a productive summer.
"Good," I thought. "Still good and green." It is important to keep the wood wet when working with traditional PNW tools and methods-- these were designed for wet wood. Puget Sound's weather did most of that for me, but there were a few times last summer when I hosed this wood down. One more hard blow, resulting in a sharp *CRACK!* as the cedar broke open cleanly and evenly. No wonder this wood is so utilized and so prized. The Tree of Life. The grain is straight, but it's coarse, not tight- a male tree.
I plunked two nice little hunks into a bucket of water on my patio under the deck. One will become a frontlet, and the other is yet to be decided. The fragrance of fresh-cut cedar fills my back yard. I've left my studio door open to enjoy that fragrance even more-- there is nothing on earth to equal the scent of fresh-cut cedar. The bucket sits next to a bag of rawhide, which waits to be turned into drums and other things. Should be a productive summer.
Tuesday, May 15, 2007
Tuesday, April 24, 2007
Order of the Arrow, Pt. 2
JOURNEY
This one was created for the purpose of fundraiser auction, to support the Conclave program for Section W1B. This will help fund program and events for next year's Conclave. Available for bid in Anchorage Alaska, W1B Conclave this coming weekend.
feather art
Order of the Arrow
This one was ordered for our Section's Chief, so the orca is appropriate. Look closely and you'll see the arrow and the "WWW" on the quill. Framed in black moulding with a dusty blue suede topmat, this piece will be on its way to Alaska this week.
art business - pricing
This came from Alyson Stanfield's blog entry. Short, to the point. -and very true!
---------------
"The golden rule for pricing your art is . . .
Start low and go from there.
If you’re too high and later have to lower your prices, you appear unsuccessful and you also tick off anyone who purchased your work at higher prices. "
--------------
Let me elaborate on this one from an art show standpoint--
I've watched artists at shows ( not this last one, these artists know better than that!) who get very discouraged at the end of a show because they did not do as well as they anticipated. So what do they do? They knock 10% - 20% off their prices on the last day! On top of that, some will even call that out to passersby: "20% off! This day only!" I rarely see people flock to that artist for a "bargain" when said artist does that. The truth of the matter is, that artist just succeeded in losing his credibility, his prestige, and possibly the respect of the customers. What happens when he returns to that show next year? Will the patrons remember the beautiful piece they had their eye on the previous year (that DOES happen!), or will they wait til Sunday because he's probably going to drop his prices? Or will they determine that he doesn't know what he's worth, he's not successful because he keeps changing his prices, and not buy from him at all because at this rate he might not even be around in a year or two?
Patrons won't buy from you just to have your art because you may not be around much longer. Patrons want you to be successful. They want to own a piece from an artist who they think is going somewhere. They don't want to pity you, they want to see your confidence! Don't sell yourself short. Don't drop your prices to try to bring in sales. And by all means, remember to keep your pricing consistant - in the gallery, in the show, and in the studio!
---------------
"The golden rule for pricing your art is . . .
Start low and go from there.
If you’re too high and later have to lower your prices, you appear unsuccessful and you also tick off anyone who purchased your work at higher prices. "
--------------
Let me elaborate on this one from an art show standpoint--
I've watched artists at shows ( not this last one, these artists know better than that!) who get very discouraged at the end of a show because they did not do as well as they anticipated. So what do they do? They knock 10% - 20% off their prices on the last day! On top of that, some will even call that out to passersby: "20% off! This day only!" I rarely see people flock to that artist for a "bargain" when said artist does that. The truth of the matter is, that artist just succeeded in losing his credibility, his prestige, and possibly the respect of the customers. What happens when he returns to that show next year? Will the patrons remember the beautiful piece they had their eye on the previous year (that DOES happen!), or will they wait til Sunday because he's probably going to drop his prices? Or will they determine that he doesn't know what he's worth, he's not successful because he keeps changing his prices, and not buy from him at all because at this rate he might not even be around in a year or two?
Patrons won't buy from you just to have your art because you may not be around much longer. Patrons want you to be successful. They want to own a piece from an artist who they think is going somewhere. They don't want to pity you, they want to see your confidence! Don't sell yourself short. Don't drop your prices to try to bring in sales. And by all means, remember to keep your pricing consistant - in the gallery, in the show, and in the studio!
