May 2019 Meeting Presentation
By Nancy Brown
 
Nancy explained and demonstrated gallery wrapping and re-stretching a canvas over a wooden frame. She has used her own wooden frames for her paintings for years and prefers the hand-made frames over the pre-stretched canvas for a variety of reasons. The only disadvantage, she admits, is the weight. Because she uses stronger wood with larger dimensions, it does weigh more per linear foot. However, they don't warp and can be re-used many times. Below, you can see how she secures a corner; more pictures of her process can be found at this link. GalleryWrapping 
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Thank you, Nancy Brown!

September 2018 Newsletter
By Barry  Eigen

Often  when  I  find  myself  among  a  group  of  artists  the  conversation  turns  to  how  we  artists  should  set  prices  for  our  art.  

An  economics  professor  of  mine  described  the  strategy  for  setting  prices  this  way:  Imagine  you  are  selling  bean  bags,  he  said.  Let’s  assume  you’ve  got  a  warehouse  full  of  bean  bags  and  every  morning  you  go  to  the  window,  look  outside  to  see  how  many  people  are  waiting  in  line  to  buy  your  beanbags.  If  the  line  goes  all  the  way  to  the  horizon,  he  said,  you  should  raise  your  prices.  If  on  the  other  hand  no  one  is  standing  in  line,  it's  time  to  lower  your  prices.  It’s  obvious.

An  experienced  Austinite  told  me  if  a  person  picked  up  a  stone  and  threw  it  in  any direction,  he  would  hit  a  musician  or  an  artist.  That’s  how  many  artists  and  musicians there  are  in  Austin.  In  other  words,  a  lot  of  artists  means  there  is  a  great  deal  of competition  for  art  buyers  resulting  in  a  smaller  number  of  art  buyers  standing  in  any  one line.  Too  few  buyers,  he  would  say,  is  a  buyer’s  market  and  a  buyer’s  market  exerts downward  pressure  on  prices.  That’s  been  my  experience  here  in  Austin.  I  moved  to Texas  just  four  years  ago  from  Wisconsin  and  I  am  convinced  a  painting  priced  at  X dollars  here  will  sell  for  two  or  three  times  that  in  New  York,  Chicago,  Santa  Fe  and even  Milwaukee.  

There  are  those  who  argue  sculpture  should  be  priced  based  on  size  while  two dimensional  art  should  be  priced  by  the  square  inch.  One  told  me  the  going  rule  for pricing  a  painting  is  $1.00  per  square  inch.  Another  said  $1.25.  On  a  video,  an established  artist  suggested  $1.75.  Maybe  I’m  wrong  but  I  have  a  good  deal  of  trouble understanding  this  approach.  

In  my  thinking,  neither  size  nor  even  the  amount  of  time  it  takes  to  create  a  piece should be  the  dominant  way  to  determine  price.  Certainly  every  piece  of  art  we  create  is  not like every  other.  In  our  various  opinions,  some  of  our  art  may  be  more  successful  than others. I  argue  we  ought  to  be  able  to  price  the  work  we  really  like  different  from  the  work  we like  less.  I’m  fully  aware  some  folks  don’t  agree.

The  notion  that  the  time  it  takes  to  create  a  piece  should  determine  its  price  was  for  me dismissed  forever  by  an  incident  I  experienced  years  ago.  I  attended  an  art  fair  with  a close  friend,  a  potter  known  for  his  large  copper  mat  raku  wheel-thrown  amphoras  with bottoms  that  came  to  a  graceful  point.  Some  of  his  pieces  were  five  feet  tall  and  for display  were  balanced  delicately  on  a  plexiglas  cylinder.  To  say  his  work  was  stunning  is an  understatement  and  his  prices,  ranging  from  five  hundred  to  seventy-five  hundred dollars,  underscored  it.  

At  the  show  a  collector  came  along,  carefully  studied  one  magnificent  piece  and  asked how  someone  could  throw  a  piece  whose  bottom  came  to  a  point.  “I  throw  it  upside down,”  the  potter  answered.  Then,  considering  the  piece’s  very  substantial  price,  the collector  asked  the  question  we  all sometimes  get:  “How  long  did  it  take  you  to  make that piece?”  My  friend  smiled  and  gave  an  answer  that  said  it  all.  “Thirty  years!”  he  said.  I use  that  answer  often.  You  can  use  it  too.

