Cons of Day job Artists

Last we looked at the “6 Pros: Day-Job for Artists” this time we will look at the cons.

  1. Energy – As we get older our energy is limited. If you use it up at your day-job, there is nothing left for your art.
  2. Time – A day-job can eat up your time, especially if you take your work home with you mentally.
  3. Commitment – Having a day-job is seen as not having a true commitment to your calling as an artist.
  4. Quality – Both  day-job and art can suffer by spreading yourself too thin and not being fully focusing on either.
  5. Rut – Being in a tough routine can wipe you out both mentally and physically can make your creativity stifled.
  6. Security – It can be easy to get used to the illusion of security of a day-job, making it easy for one to loose their identity as an artist all-together.

Least we forget we are not alone in the struggle, a number of successful artists have also juggled a 9-5 quandary at one time or another.

Famous Day-Jobs:

  • William Faulkner wrote “As I Lay Dying” in the afternoon before working at night as a supervisor at a University Power Plant.
  • Joseph Heller (Author of “Catch 22”) Did magazine advertising by day and was a write by night.
  • Joseph Cornell (artist and sculptor) worked 9-5 in a Manhattan Textile studio.
  • Keith Haring worked as a busboy.
  • Jasper Johns was employed as a bookstore clerk to make ends meet.

 

Pros of a day job for artists

The reality is most artist work a day-job of one kind or another. Finances, time management and self expression require continual juggling. The myth of the artist working as he or she chooses, not needing to concern themselves with finances and always staying creatively challenged, is difficult in reality.

In the next two posts I will explore the pros and cons faced by artists in having a day-job. First let’s look at the pros:

  1. Schedule – Working around a day-job schedule forces you to focus in on what is most important in your art. You tend to waste less time on things that do not matter to the big picture.
  2. Inspiration – The people and events that you are a part of give inspiration you would not otherwise have. The fact is if you work with the public much you will find yourself often saying, “You just can NOT make this stuff up!”.
  3. Interaction – Working as an artist can be a solitary act. Working a day-job forces you to interact face-to-face with other breathing humans.
  4. Equipment – If you are fortunate you will have equipment openly available to you that you could not afford on your own.
  5. Financial Freedom – When you do not need to worry about a roof over your head because the day-job finances it, you feel freer to explore your creative options. That less than desirable commission can be turned down in favor of pursuing your own projects.
  6. Benefits – Insurance, vacation, sick leave and paid training can be difficult to come by when you work exclusively on your art. If you work it right you can use this paid time to your advantage.

To have a day-job can be a tough personal choice, one that needs to be weighed by an individuals situation. Next we will explore the cons.

 

So supposedly the ideal image to have on Pinterest for marketing is vertical.  It helps to gain more exposure due to the layout. But HOW do you go about making one fast and inexpensive?

I have Photoshop and Gimp, both of which can do pretty amazing things.  But I prefer to use PicMonkey these days for quick edits that do not require more complicated results.

Pinterest How-to VerticalLooking at JUST creating the layout that is necessary, lets get started!

  1. First you need the images you want to include in the collage.  It is a good idea to have them where you can easily locate them, such as on a folder in the desktop, or on a jump-drive.
  2. Go to Picmonkey.com and click on Create a Collage, click Open Photos and add the ones you want to include.
  3. Go down to the icon below Create a Collage, choose Biggie Smalls with the largest number of squares on the right. You can easily change the number of whichever one you choose, but for ease of starting lets stick with that has the most.
  4. Click Open and drop and drag the images where you want them. If you want to add text in an open space keep that in mind and do not place images in each one. (To remove a square go to that square and click on the X to delete.  To add drop and drag you image to the space between the squares)
  5. Save the image by hitting Save, then Save Photo – Again in an place that you can easily locate.
  6. Close the project by hitting the X in the upper right hand side of the PicMonkey work area. Not the browser “X”
  7. Open PicMonkey again and this time click on Edit a Photo and open the collage you just made.
  8. Click on Crop and adjust to create the shape you desire, click on Apply.
  9. Add any text by clicking on the P, choose the desired font and click on Add Text. A text Box will appear on the screen. Make necessary adjustments in the size of the font and location of the text box.
  10. Hit Save, then Save Photo again to your desired location.