Thursday, April 19, 2007
Wood Duck
Wood Duck
This is the last one I was able to complete before the Fair - a drake paddling contentedly on a quiet pond. I left the water effects dark and subtle, because the feather created so many water effects all on its own.
Spring Fair, Puyallup WA
If you happen to be going to the Puyallup Spring Fair here in western WA, please look me up! I will NOT be in Artists In Action like I was last Spring. This year I will be amongst several artists exhibiting in the Fred Oldfield Western Heritage Center. For those unfamiliar, that is the mustard-colored building just inside the Red gate. We have a full house in there! Nestled amongst the museum's antiques and artifacts are artists booths and walls of all shapes and sizes. Other artists exhibiting are Paul Langston, Judy Sleight, Karen Lucas, Dick Oldfield, Mark Hoppmann, Peggu Rowe, Hulan Fleming, Katherine Caughey, and Aletha Deuel - and of course, fred Oldfield himself.
Hours:
Thursday, April 19; 3pm - 10pm
Fri & Sat, April 20 - 21; 10am - 10pm
Sunday, April 22; 10am - 3pm
The Fair itself will continue going on Sunday til 7pm.
Quick Draws
Come watch us pull our hair out as we frantically work to create a piece of art in one hour's time! We begin this at 5pm on Friday and Saturday. The results of this toil will go through live auction at 6pm on Friday and Saturday. This is a great opprotunity to own an original work of art that you could watch being created.
Live entertainment
Musician Don Allard will be performing throughout Friday, Saturday, and Sunday. We will also be treated to Western music and poetry by the Rockin' HW on these days.
It's going to be a busy four days!
Thursday, April 12, 2007
Pheasants
Ringneck Pheasant Pair
More experimentation with heritage turkey feathers. I like how those of the Royal Palm turkey are so very similar in coloring to the flight feathers of a male pheasant.
This was scanned on Bainbridge's dusk suede. I may try simple photography and see if those results come out any better.
Wednesday, April 11, 2007
How's Your Body?
...body of work, that is.
As we gear up for the deluge of art shows, festivals, and competitions that fill up the warmer months, we should always have an eye out for the next potential gallery representation. Usually it is best to approach these in Spring-- especially in areas prone to tourism-- before the high traffic hits the local businesses. When you do so, make sure your body of work is up to snuff. Author Robert Regis Dvorak puts it very well in his book:
Selling Art 101
----------------
Body of Work
"If you are an artist who wants to sell your work, you need to have a body of work-- a number of paintings, prints, sculpture pieces, whatever you do, at minimum 12 to 20 pieces-- that look like they were done by the same person, all are about the same size, all are in the same medium, all are completed, and all have a contextual theme. Don't even attempt to go to an art gallery in search of representation unless you have that. Do not take an assortment of media, thinking that you will impress the gallery owner by your range of talent and skill. The work that you will show must be of the highest calibre-- only your very best work. Don't risk showing secondrate work.
"Think of the painters and sculptors who are well known-- Georgia O'Keefe, Mark Rothko, Willem De Kooning, Robert Rauschenberg, Helen Frankenthaler, Henry Moore, Andy Warhol, Alberto Giacometti, J.M.W. Turner. Each artist's work has unique subject matter, is consistent in medium, and has a contextual theme.
"Art Dealers are looking for new work. Do not imitate the success of others. If a dealer or critic sees a resemblance to another artist, you are not welcome. You may borrow knowledge and information, but you must do your own work.
"When you have a body of work and feel psychologically prepared to sell, be very discriminating. Pick your best, most original creative works and go for it!"
-----------
Good advice. Good book, too.
Don't ever try to put the cart before the horse and think that oh, a half dozen will be good enough to get your foot in the door. While your work may be consistent and in keeping with the same theme, your prospective gallery representative may single one particular piece out and say, "I like this one. Do you have any more like this?" You don't EVER want to have to say, "This is all the work I have!" Make sure you have ample work.
It is also a good idea to have an ample amount of your artwork available for viewing online, sold works and current works. I have picked up gallery representation by way of works displayed on my website, but I have always had an adequate amount of work available or accessable when the gallery owner wants to personally see more.
The best rule of thumb is, do not set out looking unless you have those 12 to 20 pieces. The size of your works may also influence how many you'll need. If you work in a small scale like I do, you'll want to have at least 18 - 20. Just consider what it would take to dress out a 10 by 10 booth and you should be fine.