Setting  prices  is  always  subjective.  The  battle between  pricing  your  work  so  it  will sell and setting  prices  so  your  work  will  be appreciated  is  not  easy.  I  only  offer  the words  of a seventeenth  century  French  playwright.
“Things  only  have  the  value  that  we  give  them.”  - Moliere

September 2018 Newsletter
By Diane Pingree             

When attending art receptions, shows and other events, keep in mind that the featured artist or artists are the focus, so out of courtesy and consideration for them, here are some guidelines:

1. Do not promote your own work at the event by passing out brochures, business cards or discussing your art at length. If, during a conversation someone asks, be brief and discreet in giving out your contact information.
2. Do not make negative comments about the work shown. This is not the time to critique another's art. If the art does not appeal to you and you don't have anything positive to say about it, say nothing. This is a time for the artists to shine, so don't dim their place in the spotlight.
3. Never touch any piece of art being exhibited. This can not only damage the work but is seen as a violation of personal boundaries.
4. Never take photos at an event without permission. If there is a "No Photos" sign, respect it. 
5. If you have an opportunity to meet the artist in person, do not monopolize a conversation with him or her. Others will be waiting also.
6. Remember that what you project comes back. If you are considerate, respectful and encouraging of other artists' work, you likely will receive the same treatment when it's your turn. Artists put their souls on display, so treat them and their art with care and kindness.

November 2018 Newsletter
 By Helen Buck   

These notes are from Big Medium’s Creative Standards Seminar in October. This is what I heard and interpreted and may not be completely accurate. If you attended this or other sessions during the event, please share your notes.
 
SESSION: How to Get into Galleries
Presenter: Chris Cowden, Exec Director at Women and Their Work
Mentioned several times: Sharing your work for free does a disservice to the art community.

1.    Research space / range and type of work/ gallery history / who has shown at this gallery and what is their experience.  
2.    Pace yourself: make note of the shows and galleries to submit your work and remember it takes from 5 to 10 hours to complete a submission if done well
3.    DO NOT cold call or just show up and do not mail. Waste of time and money
4.    You can call and ask “what is your process” / note, many galleries already have their process noted on their web site.
5.    The # 1 most important thing is submitting OUTSTANDING visual images. It’s worth spending the money. If you find a detail within your piece important, you might be able to provide a second image with a close up. Don’t expect the judge to blow up your digital image 
6.    Artist Statement: don’t overthink/ just be yourself/ talk about your work / keep it to a few well-crafted sentences.  Focus on what brings you to work in your craft and how this work is produced 
7.    Do not denigrate your work or yourself/ be proud of you and your work
8.    If the call is for 10 great pieces and you have 4 or 5 / Wait to apply until you have the 10 needed even if it’s next year
9.    Don’t get burned out applying everywhere. Be judicious
10.    Rejection is part of it. Make it a mind game: ie. I get accepted to 1 out of 10 I apply for therefore 1 rejection brings me closer to acceptance.
11.    Yes a website is needed. Make it good and keep it updated. All other social media may help. But beware the time you spend with it.
12.     Consistent Authentic Investigation: Chris spoke to honesty when dealing with galleries (Proposal should specify if the work presented are examples and there will be new work in the show or is the submitted work what the gallery can expect)
13.    You can have one style. But if you have several styles make them consistently strong as you apply. If you present more than one style, group them with 4 or 5 like styles. (ie: 4 or 5 botanicals  and 4 or 5 portraits   / 4 or 5 acrylic paintings and 4 or 5 sculptures)
14.    Review your rejection letters and look for positive remarks. If you don’t get feedback when rejected you can respectfully ask for remarks. You may not get it but sometimes you will 
15.    Closing: have faith in your work and keep applying

November 2018 Newsletter
By Terri St.Arnauld


Why - We usually take our photographs in the largest size possible to capture the most information. This makes it easier to edit a photo. However, when using a photo file for digital purposes (websites, submissions, email attachments, etc.), it's usually better, and sometimes required, to have a small file. This makes it important to know how to resize your photos. 

