Last week, as I was finishing up a painting a little gift for my niece, I got to thinking about what we tend to listen to while creating. For me, my studio soundtrack depends on what I’m working on– for instance, when I work on one of my Feminine Wiles pieces, I tend to prefer classic female voices like Billie Holiday or Edith Piaf. But if I want to just let loose and experiment, I like to listen to maybe something a little energetic and soulful like Florence + The Machine or Motown.
So tell me, Artsies– what’s your studio soundtrack?
pump up the jams | Are you a high energy creator? Maybe you like to blast the beats or turn it up to 11? Rockin’ it old school with some classic rock, 80’s rap or modern girl power totally gets my energy pumping!
slow ride, take it easy | Maybe you like a more peaceful soundtrack for your studio? I know I’ve occasionally asked Mr. F to change the tunes when they’re just a bit too raucous for the mood of what I’m painting. Classical, slow blues, maybe even just something soft and acoustic help keep the mellow flowing.
voices carry | So maybe music isn’t your thing. Some artists fancy a spoken word soundtrack like audio books or talk radio. If I choose to nix the music, This American Life or artist interviews on YouTube inspire and keep my interest without being too distracting.
sounds of silence | Some artists prefer a more quiet creative space, preferring to work with no sound at all. Especially if you’re working on something highly intensive, sound can be a little distracting. So maybe your soundtrack is simple silence.
Which type of studio soundtrack do you prefer? Any specific musical artists, types of music or non-music you always have on your studio playlist? Let’s all share in the comments!
Thanks to Jessica Brilli for providing the beautiful artwork for this post! My first radio may or may not have been similar to one of these.. See more of Jessica’s work on her website!
Last weekend, Mr. F and I took a little backpacking trip up into the Trinity Alps, a mountain range about two hours east of Eureka. As we were hiking, I got to thinking about the parallels between the creative process and adventuring. The act of being creative, whether as an artist, writer, musician or however you stretch those muscles, is a daring endeavor– you can plan and prepare, but the real joy is in the unknown path ahead.
Want to know how to be a creative adventurer? Here are a few simple steps to venture into the unknown!
1 | set some goals and make a plan. Think about where you’d like to end up and what you think you’ll need to achieve to get there. The trail might be smooth or you may end up doing some bush-whacking to find your way, or you may change course altogether, but setting out with a vision of the finish line will help keep you focused when you feel like giving up.
2 | find yourself a partner. Whether it’s a spouse, friend, or fellow creative, tell someone your plan. It’s never smart to go out into the wild on your own and having some company along the way will help to keep you on the right track and keep your perspective in check.
3 | work your plan, one step at a time. We all want to race to the finish line, to skip the grueling climb and reach the peak. Prepare to feel overwhelmed, discouraged, to want to turn around and head back down the mountain. But keep on keepin’ on and before you know it, you’ve turned the next corner.
4 | know when to veer off the plan and take a risk. Just because you have a plan doesn’t mean you must stick to it if things aren’t working. Maybe the path isn’t what you thought it would be or you just need to liven things up a little. Take a risk and you may find that you end up in a place even better than you imagined.
5 | let yourself take a break. If you’re finding yourself discouraged or disillusioned with where you’re going, give it a rest for a while. Do something else, something fun and completely different, then come back refreshed and rejuvenated.
6 | celebrate your successes! It’s easy to get so caught up into heading for the next goal that we forget to take the time to celebrate our achievements. Take a moment, a day, an evening, and dedicate it to treating yourself and reveling in a mission accomplished!
7 | evaluate & recalibrate Now that you’ve reached the pinnacle, look back at what you’ve done and how you got there. What would you change? How can you be better prepared for next time? Mr. F and I do this after each backpacking trip and we always find things we can improve for next time.. I mean, did we really need all this trail mix?
Once you can see objectively where you’ve been and how you’ve got there, you’ll have a clearer idea of where you’d like to go next. And a sense of assurance that you can do what it takes to get there.
Are you headed out on a creative adventure or find yourself in the midst of a journey? How’s your progress?