As we gear up for the deluge of art shows, festivals, and competitions that fill up the warmer months, we should always have an eye out for the next potential gallery representation. Usually it is best to approach these in Spring-- especially in areas prone to tourism-- before the high traffic hits the local businesses. When you do so, make sure your body of work is up to snuff. Author Robert Regis Dvorak puts it very well in his book:
Selling Art 101
----------------
Body of Work
"If you are an artist who wants to sell your work, you need to have a body of work-- a number of paintings, prints, sculpture pieces, whatever you do, at minimum 12 to 20 pieces-- that look like they were done by the same person, all are about the same size, all are in the same medium, all are completed, and all have a contextual theme. Don't even attempt to go to an art gallery in search of representation unless you have that. Do not take an assortment of media, thinking that you will impress the gallery owner by your range of talent and skill. The work that you will show must be of the highest calibre-- only your very best work. Don't risk showing secondrate work.
"Think of the painters and sculptors who are well known-- Georgia O'Keefe, Mark Rothko, Willem De Kooning, Robert Rauschenberg, Helen Frankenthaler, Henry Moore, Andy Warhol, Alberto Giacometti, J.M.W. Turner. Each artist's work has unique subject matter, is consistent in medium, and has a contextual theme.
"Art Dealers are looking for new work. Do not imitate the success of others. If a dealer or critic sees a resemblance to another artist, you are not welcome. You may borrow knowledge and information, but you must do your own work.
"When you have a body of work and feel psychologically prepared to sell, be very discriminating. Pick your best, most original creative works and go for it!"
-----------
Good advice. Good book, too.
Don't ever try to put the cart before the horse and think that oh, a half dozen will be good enough to get your foot in the door. While your work may be consistent and in keeping with the same theme, your prospective gallery representative may single one particular piece out and say, "I like this one. Do you have any more like this?" You don't EVER want to have to say, "This is all the work I have!" Make sure you have ample work.
It is also a good idea to have an ample amount of your artwork available for viewing online, sold works and current works. I have picked up gallery representation by way of works displayed on my website, but I have always had an adequate amount of work available or accessable when the gallery owner wants to personally see more.
The best rule of thumb is, do not set out looking unless you have those 12 to 20 pieces. The size of your works may also influence how many you'll need. If you work in a small scale like I do, you'll want to have at least 18 - 20. Just consider what it would take to dress out a 10 by 10 booth and you should be fine.
Sunday, April 08, 2007
Kingfisher
Kingfisher ~on Peacock wingfeather~
These bold little guys are so full of personality and so much fun to watch when they fish.
Saturday, April 07, 2007
a little Skunk...
Skunk ~ on Royal Palm turkey feather~
What's not to love about a cute little skunk? As adorable as these little guys are, you just don't see them at wildlife art shows. As a matter of fact, I'm willing to bet this will be the only skunk at the upcoming show.
I will be framing this with Bainbridge's Rosewood (seen here), and Thistle on top. So far, this is the smallest feather I'll have on exhibit - from tip to tip it's only 9 inches.
Friday, April 06, 2007
Sockeye Salmon
...and the river turns red with migrating fish.
Some sockeye salmon urgently heading upstream to the place of their birth, to begin the cycle anew. Peahen wingfeather. I like how the subtle mottling along the edge of the feather looks so much like sunlight filtering through ripples on the water's surface. I used a slightly stylized version of salmon in this one. This will be available at the Fred Oldfield Western Heritage Center's art show during the Puyallup WA Spring Fair, Aprill 19 - 22.
Wednesday, April 04, 2007
Dall's Ewe & Lamb
Dall's Ewe and Lamb
on mottled hybrid turkey feather
I attempted scanning this in with Bainbridge's Dusk suede matboard behind it. Although the feather itself is still flattened more than it would ever be framed, I wanted to preserve the downy strands of feather at the base. Turkey feathers are a lot fluffier than peacock feathers, Ive learned. I may or may not use Dusk behind it in the actual framing, I haven't decided yet.
One drawback to scanning on matboard is the scanner's light is so brilliant and the items scanned are so flat, I lose all sense of depth - there is no cast shadow. But it will have to do for now. The originals always look so much better.
