It seems artists are more and more becoming targeted by Internet scammers. If we aren't careful we could lose hundreds, if not thousands, of dollars.  Recently I came close to being a scam victim, but with some healthy paranoia and a bit of research I prevented my bank account from taking a hit.  The following is the story of my encounter and how I discovered it was a scam.

Robb McKenzie

Presented by Terri St.Arnauld & Frank Yezer Feb 2018

Equipment List - as needed
Foam core
Background, if needed - curtain, bedspread, sheet, liner Chair or bench
Towels
Clothespins or Clips
Lights
Bulb - any type, higher watts or lumens
Ext cord
Camera – Cellphone not recommended
Tripod
White copy paper – blank on both sides

Artwork and Camera Setup
Always use a tripod
Use a contrasting, (relatively) plain background; can be mottled Camera & Settings (digital b/c it is usually required)

• 10 mpx or higher
• Lens - Do not use a wide-angle lens.
• Small pieces - macro or normal lens o Medium pieces - normal or zoom lens o Large pieces - zoom or telephoto
• Software that can control color balance
• Set image at highest resolution
• Remote or set timer for exposures (This will eliminate camera shake.)

Hang or put the work on a stand

• Table
• Easel (artist or plate)
• Chair or bench - a box can be set on it to raise the surface
• Place rolled towel near seat back
• Lean foam core, background and piece against back; use clothespins & mat to hold flat, if necessary
• Use additional towels behind to bring top forward, if needed

View - Make sure your camera captures the work (not the mat or frame) with a bit of space around all sides of it to allow for cropping to a particular length/width ratio, especially if this might be printed later.

Camera Setup
2-D

• Straight on camera angle - lens is parallel (barrel is perpendicular) to center of work or edges will begin to converge
• Works on paper, unstretched canvas, textiles and any substrate that might warp, will need support 3-D
• Multiple camera angles – at least 2
• Other equipment might be needed for tall pieces
• Focus – Know how to focus and reframe
  Focus
• Auto-focus for flat work
• Know how to set your focus spots, if that is possible
  
  Lighting
  Natural - best, if possible
  Camera Flash – Do not use, as this will produce hot spots
  
  2-D
  Indirect; over your shoulder or from the side (45-60 degrees from plane of work); no shadows, unless you need to show texture or other dimensionality (more raking light)

3-D
Indirect to avoid hot spots, especially on horizontal or smooth surfaces, but shadows to define are important; large pieces usually work best with cloudy-bright conditions
Artificial - more control, if needed; large pieces can be more difficult to light because big, strong lighting is needed; any bulb type or combination will work

Photographing
After your artwork and camera are in place, arrange your lighting and test with the camera by taking photographs and reviewing them for the following issues:

1. White Balance - Place a piece of white copy paper (no folds or crumples) in the center of the work and photograph. Adjust the white balance according to your camera’s instructions.
2. Alignment - Make sure the edges of your piece are parallel to the edges of the digital image and that you have a little extra space on all sides of the work.
3. Make sure there are no hot spots or shadows on the piece.
4. Check the color. This can be adjusted somewhat with your software but should be close. You can
   adjust the Lighting and/or White Balance, if needed.
5. Take 6-12 exposures.
6. Repeat steps 1-5 for each piece you are documenting. If you are shooting 3-D work, repeat for
   each view of each piece. However, we recommend that you check the first set of images to make sure you have something to work with before taking down the piece.

Post-Production

1. Download your images to your computer and Delete any that are obviously bad. Pick one that looks good and enlarge it to 100%, looking at important sections to make sure they look good, especially the focus. (Minor color corrections can be made in editing.)
2. Edit - Select the best-looking image. Others should be deleted and/or saved in a 1st Cuts folder. Edit a copy of your image file for Color Correction, Contrast, and any other issues you feel need attention. Save any cropping for the last step, as it can clip some of your information. This is your Edited File, which can be copied for any size changes you make, since they’re always different.
3. Image Size - If you need a specific size for submission, make a copy of your edited file; crop your image, if needed; and edit the image size. You cannot make your image larger without losing quality so make sure you check the numbers. It’s easier to make note of the existing size, which is usually shown in this mode. (EX: 72 px / in; width = 6000 px; height = 4000 px) When you change the px / in, the W:H will adjust. If either of the other two numbers is less than is needed, your file will not meet the minimum size requirement and you should get help with this copy work. If your file is larger than the maximum, change the one that is closest without exceeding the maximum size and the other will adjust. If these both meet the parameters, save this edit. (NOTE: Any time you cannot use the crop, Undo it before trying again. If you are working with the Image Size and you have not yet saved it, you can just change the numbers.)
4. Save File - If you need to change the file type, you will select it in the File > Save As process. Changing the file type automatically makes this a copy of the file but in a different format.
   
   © Terri St.Arnauld & Frank Yezer 2018

The May meeting was informative and different.  Due to COVID9 we hosted the meeting using ZOOM Video Conferencing.  Here is the PDF of the presentation by Lisa Zinna and Leslie Kell.

And here's the ZOOM meeting on YouTube

The following Power Point is from our February 5, 2020 meeting and covers numerous topics related to how to exhibit your art.  Some of the information provided is repeated in previous blogs but this will provide you with a single point for a wealth of helpful information.

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 
​
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).