When we think of an art collector, our minds may wander to Rockefeller-types plunking down millions for Warhols at Christie’s. We ordinary folk rarely think of ourselves as art collectors. But if you’ve ever purchased even one piece of artwork, even just a print, you dear Artsy, are a collector! Of course, it’s possible to build a collection filled with beautiful and historically significant work, but wouldn’t it be more fun to put together an art collection that is meaningful just to you and your partner? Mr. F and I hope to do just that, so while reminding ourselves of these guidelines, thought I would share some tips with you!
1 | get to know your favorite artists personally Most artists these days interact with fans and collectors on social media. Getting to know the artist whether online or by visiting their studio can often turn work you like into work you love! Knowing more about the artist’s process and inspiration can foster a connection to the work that may not have been present upon first glance. Plus, a positive relationship or connection with the artist will make you more inclined to support their career financially.
Sometimes, we simply like what we like and it doesn’t go deeper than that. But often, we are drawn to a particular piece of work because of the emotions it stirs within us. Maybe it reminds us of a particular moment or memory or transports us to a favorite place. Work that reflects an important time or occasion creates emotional significance that just isn’t there when we buy a painting to match the couch..
3 | make artwork your vacation souvenir Forget all those t-shirts and caps that will be worn a few times and then forgotten. Visit a few galleries or artists’ studios while you’re traveling and buy a small piece of work that will be a lasting reminder of your travels. Most galleries and artists will ship work home for you if you’re concerned about fitting your new art into your suitcase. And every time you see that sculpture or painting, you can visit that place all over again.
4 | proudly display a loved one’s artwork Maybe your mom or grandmother took some painting classes and discovered a love for still lifes? Or kids are the most prolific artists in the world, take advantage of their creativity and display their work with the importance it deserves! Not only will it remind you of them and make you smile, it will show the artist how significant they are to you.
While of course, I’ll always advocate buying art whenever you can, realistically, we don’t always have the budget for the type of work we love. So perhaps while you’re saving up, stretch your own creative muscles a bit by playing artist for yourself! There are any number of DIY art projects all over Pinterest. Who knows, you may discover hidden artistic genius!
So you’ve found an artist whose work you LOVE and you want to commission the artist to create a piece of work especially for you. How exciting!! But you don’t know where to start. If you’ve never done it before, commissioning an original work by an artist can be intimidating ( for you and the artist! ). So here are a few guidelines on how to commission artwork that I hope will help when you’re ready to take the plunge!
1 | know the artist, know yourself
As enticing as it might be to instantly fall in love with an artist’s work and immediately set off on commissioning them, you’ll be better off slowing down a bit. Take some time to really get to know the artist’s work, their palette, style, medium, what you love about it, ask yourself if living with a piece of this artist’s work will make you happy forever and ever.
Once you’ve done that, figure out what you want. If you’re commissioning for a specific location, figure out what size would work best ( often an artist can help guide you if you’re uncertain ). Do you prefer a work on canvas or paper or another substrate? Maybe the artist works in a few different styles like our Featured Artist, Erin McIntosh. If so, determine which style you’d like your commission to follow. And then there’s the most fun decision of all– palette. What colors would you like to see incorporated? Is there a certain palette the artist works within that you love? Collect fabrics, paint samples, photos, anything the artist can use for reference and guidance. Help the artist by creating a vision of what you’re expecting.
2 | communicate what you want
Reach out to the artist first and find out if a| they are accepting commissions, b| what their current lead time might be, and c| the price for a commission in the size you’re desiring. It’s possible that the answer to any of these questions might mean putting off the commission until the artist has time or you have the necessary funds ( though always ask about payment options– many artists will work with a payment plan! ).
Once those basics are agreed upon, chat with the artist via phone or email about your expectations ( email is best, so you both have a record of what was discussed ) . Share all the visual references you can, use as many descriptive phrases as you can– like happy, serene, intense, organic, bright, light, etc. Give the artist your specifics regarding size, substrate and style and be sure to include information like where the piece will hang, who it is for ( if a gift ), if the work will commemorate a special occasion, etc. All these elements will help guide an artist into creating a work of art that fits your vision.