I'm painting like a mad woman in preparation for this show, once again risking burning myself out. I have a mere two weeks to have all inventory completed and framed. My hanging space will be smaller than the usual 10X10 booth I have at most shows. Instead I will be utilizing one of the wooden walls inside the Western Heritage Center. These works I'm finishing up should fill that out nicely.
Keep an eye on this blog, as more paintings that will be available at the Fred Oldfield Western Heritage Center will find their way here regularly between now and the Puyallup Spring Fair on April 19th.
Thursday, March 29, 2007
Redtail Hawk at Tablerock
This was requested as a wedding gift. The redtail and the location have special meaning to the recipients. The mats were scanned in and placed with Photoshop to show how they'd look with the feather, but we ended up going with a darker red-orange (Bainbridge's "chaps") for the second mat.
Wednesday, March 28, 2007
Puyallup Spring Fair
Puyallup Spring Fair at the Oldfield Western Heritage Center!
I'm going to jump in and try doing a postcard to advertise. This is new to me, I haven't tried it before. Got Print makes it easy to give it a test drive though... you can order as few as 250, but I've ordered 500. I'll go through them, I have a pretty good mailing list. I created these in Photoshop by way of GotPrint's template. I wanted to go with humorous/fun, and I think this will fit the bill.
There was a lot of info to put on the back, it took some creative editing to get the most important times and dates in there. One concern with mailings, postcards, etc. is the accidental placement in the circular-file when it arrives in mailboxes. I'm told that one way to avoid that is the day that one mails the cards. I was told by a savvy artist to mail on Tuesdays or Wednesdays so the mailings will likely arrive to their recipients on Friday or Saturday. The reason for this being that Mondays and Tuesdays tend to see a glut in mailers , ads and circulars, while the week's end tends to be very light in comparison. I've been watching my incoming mail and have found that he is right - at least in my area. Your area's mileage may vary.
This shipment of cards is going to be delivered most likely on Friday. You know how I'll be spending much of my Easter weekend!
Friday, March 23, 2007
*WHEW!*
Ok, for the most part it's up! The website overhaul has progressed enough that I felt comfortable publishing. I still have a lot to do, but I should be completely finished in a few days. Woohoo!
Featherlady Studio
Featherlady Studio
supporting the galleries
I've got several shows coming up all around Western WA - actually I'm looking at a minimum of one a month from April through October, which is the most rigorous schedule I've put on myself yet. Most of these shows are within reasonable proximity to at least one gallery who carries my paintings.
Much preparation to be done! It's been a very busy year, more so than I've seen yet, and as a result my inventory is not as high as I would like. That's ok, I'll get there - I have a month before the first of these shows.
Part of my preparation is getting with each gallery who represents me, and getting a stack of their business cards। When I set up the table in the center of the back wall in my booth, it contains my brochures, my business cards, a guestbook, a couple of WIP's, some unpainted feathers for kids to touch... and lots of gallery business cards.
I keep the business cards of all galleries in the region in a tidy little rack in a prominant place. I let local patrons know that they can also find my paintings in these galleries nearby। I make sure I have a list of what that gallery has, so in the event that a patron is looking for a specific animal that I do not have or no longer have in my booth, I can cheerfully tell them that so-and-so has a feather with that animal in their gallery, and I describe it to them, and describe the gallery and its location if they are unfamiliar. There have been a couple of cases where the patron exclaims, "Oh, I didn't know there was a gallery there!", which is good for the gallery because I've just pointed a new visitor in their direction. It's good for me because they'll be very likely on the lookout for painted feathers when they do visit that gallery. I've seen some gallery sales that way. It's good for the patron because now they know where to find my work, they don't have to wait for next year's show - they may also have a new venue on their list of galleries to explore.
And I always, ALWAYS keep the prices consistent: at the gallery, at the show, in the studio. One should NEVER undersell a representing gallery, it's just bad form all around.
Much preparation to be done! It's been a very busy year, more so than I've seen yet, and as a result my inventory is not as high as I would like. That's ok, I'll get there - I have a month before the first of these shows.
Part of my preparation is getting with each gallery who represents me, and getting a stack of their business cards। When I set up the table in the center of the back wall in my booth, it contains my brochures, my business cards, a guestbook, a couple of WIP's, some unpainted feathers for kids to touch... and lots of gallery business cards.