Parameters - For fine printing, you would want a file at 300 pixels per inch (ppi) and at least the HxW of your print, making a total (L-XL) size that could be 10-120 MB. For web uses, though, you only need a file at 72 ppi and a HxW specified/recommended by the end user. We will use the Newsletter for our working example, at 72 ppi, dimensions of the longest side should not exceed 400 pixels and a total file size of 500 KB. [Your file must be less than 700px or it will not upload to the newsletter software in a reasonable amount of time and will not be used.]

Software - There are many free software programs and apps out there, though not all of them will allow resizing your photo to your specifications. I've done a little research on this and am going to recommend Fotor, as well as provide some basic instructions. I've chosen Fotor because it is very easy to use and seems to be available for download on all the basic platforms (desktop - windows, apple; mobile - android, ios; chromebook; ipad).

Download Fotor at https://www.fotor.com and set up your account to use on one or all of your platforms.

Instructions for Resizing Multiple Images Using Fotor       [Note: “>” means “next”, “then” or similar.]

1. All photos to resize need to be put into a separate Folder. These can be copies, if you want to keep the originals in different locations. If you are going to edit a photo in any other way (adjust, crop), that should already be done when you put it into this Folder.
2. Open Fotor > select Source Folder (the one that you put the images into.)
3. Select Destination Folder (I recommend the default, which will be a subfolder created automatically and called Fotor Batch.)
4. Select Settings (Follow bulleted instructions below.)

• Select Batch Resize > Resize > W-300; H=Proportional > Keep Proportions.
• If any of your images are not already in JPEG/jpg format, select Format Conversion > Format-jpg > JPEG Quality=Normal.
• Process (It processed 45 images for me in about 5 seconds.) Your resized jpg files will now be in the Fotor Batch folder, under your Source Folder.

Other Options to Consider, If You're So Inclined
Top 5 Free Photo Editing Software for PC/Laptop

• Gimp
• Fotor
• Photoshop Express
• Pixlr
• Paint.net

Editing Aps for Phones

• VSCO Cam
• Snapseed
• Adobe Lightroom
• Instagram
• Pixlr Express
• Flickr
• Photo Editor by Aviary
• Repix
• Fotor

Editing Tools for Novices (not sure if these are all free)

• Adobe Photoshop Elements
• Adobe Lightroom
• Corel Paintshop Pro
• Gimp
• Serif PhotoPlus

February 2019 Newsletter
By Leslie Kell

We are fortunate to have a healthy roster of venues to display our art and we are blessed with dedicated volunteers to facilitate these exhibits. Let’s try to make things easy on them…

Here are some gentle reminders about expectations as a CAS artist:
A. Before you submit for a show, please read the call and check the dates. Make sure you are available to drop off and pick up your work. We understand that things come up. If so, please make arrangements for dropping off and picking up your artwork. Be aware that picking up outside of the designated time is an inconvenience for the venue and the coordinator.
B. If you commit to a show, honor that commitment. CAS strives to maintain professional practices and when an artist doesn’t show, it impacts our reputation and yours. You are also potentially wasting a spot that another artist would have gladly taken.  
C. Be on time – our volunteers have schedules and commitments as well. They need to be able to install and strike shows as efficiently as possible.
D. Remember that our venues are places of business. We need to respect that we are guests, and not linger where it is disturbing to the venue patrons.
E. Volunteer! We can only handle as many venues as we have coordinators for. There are so many opportunities for our artists, but it’s not possible to explore them without people willing to help. So if you are interested in volunteering let us know. It can be the most fun and rewarding experience: building your knowledge, getting to know fellow artists, planning and coordinating shows (small, medium, and large).
 

February 2019 Newsletter
By Leslie Kell


ARE YOU MISSING OUT by not participate in our Curated Venues program? -- Enter your work in the CAS Artist's Portfolio  
Why are we asking this question? -- Simple, Curated Venues select artists exclusively from the CAS portfolio and if you are not in the CAS portfolio, your work is not eligible for these shows. 

OUCH!  Tell me more!
A description of how the Curated Venues work for the Venue can be found on the CAS website under "Exhibit Services."  For an example, you can view the current portfolio artists here: http://www.creativeartssociety.org/artist-portfolios.htmls
1. The Curated Program was launched last year and has grown to include four (4) libraries, Topaz Salon, Smile On Orthodontics, and Reveal Dental. And the list continues to grow.
2. The program is designed to attract high-end Venues that want a consistent gallery presentation in their space, while offering our artists an opportunity to plan, install, execute, and promote a professional art show.