3 | expect a written agreement
Once you and the artist have communicated fully your exact needs and expectations and agreed upon a price and lead time, the artist should provide you with a written statement of what is to be done, including all specifics regarding price, size, substrate, palette, shipping arrangements if not local, deposit and payment arrangements, etc. for your approval and acceptance. This step protects both your interests and the artists, certifying that both parties understand what is expected of each other.
4 | don’t mistake an artist for a machine
Let’s say you’ve commissioned an original based on another existing but unavailable work by the same artist. Same style, same substrate, same palette, same everything. But don’t expect an exact replica of that piece you loved. An original piece of artwork is a completely unique undertaking, each piece will have its own personality. Just like a snowflake, no two are exactly alike. On the other hand, if you receive progress photos from the artist and things don’t seem to be going in the direction you’d specified either stylistically or palette-wise, don’t be afraid to communicate your concern to the artist. They want you to be happy with your finished piece, so your feedback will be necessary and appreciated.
5 | be patient, be available
You’ve paid your deposit and the artist has given you a lead time. Now just sit back and wait. I know it’s hard!! We live in such an instant gratification society, we want what we want and we want it NOW. But creating an original work of art takes time and the artist may have other projects due to be completed before yours. It will be done, just be patient. And be available if the artist has questions, wants your input or needs your opinion. ( see #4 ).
6 | accept your finished piece with grace and thanks
Wham, bam, thank you ma’am is no way to finish off commissioning a piece of artwork. Yes, you’ve paid the artist, but said artist has put a tremendous amount of time, creative energy and spirit into your creation. A heartfelt, gracious thank you goes a long way! And helping spread the word about your beautiful new work of art and lovely commissioning experience will support and encourage the artist’s career and soul.
Now all that’s left to do is to live with and love your work of art for always!
Mr. Forager and I are spending this week celebrating Thanksgiving, so I decided to show my thanks to this month’s Featured Artist by re-running a few of her previous posts! This feature first ran in July 2012. This was before I started calling my husband George Mr. Forager here on the blog, in case you’re wondering who I’m going on about. 😉 Enjoy!
Welcome to Day 2 of our Artists Takeover Event! Today’s artist is the only Canuck in the bunch this week, Vancouver artist M.A. Tateishi. M.A. is an artist whose work I immediately connected with and the artist herself has become a great supporter and friend. Our conversation gives you a little behind-the-scenes peek at Artsy Forager!
The Walls of This Old House, mixed media with resin, 36×48
M.A. Tateishi | You feature a lot of inspiring and different artists. How do you find the artists, and is there a particular reaction you have to art when you find it…like an immediate fall-in-love feeling, or does some work grow on you? Do you have to sort through a lot of “bad art” to find the good ones?
Artsy Forager | I find the artists I feature through a number of different avenues– some I’ve known through working in the industry, others I’ve found through galleries ( both visited in person & online ), social media such as Facebook, Twitter and Pinterest, through other artists, through other art blogs, lifestyle blogs, even some DIY, fashion & home decor blogs will occasionally feature interesting artwork. Really just keeping my eyes open at all times. I try to always have a pen & paper handy, as you never know when you may happen upon something amazing! The reaction is a little like falling in love or at the very least having a crush! My heart will skip a beat and many times my mouth will drop open. 😉 I’ve been told I have a “great eye” and my husband used to always ask how I knew really great work from mediocre– it’s hard to describe, it’s more of an artistic intuition, I guess. It’s funny, but many of the sources through which I find work are so full of great stuff that I don’t really have to sift through much “bad art”. I do get emails from artists whose work doesn’t quite make the cut for Artsy Forager, though. I always want to be encouraging to anyone who is willing to reach out and ask to be featured, but I strive very hard to keep the standard of work featured high. If I do need to “reject” an artist, I try to offer other avenues for online exposure.
Pixelated Rhythm, mixed media with resin, 36×48
MAT | How do you organize your writing? Do you have a lot of posts ready to go, or do you work on deadlines? Do you have an editor/friend to bounce things off, or do you work alone? And how to you manage all your social media? Are you typing away on your iPhone while you’re waiting at the post office?