I keep the business cards of all galleries in the region in a tidy little rack in a prominant place. I let local patrons know that they can also find my paintings in these galleries nearby। I make sure I have a list of what that gallery has, so in the event that a patron is looking for a specific animal that I do not have or no longer have in my booth, I can cheerfully tell them that so-and-so has a feather with that animal in their gallery, and I describe it to them, and describe the gallery and its location if they are unfamiliar. There have been a couple of cases where the patron exclaims, "Oh, I didn't know there was a gallery there!", which is good for the gallery because I've just pointed a new visitor in their direction. It's good for me because they'll be very likely on the lookout for painted feathers when they do visit that gallery. I've seen some gallery sales that way. It's good for the patron because now they know where to find my work, they don't have to wait for next year's show - they may also have a new venue on their list of galleries to explore.
And I always, ALWAYS keep the prices consistent: at the gallery, at the show, in the studio. One should NEVER undersell a representing gallery, it's just bad form all around.
Wednesday, March 21, 2007
Website progressions
I'm not publishing yet, it's going to be a while! But I did want to put up this screencap of the new links page. It's settled, that's the way the links bar is going to be.
The photo inclusion was via a suggestion from a friend of mine. I was showing off some turkey feathers I had recently procured, so I took a snapshot of them all laid out on my button blanket (which is under construction, hence all the basting stitches). She said, "Oh, you should put that on the website!" She was right, I think it looks pretty cool there. Those turkey feathers are going to be a LOT of fun to work with!
Tuesday, March 20, 2007
Commission completed and received
Yes, it is a very familiar scene. And I had a lot of fun doing it. This was a special birthday request for a lady who collects End of the Trail. The style and color palette were not my usual, which made it even more fun and challenging. I hope it goes well with the rest of her collection!
Website remodeling
It has come to my attention lately that my website lacks.... professionalism? Polish? Continuity? Ease of use? Oh let's face it, it looks like a great big mess put together by a hobbyist. Because it is. I first built the site a number of years ago and kept the same look, so it has that dated feel. The way it was laid out was adequate for showing a bit of work, but I kept the same format and just kept piling more work into it. It has grown so much that the beast has become unwieldy indeed. By every right and appearance it looks like an ameteur did it - that just won't do, not for a professional art site. Time to roll up my sleeves, bite the bullet...
I have factors working against me. I am technologically-inept. The site content is HUGE. It was put together with a WYSIWIG program. My time is limited. I can't afford/don't want to pay for a professional web designer.
So I've been looking at a LOT of art sites and their layouts. I'll take an appealing page into MS Word, and rework it. Change the colors, the table/cell sizes, create the necessary graphics I'll need for my own, add elements I've seen on other pages that I like and want to incorporate into my own format. I've got a start on a design I kinda like. It needs further tweaking, such as reducing the nav bar/title-logo occupation as they take up too much room on top. It's a drastic change from what my site has been for the past.... 6 or 7 years? Hey, I'm overdue! This change won't be immediate, it's going to take a LOT of time and work. I won't drop older works, they will be archived and available on the site.
T'ain't easy, but I'm learning a lot as I go.
If anyone would like to chime in with an opinion or a critique, such information would be heartily welcomed.
Monday, March 19, 2007
New canvas!
Spring Calf
I have new "canvases" to play with! Just about everything over the 17 years I've been painting feathers has been on peafowl plumage, male and female. I now have a nice little collection of Royal Palm turkey feathers to try things on. I love how the natural patterns of this feather elude to an intended background, and many people see different things with it - high cirrus clouds, a snowy mountain, rolling hills... each mind interprets it differently, which adds to the fun of the image.
Explorations in cedar
BSA DIstrict Awards
It was so much fun having a part in these! I was on the District Awards Committee, and part of the creation of the awards. A *very* talented Assistant Scoutmaster made all of these from a lot of cedar boards that he had onhand, and designed and created the patches. My task was painting the PNW Flat Design on all.