DO I HAVE WHAT IT TAKES?
1. All members of CAS are eligible for inclusion in the “CAS Artists Portfolio" and (IMPORTANT POINT HERE) the Venue owner or manager selects artists to exhibit in their specific Venue from only this portfolio. 
2. Applicants must have a body of work large enough to hang 10-20 pieces, if selected. Your portfolio entry should represent your unique art style and mediums. That's right! We said mediums, with a plural. Some of our great CAS artists are adept at many different mediums. Consistency is the key here. Put your best foot forward and be consistent.   
3. And, are you prepared to plan and install your exhibit, as well as prepare the labels for the wall? No worries on this point, as our team is here to help you understand and execute a great, rewarding show, with ease. 

WHAT CAN YOU TELL ME FOR SURE?
1. If you don't enter your work in the portfolio you won't have an opportunity to exhibit in these venues.
2. Inclusion in the Portfolio does not guarantee a show. Yes, you will be added to a group of CAS artists in the portfolio, if you choose to do so. The Venues will have access to all artists' work featured in the portfolio. Though you are eligible for selection, it is ultimately the choice of the Venue for each of these exhibit opportunities.

WHAT AM I WAITING FOR?? HOW DO I GET MY WORK IN THE PORTFOLIO?
Easy as your grandma's apple pie! Download the Call for Art and enter your work; visit the CAS website at http://www.creativeartssociety.org/artists-portfolio-application.html.

February 2019 Newsletter
By Helen Buck


Note: This is what I heard and interpreted and may not be completely accurate. If you attended this or other sessions during the event, please share your notes.
 
Session: Artists Statement / Artist Talks
Presenter: Michael Manchaca, MFA (San Antonio, recently exhibited at McNey)

1. Remember that art is within the field of entertainment
2. Statement should be about 4 sentences
3. A good work of art is what you think of as your unique identity
4. Communicate with as wide an audience as possible. The wider your audience, the better your career.
5. Update your statement every few months: it should evolve and be relevant to current-day culture and terminology
6. Prepare more than one artist statement to communicate to different audiences (academic, professional art world/critics, johnqpublic, etc.)
7. Understand traditional and contemporary terminology

     Art Terminology

• a. Content: idea or concept (not exactly the subject matter/it is “outside” of the subject matter) know the theory behind your content
• b. Materials: what do you have unique access to that may add value to your content from which your art takes shape (What is the connection between Content and Material?)
• c. Subject: the main focus of your artwork
• d. Content / think in terms of poetic and Material / think in terms of Formal (what are the poetic and formal parts to your statement)

Session: Conducting a Studio Tour
Presenters: Jordan W Tucker / Valerie Chaussonnet

• Three points: preparation, flexibility, honesty
• Do not discount your work
• If you show in a gallery or have work priced anywhere else, keep your prices consistent at these studio tours. OK to offer a “to-the-trade” discount of 10 to 20% (interior designers) Discounting does a disservice to your own work and devalues all other art.
• You never know if a person who just pops in or spends two hours in your studio will contact you or see you in the future. Do not judge or anticipate. Just be authentic.

May 2019 Newsletter
By Terri St.Arnauld

We have all heard about the importance of goals, so you might already be regularly writing/reviewing/rewriting your goals. If this is something you struggle with, here is another way to approach it. It is a four-step process that evolves from self-understanding. You work on the steps in order, but when you finish one, you can go back and change others because your self-understanding might change. As you work on them, it might help to talk with those close to you about them, or maybe just some of the goals, depending on the person.

1. Success Inventory
2. Analysis of Skills Assets/Deficits and Endure/Prefer Activities
3. Components of a Goal
4. Goal Setting
   1. Ten-Year Goals
   2. Five-Year Goals
   3. Three-Year Goals
   4. Short-Term Goals – A short-term goal is one that can be accomplished in 1 year or less.