AF | I plan out Artsy Forager posts usually no more than a week or two ahead. I’m a bit of a procrastinator by nature, something I’m trying to work on, so right now, that’s about as far out as I can plan & organize for the posts themselves. Since I post to the blog Monday-Friday and my husband’s schedule can change, I’m sometimes writing & scheduling posts in advance for the days when he is off. For instance, he’s currently working Wed-Sun, so I make sure to have all my posts completed and scheduled for Monday & Tuesday by Sunday night, so that we can enjoy time together without too much distraction. I normally work alone, but will sometimes bounce ideas off fellow bloggers, artists and of course, my hubby is always a ready ear. I’m still learning to smartly manage social media.. I finally signed up for Hoot Suite, which allows me to advance schedule posts to social media and has gone a long way toward helping me maintain an online presence even when I may not be physically near a computer. 😉 You may be surprised to learn that I don’t have an iPhone or even internet access on my cell phone and right now the hubby and I share one MacBook Pro between us. It can make keeping up more difficult, but it also helps to be able to disconnect when spending time with my hubby.
Neon City, mixed media with resin, 36×48
MAT | Finally, what motivates you to do the Artsy Forager? As an artist I can see the benefits for me, and I think it’s important to bring original art to as many people as possible, but I was wondering what inspires you?
AF | This is a really interesting question and one I’m sure many artists are curious about. I began Artsy Forager when I left a long time gallery/ art consultation position and was preparing to leave Florida to begin traveling the Northwest with George. I knew that I would be bored without something to occupy my time while George was working and getting a different job in a new town every 3 months didn’t seem appealing or even possible. I thought about what I’d loved the most about my former position, what really excited and motivated me– it was the artists themselves and their work. I’ve always loved writing, I was almost a Lit major before switching to Art History and I thought blogging would be an interesting way to fuel my passion for art, help artists succeed in whatever way I could and allow me to build and create something of my own. What really inspires me is the relationships I’m building with artists from all over the country. When artists come to me for advice, I am honored, humbled and inspired to do more of whatever I can to help them succeed. Who knows where Artsy Forager may lead in the next few years. I hope it leads to greater success, not just for me, but for every artist featured.
Champagne Pop, mixed media with resin, 24×36
To see more of M.A.’s work, please visit her website. Taking over tomorrow: Christina Baker!
If you’ve been following Artsy Forager for a while, you may have noticed a few recurring themes in some of the work I write about– man’s relationship with nature, fashion industry and its psychology of influence, and art historical themes being a few. When I first wrote about the work Toronto based artist Amanda Clyne , she was drawing reference from and making connections between historical portraiture and high fashion photography. In her latest series, she continues the fasciation and the lines become even more blurred ( pun intended ).
In this work, she begins with a photograph of a painting. The photograph is then printed onto paper to which it doesn’t stick, creating a wet, workable surface. She then “paints” the photograph, then once the residue dries, the surface is scanned and the painting then once again becomes a photograph of a painting.
The resulting image is ghostly, with an x-ray-ish quality. A nod to the illusory nature of the original portrait? An attempt to find the real person beneath the layers of fashion and facade? In style and palette, these are much softer than Clyne’s previous series. Yet they are still asking the same questions and it seems we, as a society tend to continue to give the same answers.
You know, there’s more than one way to skin a ca— I mean, hang artwork. I hope I proved that in our last foray into Artsy Dwelling! Be a rebel. Don’t hang that art at all! Go all crazy and casz.. just let it lean.
Leaning = layering. If you keep your artwork relegated to the walls, you’re holding it at a distance. You know, like that moldy fruit you found in the refrigerator. But living with art should be about living with it, having it truly be a part of the way we interact in our personal space. Leaning brings it in close. We can study it, pick it up and touch it, live with it in ways we can’t do when it’s nailed to a wall.
Check out some of my favorite ways to style leaning artwork–
Take advantage of those architectural details as a natural resting spot for artwork. It’s kind of Decorating 101 to put artwork above a fireplace, but leaning it on the mantle, especially when layered with other pieces creates a visually rich display that’s easy to change up with the seasons or just on a whim!