There were 10 paddles (sorry for the blurry pic), each unique in size and shape, so each received its own unique painting - there was Salmon, Raven, Sea Monster, Halibut, and so much more. With each paddle I became more and more comfortable with the process. The other two photos show two sides of one box. There were several boxes. This particular box told the story of Raven Steals the Sun; you'll recognize the lid design from a previous work I did on paper. Moon is seen on one of the panels, and Sun (not shown), is on the other. I kept Moon's features soft and basic, and very much in contrast to Sun's features, which were highly detailed, more angular, and also giving him a hooked beaklike nose. Personalities along the lines of the contrast between sunlight and moonlight, I suppose.
Upon arrival, most of the awards were decorated even further with wrapped feathers, which really set them off. In all, it was a neat proceeding, well organized, flowed well, great dinner, and most importantly, most of the recipients were present. A great evening, and I hope it all encourages a higher attendance next year.
I don't think any BSA District in all of Western WA has done District Awards like these! Lots of fun, and I hope to be involved again next year.
Friday, March 02, 2007
Many brands on the coals...
I've not been posting much here lately, but it's with good reason. I've been pulled in many directions over the last couple of months, some in art and business and some in Scouting.
I've recently had to make a decision to cut something out. I had to step down as Cubmaster. It was a hard decision, as I've been with that unit for 6 years, since my younger son joined Scouting as a Tiger Cub. He advanced on up to Troop last year, though, but I was still in a leadership position with the Pack. Two sons in two Troops. Art business that has suddenly taken off this year at a much greater rate than I anticipated. Involvement with local arts communities to network and to find opportunities. My family was not seeing enough of me either - something had to give. I know the Pack willl do fine without me, it's just a matter of adjustment and other parents stepping up. That position needs to be filled by a parent who has a son there, not by someone trying to be active at Troop level too.
So now I'm playing catch-up. I've several commissions to fill, I'm mustering art to hang in a local restaurant, I've a big show at the Fair next month to prepare for. And I'm working on awards for an all-too-quickly-approaching BSA District Awards Banquet. These awards are very unusual and pretty cool. The idea grew from paddle-making which I put an OA youth onto up at Camp Black Mountain last summer. That and aspirations to learn steam-bending cedar - which we still want to do, just to be able to teach to youth. These awards are a joint effort - a talented craftsman of a Scouter built them. I'm painting them with PNW Flat Design. Then four of us will get together and finish the decorating andadornments. District has *never* seen awards like these!
After Banquet, I will post photos. I wouldn't want to give away the surprises before the event. I must say though-- I feel like I'm getting ready for a Potlatch!
I've recently had to make a decision to cut something out. I had to step down as Cubmaster. It was a hard decision, as I've been with that unit for 6 years, since my younger son joined Scouting as a Tiger Cub. He advanced on up to Troop last year, though, but I was still in a leadership position with the Pack. Two sons in two Troops. Art business that has suddenly taken off this year at a much greater rate than I anticipated. Involvement with local arts communities to network and to find opportunities. My family was not seeing enough of me either - something had to give. I know the Pack willl do fine without me, it's just a matter of adjustment and other parents stepping up. That position needs to be filled by a parent who has a son there, not by someone trying to be active at Troop level too.
So now I'm playing catch-up. I've several commissions to fill, I'm mustering art to hang in a local restaurant, I've a big show at the Fair next month to prepare for. And I'm working on awards for an all-too-quickly-approaching BSA District Awards Banquet. These awards are very unusual and pretty cool. The idea grew from paddle-making which I put an OA youth onto up at Camp Black Mountain last summer. That and aspirations to learn steam-bending cedar - which we still want to do, just to be able to teach to youth. These awards are a joint effort - a talented craftsman of a Scouter built them. I'm painting them with PNW Flat Design. Then four of us will get together and finish the decorating andadornments. District has *never* seen awards like these!
After Banquet, I will post photos. I wouldn't want to give away the surprises before the event. I must say though-- I feel like I'm getting ready for a Potlatch!
Sunday, February 25, 2007
Treefrog
Tree Frog with PNW accompaniment
I'm having a lot of fun with frogs lately. This one is available at Lucas Art Gallery in Graham WA.
Wednesday, February 21, 2007
Feather for a Woodbadger
For those of you less familiar with the Boy Scout Leadership training, Woodbadge is some of the best adult leadership training the BSA offers. The training is comparable to business leadership and team-building training that one would find in the corporate world. A Woodbadge class is broken down into Patrols, like a Boy Scout Troop: Beavers, Bobwhites, Foxes, Eagles, Owls, Bears, Buffalo, and Antelope. At the completion of the training, the individuals must then complete a series of goals geared towards his or her position in Scouting. Once this is accomplished, the individual heceives a formal Beading ceremony.