TA-DAH!  Now you can upload the image you just made to your Blog or Pinterest.

I strongly believe that drawing is the foundation of visual arts. If you do not have the necessary drawing skills your work suffers. So I have pulled this eBook out of our archives to help flex those drawing muscles!

fist drawing

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drawingzine_007$4.99

eBook Download – Go here for more information and to purchase!

 

Digging

Digging For Info

Something I have noticed about people lately: Either you are a “Digger”, or you are not. You either wait for people to spoon-feed you information/skills or you seek it out and dig it up. Those waiting for someone else to hand them over the keys to knowing how to do anything are going to be in for a long wait. You have to show up, you have to DO the work, you have to get your hands dirty!

Go forth and DIG!

OpaqueProjector

Vintage Monster!

Is it OK to use an opaque projector as a tool for creating representational art? It is ingrained in me to say “No”. Being able to draw and see as an artist is the basis of all fine artist. One does not want to skip past this important step. When I was first serious about learning to draw having an opaque projector was not an option, financially. For this I am thankful.

I posed this question on my facebook page(s) – Artist-How-To and Diane Dobson Barton. People proposed “Professional artist use one all the time.”, “It saves time.”,  “The master’s used similar devices for centuries.” The problem as I see it arises when an artist uses a projection without the necessary skills to make it work in the end. When it is used as a crutch rather than a tool.

I have also heard people say it “saves time”.  But if you can draw well, drawing is quicker.  If you can not draw well, one must reason that you can also not see well. Seeing well is the basis of creating all representational art.

Vintage Projector

Vintage Projector

One can drive a car with cruise control and an automatic transmission just fine. But if they never learn to steer they won’t get very far. I sincerely wish I could say knowing someone uses one does not ruffle my feathers and make red flags pop up in my mind. Maybe I am just too old school?

Artist palette color choice similar to Richard Schmid's

Artist palette color choice similar to Richard Schmid’s

Ever wonder where to begin with paint color choices? Looking to those that you admire is a good place to start. For a recent painting session I chose the colors similar to those of Richard Schmid

Left-to-right: Cadmium Lemon, Cadmium Yellow Pale, Cadmium Yellow Deep, Viridian, Ultramarine Blue, Cobalt Blue, Alizarin Permanent, Cadmium Red, Trans Oxide Red, Yellow Ochre Pale, Burnt Umber, Titanium White

john-singer-sargent-lady-agnew

John Singer Sargent

Curious as to what other figure painters use/used?

Note: Intended as a guideline – Actual color will vary of course from brand to brand.

John Singer Sargent: Blanc d’Argent,Chrome Pale (A Yellow), transparent Golden Ochre, Chinese Vermillian, Venetian Red, Chrome Orange, Burnt Sienna, Garance Fronce’ (Rose Madder), Viridian, French Ultramarine Blue, Ivory Black, Cobalt Blue,

Nelson Shanks: Burnt Umber, Burnt Sienna, Venetian Red, Crimson lake Deep (Old Holland), Permanent Rose (WN), Cad Red Deep, Cad Scarlet, Perinone Red (Gamblin), Perylene Red (Gamblin), Cad Orange, Raw Sienna, Indian Yellow (WN), Yellow Ochre, Cad Yellow, Cad Yellow Pale, Cad Green Pale, Cad Green, Viridian (WN), Pthalo Green, Cerulean Blue, Cobalt blue, Manganess Blue, Ultramarine Blue, Dioxazine Purple, Ivory Black, Flake White #2

Daniel Greene: Flake White, Ivory Black, Prussian Blue, Raw Sienna, Yellow Ochre, Burnt Sienna, Naples Yellow, Cad Yellow Med, Cad Red Light, Alizarin Crimson, Raw Umber, Burnt Umber, Sap Green, Thalo Green