Same rules apply for furniture. Wait, forget that. There are no rules! Big art, small art, doesn’t matter, as long as it makes an interesting impact and puts a smile on your face. It all goes back to that layering thing. Leaning artwork connects itself better to the other objects in your vignette when it is sitting on the same surface. It’s like bringing your artwork into the half-time huddle. Now he feels included!
PS– If you’re gonna lean artwork on your headboard, might be a good idea to secure the back with a little 3M velcro, you know just in case things get a little, shall we say frisky? Oh come on, you know you were thinking it!
My favorite rule to break. Used to be, no art lover would dream of putting artwork, which let’s face it, we probably paid a lot of money for, even partly hidden behind a piece of furniture. But that little artsy game of peek-a-boo leaves me wanting more!
Maybe you have the perfect spot for a piece of artwork, but hanging just isn’t practical. Just lean that baby on the floor. The perfect solution especially for super oversized pieces of work that it would take an army to hang! Or for when we want a splash of color but don’t want to commit to holes in the wall.
Of course, it should be noted that leaning artwork, especially on the floor and behind furniture isn’t the idea solution if you have small children, rowdy teenagers ( ok, really any kids at all ) or clumsy husbands. 😉 Do you have any artwork leaning around your house? Share a photo over on the Artsy Forager Facebook page, I’d love to see!
Lately I’ve been working on a little something and am so excited to finally share the news with you! After lots of thinking, planning, debating and fingernail biting, I’m doing it, I’m..
I’m excited to announce that Artsy Forager will now be offering a range of services specific to creative folk! Curious? Click the image below for more information!
I know I usually only post once on Fridays, but I had to share this with you before the weekend! Uncommon Goods is sponsoring their second Art Contest and they want YOU!
Here’s your chance for your work to be seen by an Uncommon Goods Art Buyer and The Jealous Curator herself, Danielle Krysa! AND you could win 500 smackeroos plus a deal on limited editions of your work through Uncommon Goods. You can see all the details and how to enter on the Uncommon Goods Art Contest page. But you’d better scoot– deadline for entries is Monday, March 31st!
Artwork above, Jump Off by 2012 contest winner, Matthew Amey.
This post was sponsored by Uncommon Goods. All opinions are my own. Want to sponsor a post on Artsy Forager? Use this contact form, let’s chat!
You are some lucky Artsies this week! Not only were you treated to a peek inside the studio of this month’s Featured Artist, Peri Schwartz, today you get to see inside the studio of one of our City Mouse|Country Mouse artists, Christina Baker! Christina was kind enough to give us a little glimpse inside her home studio, which just happens to be conveniently located in the kitchen– where the coffee is!– and takes the time to chat a bit about her work.
Give a warm Artsy welcome to Christina Baker!
Artsy | Hi, C! Thanks so much for opening up your studio to us and taking a few minutes to chat. I’ll dive right in.. Every artist has such a different way of working. Can you tell us about your painting process?
Christina | Well, for starters I am used to working in an open studio outside of my house. I’ve been working in that environment for almost 10 years now. Last fall I began working at home. Our kitchen is my favorite room in the house. I love to cook and I love to paint so we decided to turn the kitchen into a working studio from 8am till about 4pm each day. It’s actually really worked for me. There is plenty of light and the best part about it is that I am accessible to my family at any time. I’m also self taught and though I feel it has helped me maintain some originality, it has definitely kept me back a lot. I’ve always had a natural eye for color and composition but what I am still to this day learning is technique– trying to get the paint to do what I want it to do! This has by far been my biggest challenge. I paint in acrylics, although at times use both an oil as well as a watercolor format. My grandmother was a watercolor artist, so watercolor was the first medium, aside from Crayola, that I ever tried. I also like to keep my brushes and paint wet. It not only helps me with movement, but slowly builds a transition for additional, thicker paint with less use of water. I tend to use my fingernails in most every painting I do. It is an impulse as well as habit. Some people have called it a signature of sorts.. I’ll scratch free flowing lines or shapes through some of the thicker painted area. It sort of loosens up the area as well as adds depth and texture. The bad side of this is, it doesn’t always work.