This feather was ordered for a Bobwhite's Beading, which takes place this Saturday.
The feather's natural striping made for some very interesting cloud effects. I'm happy with the interest, color, and sense of depth the Beach Peas in the forground provided. I may be using Beach Peas in a seascape format again soon.
Monday, February 19, 2007
Bison
"Duel"
A new feather available at Lucas Art Gallery in Graham, WA.
There will be a Grand reopening of the gallery on March 3rd, to celebrate the completion of the big gallery remodel project. This promises to be a lot of fun, with many artists and patrons onhand.
Monday, February 05, 2007
Commission, completed and approved
I *LOVE* doing these for Scouts! This eagle will soon cross the continent for an Eagle Court of Honor.
Friday, February 02, 2007
Boothspace
My boothspace is forever undergoing subtle evolutions. I always use the ivy garlands now, I like the way they soften those hard lines of the gridwall. I haven't decided yet if I prefer the sheets in front of the grids or behind. The table on the right is where I work -- doing demos throughout a show is great advertising and does wonders to help encourage people into my booth and ask questions. Since doing those high-pressure Quickdraws at Western and Wildlife shows, I don't mind at all when people watch me work or ask questions - as a matter of fact, I enjoy it! Especially kids. Kids are so inquisitive, and love to look through the desktop magnifier to see a current featherwork really close. I'm sure this space will undergo many more changes as I learn, but for now this setup works pretty well.
Thursday, February 01, 2007
Gallery rotations: keep it fresh!
Something struck me at Bonnie Kahn's Wild West Gallery. When we talked over the matters of my exhibiting there and she selected the works she wanted to start with, she said something I had not heard a gallery owner say before: that she keeps all artwork on a 3-month rotation. Now this is Gallery #7 that I have signed on with, and it's the first time I've heard of one doing that. What a novel idea! I'm sure many others do it, I just haven't encountered it before.
And when you think about it, it only makes sense. If something isn't moving at a particular venue over a period of time, the chances of it moving at all begin to deteriorate. Patrons will get bored looking at it. They may even deem that the artist is not very collectible if the same art is hanging there in the same place, month after month. And if the gallery has many such artists who have works that aren't moving, there will be less draw for the patrons to come in and visit at all.
I have made it a practice to rotate works in and out of galleries. I'll be honest, sometimes these rotations of mine coincide with big shows or back-to-back shows, with a panicked me trying to fill my booth, and then afterwards bringing works back to the galleries from which I borrowed, and having them hand-pick what they wish to display. But whether it's a matter of borrowing for shows or a simple matter of rotation, the end results are the same: the works are swapped regularly, and what I have on display at each venue stays fresh.
If something doesn't move at one venue, it very well may move quickly at another. It really all depends on the audience. I've learned that while generalities work to an extent, when it comes right down to individual subject matter there just isn't any way to guess what will attract whom. there is no science, only educated guesses.
So keeping to a regular rotation of one's work benefits all - the artist, the gallery, and the patron. Keep it fresh!
And when you think about it, it only makes sense. If something isn't moving at a particular venue over a period of time, the chances of it moving at all begin to deteriorate. Patrons will get bored looking at it. They may even deem that the artist is not very collectible if the same art is hanging there in the same place, month after month. And if the gallery has many such artists who have works that aren't moving, there will be less draw for the patrons to come in and visit at all.
I have made it a practice to rotate works in and out of galleries. I'll be honest, sometimes these rotations of mine coincide with big shows or back-to-back shows, with a panicked me trying to fill my booth, and then afterwards bringing works back to the galleries from which I borrowed, and having them hand-pick what they wish to display. But whether it's a matter of borrowing for shows or a simple matter of rotation, the end results are the same: the works are swapped regularly, and what I have on display at each venue stays fresh.
If something doesn't move at one venue, it very well may move quickly at another. It really all depends on the audience. I've learned that while generalities work to an extent, when it comes right down to individual subject matter there just isn't any way to guess what will attract whom. there is no science, only educated guesses.
So keeping to a regular rotation of one's work benefits all - the artist, the gallery, and the patron. Keep it fresh!
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