 
1. Success Inventory
Imagine you have achieved success, maybe even at the end of your life. What does that look like for you? Does it mean money, family, home ownership, travel, health, creating artwork, spirituality, etc? What do you want to have accomplished in your lifetime? Write out those components as an inventory. In this inventory, it’s important to be clear. (Travel might mean around the US, to specific places, countries or continents, or to visit friends and family.) Keep your list with you and add to it as you think of things. When you’re ready, or at least in a week, review your list and regroup your ideas, if necessary, to help you think about them more clearly. Remember, you can always change your list.
 
This is a list of goals, in the broadest sense.
 
2. Analysis of Assets/Deficits and Endure/Prefer Activities
First, spend some time thinking about what work and business activities you are good at – Assets – and which ones are not your strong suit – Deficits. (You might be good at talking with people one-to-one but not at speaking to a large group.) Don’t downplay your strengths and don’t beat yourself up for the things you’re not as good at. Make lists of each of these.
 
Then, spend some time thinking about past work experiences and types of activities, situations, schedules and people. What did you like – Prefer? What did you dislike – Endure? Make lists of each of these.
 
Again, these activities and experiences do not have to relate to your art practice or even to paid work.
 
3. Components of a Goal
A well-written goal is measurable, achievable, worthwhile, identifies potential difficulties, and states strategies or action steps you can take to achieve the goal.

1. Measurable – What will be accomplished? When will it be completed? How will you know it is done?
2. Achievable – Is it in your power to do this?
3. Worthwhile – Does this goal relate to one of your long-term ideas of success?
4. Difficulties – Is there anything that might get in the way of achieving this? (Deficits, endured activities)
5. Strategies – What can you do to prevent or minimize the difficulties? (Use your assets and preferences.)

 
4. Goal Setting

1. Ten-Year Goals – at least one
2. Five-Year Goals – at least two
3. Three-Year Goals – at least three
4. Short-Term Goals – at least five

 
While you are not required to write your longest-term goals first, it can be helpful. After setting a 10-year goal, you will likely see shorter-term (5-year, 3-year and short-term) goals that need to be reached to get you there. Try to develop multiple goals for each category, especially the shorter periods.
 
A goal might relate to an achievement on your Success Inventory; ways to make the most of one or more of your Assets, incorporate Preferences; improve a Deficit and/or avoid or minimize situations you’ve had to Endure.
 
As you write each goal, follow the criteria in number 3, paying attention to Measurability, Achievability, whether it is Worthwhile, as well as potential Difficulties and Strategies.
 
SET A DATE TO REVIEW AND UPDATE YOUR GOALS AT LEAST ANNUALLY!
 
This is information I learned in a professional development seminar called ArtistINC. The program was developed by Mid-America Arts Alliance and offered by the City of Austin to teach artists the business of art, an important aspect that is often overlooked in formal training.
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​November 2019 Newsletter
By Terri St.Arnauld & Betsy Denny
We attended a BigMedium Coffee Chat in early November. Jordan Gentry of Big Medium asked Susannah Morgan, a private art advisor (SKM Art Advising, Austin), questions related to the business of art, followed by audience questions. Here are some points we picked up.

• The Austin art community is inclusive and accepting. Tip: If you want to visit a studio, your chances of making that happen are very good.
• Collectors lean toward art that has a story or meaning. Tip: Do NOT change your art. It is better to be able to explain it.
• Your Artist’s Statement should tell the reader who you are, what you do, why you do it, and how you do it. If you are clear on this, you should be able to explain your work clearly. Tip: Do not use jargon or filler.
• You need to educate collectors and your artist’s statement is the best way to do that. Tip: Save the details for in-person discussions.
• Overall, abstract sells better than figurative, but there is plenty of room for both. Tip: Consider stylized figures in your work.
• Pricing should include all materials, your time (rated by experience and exposure), framing (if supplied), profit, and markup (if sold by someone taking a commission/fee). Tip: If your prices are on your website, a representative doesn’t have room to adjust.
• Pricing should be consistent, but variations can occur based on your career stage, resume, size, materials used, etc. Tip: Be able to very clearly explain why two works might vary in price, if it’s not obvious by looking at them.

You can hire an Artist Consultant to advise you in your career as an artist. That consultant might help you set goals, provide direction or put you in touch with someone who can advance your career.
An Art Advisor works with private and/or corporate collectors. That person uses their knowledge of art and artists to present work to these collectors, in the hope of selling it to them.