Warren Chang: Titanium White, Yellow Ochre, Cad Yellow, Cad Orange, Cad Red, Terra Rose, Burnt Sienna, Alizarin Crimson, Burnt Umber, Raw Umber, Ivory Black

Kinstler: Cad Red Light, Alizarin Crimson, Raw Sienna, Cad Yellow Light, Cerulean blue, Ultramarine Blue, Burnt Sienna Sienna, Burnt Umber, Sap Green, Titanium White

William McGregor Paxton: Ultramarine Blue, Viridian, Yellow Ochre, Naples Yellow, Cad Yellow Light, Cad Red Light, Venetian Red, Indian Red, Alizarin Crimson, Raw Umber, Ivory Black, Titanium White

David Kassan: (Vasari Paints) Brilliant Yellow Light, Rosebud, Video Blue, Kings Blue, Cinnabar, Terre Verte, Yellow Ochre, Raw Sienna, Capucine Red Light, permanent Bright Red, Ruby Red, Scarlet Sienna, Red Umber, Burnt Umber, lamp Black, Flake White, Titanium-Zinc White

Basic Color Theory

The following information is intended as a basic understanding of color for the painter, general crafter or for the photographer.

Basic Color Wheel

Primary Colors – Red, Yellow and Blue are the basics of  color mixing. They can not be made on their own, but in theory you can make all the other colors on the color wheel

Secondary Colors – Violet, Green, and Orange are the colors that are created secondly by mixing the primary colors together.

Examples of  – Subtractive Color Theory  / Additive Color Theory

Subtractive Color – if you add its three primaries (Red, Green, Blue), the end result is white.

Additive Color – when the primaries cyan, magenta and yellow are mixed the end result is black. This is the color theory we are using here.

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Color Schemes


ComplementaryColors are opposite each other on the color wheel. For instance the compliment of Blue is Orange, the compliment of Red is Green etc.

Split Complementary is made by using a color and the two colors next to its compliment. Such as by using Red, and then using Yellow and Blue.

Triadic Color Schemes are made by any three colors that appear an equal distant from each other on the color wheel, such as Red, Yellow, and Blue.

Analogous Color Scheme is made by colors next to each other on the color wheel.

Monochromatic Color Scheme is made from one color or hue with multiple values and intensities.


Warm colors are colors that represent a feeling of warmth or heat such as Red, Orange, and Yellow.

Cool Colors are colors that represent a feeling of coolness and chill, such as blue, blue green and violet.

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Value Scale the amount of light and dark that is shown. The less value the lighter it is.

Contrast is the difference in values. The strongest contrast can be seen by placing the two extremes next to each other. When two lesser extremes are next to each other they are said to have low contrast. The closer they are in value, the lower they are in contrast.

Tints are created by adding White to a value. In the case of hand-coloring a print the white would generally be added by using the paper and having a transparent color wash.


Tones are created by adding Black to a value. In the case of hand-coloring the artist will either add a bit of black to the color or use the existing shades of grey already in the image.

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Sale Ends July 22nd




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“Controlling Creative Clutter: Organizing the Artist’s Studio”

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Unlike authors of other organizing books, Diane is not a professional organizer, nor someone professing to have all the answers. Rather she is someone that has worked as an artist for over 20 years, and has faced the challenges that that entails. Within the pages of this publication, she shares what she has learned works for her, and will help get you to stay organized and still have time to create!

You Will Discover:

  1. How to create an organizing system that works for YOU
  2. How to decide what to keep and what to let go of
  3. What to do with items you no longer need
  4. Use your work space to inspire creativity and productivity
  5. How to keep your workspace presentable, even while in the middle of a project

Almost seventy pages of tips, worksheets and information on organizing, to help you get your studio or work area together and keep it that way. As a working artist, Diane knows how difficult it can be to have materials take over a work space.

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