[ pup Java likes to “help” ]
AF | You paint some landscapes in addition to your very successful abstract series. How is your process different when painting abstracts versus landscapes?
CB | Oh boy….This question opens a big can of worms! Just ask my husband. Landscapes, florals, as well as most anything with a subject matter, is so much easier for me to paint. I can usually do a landscape in a day or two. Though my heart is mostly in abstract painting, it carries with it a great deal of discipline and focus. The best way I can describe it is like writing a song. The first few sections are actually rather easy, but the more elements added, the harder it is to glue it all together. Sometimes you start off with one idea, you add your next idea, shape color, composition or contrast and it changes the entire dynamic of the piece. The next thing you know, you have something completely different than what you even remotely thought you would end up with! Another way to describe it is like putting together a jigsaw puzzle. Well, maybe putting together a puzzle is a lot easier. Anyway, the reason I love doing abstracts so much is that when I am in the groove I truly do get lost in the painting. It’s that certain “zone” where you’re not really thinking anymore, you’re just painting, where all the magic happens. If I am singing out loud ( aka annoying the family ), I am in the zone. This is when I do my very best work.
AF | Where do you find your inspiration?
CB | It’s absolutely everywhere! Aside from friends and family, which are always such an inspiration, I would say that color in general is something that has always sparked that feeling of “I can not wait to try this!” sort of thing. I remember back in the 90’s when films were using this sort of orange and green tint and I just loved it. The basic simple composition of every day visuals is also very inspiring to me. It could be something as simple as a bottle cap laying on the sidewalk but just shy of the grass line, a photograph, the way the street lights sort of trickle down our beveled window at night. Sometimes it is a current event which could be personal or universal. Other obvious forms of inspiration for me come from the work of other artists which include, photographers, writers as well as painters.
AF | Do you have a finished composition in mind when you begin or do you just feel your way through?
CB | I wish I were able to plan out my work but I can’t. Usually the only thing I can control is the colors I have chosen to use for a specific piece. Even that can and will change as I go! There are countless times when I am “seeing” the outcome in advance but usually the finished piece never matches that vision.
AF | How has your work changed since moving from Florida to Tennessee?
CB | I haven’t seen much change inspired from my move to another state but what I have seen and felt is change inspired by my life here in Tennessee. I have finally met my soul mate, another long but very beautiful story! He has brought so much joy and happiness to my family and my life that it has definitely shown up in my work.
My husband collects comic books, bear with me as I’m going somewhere with this, and though it may seem unrelated to painting I feel it is relevant to the direction my art has taken. Learning more about the culture behind comics, and it goes so much deeper than Spider-Man, I have learned how wonderful it is to become open minded to so many areas in life some may have never thought to explore. Simon Pegg could not have said it better with this quote:
Being a geek is all about being honest about what you enjoy and not being afraid to demonstrate that affection. It means never having to play it cool about how much you like something. It’s basically a license to proudly emote on a somewhat childish level rather than behave like a supposed adult. Being a geek is extremely liberating.
How does this fit into me being an artist? It’s becuase I am living my life and expressing myself via my work with the most liberating mindset that I have ever had. I am trying so many new things and have so much yet to discover that there is just not enough time in the day to do it all!
AF | I asked Deann this question, so I just have to ask you, too. If you weren’t an artist, what would your dream job be?
CB | An interior designer! I love interior design and Pinterest has totally been heaven for me in this department. Though my taste leans more contemporary, I have always had great appreciation for antiques. My mom owned an antique shop when I was a child, so for obvious reasons my love for antiques will always stay with me. As I grew older, I realized my eye was more drawn to simple clean lines, the less is more sort of thing, but over all, I honestly just appreciate all interior design. Especially when the two words, old and new are combined. In other words, eclectic.
AF | Thanks so much for chatting, Christina and a special thanks to your hubby, Jeremy Baker for taking such lovely photographs!
CB | Thank you for this really fun interview, Lesley!
If you’d like to see results of Christina’s studio work, please check out her work in the City Mouse | Country Mouse show and sale currently up in Found Gallery, as well as on her website.
