Abstract Art

Getting the best digital files of your art

When you have your artwork photographed, especially for use in making giclee prints, does your photographer give you the right kind of digital files?  It's important for artists to document their work properly, because once an original is sold, it's too late. 

Quality slides and color transparencies were the preferred documentation method some years ago, but in this digital age, there is a different standard.  As an artist, I didn't pay a lot of attention to this issue.  I took my own digital photos which were good enough for my website, but not much else.  Once I started having giclee prints made of my work, my printmaker did the photography (and sometimes scanning) to create the high-resolution file necessary for large prints.

Recently my new printmaker Jim Kirsner, who I must disclose is also my brother-in-law, pointed out that the format of  a digital file is critical to historical documentation.  Here he is in his own words:

"When your printer gives you a CD with the image, are they giving you the original capture files (usually TIFF or Raw) or are you getting JPGs?

"Are you getting clean files (unedited) as well as the optimized print file (mostly only of value to your Printer's printer)?

"Not important, you say.  Well it is if you, say, move out of the area and have to start up again with a new Giclee printer.  Or, what do you do if your current printer ceases operation? Can you recover with less than pristine digital files?  Of course you can, eventually and at considerable editing expense.  Why risk it?  Simply request copies of the original captures from whoever is doing them for you, they are your property!

"I can not emphasize too strongly the importance of possessing the original, unedited, un-color corrected file, the negative, if you will.  There are many of you who have a considerable Giclee business.  That high quality, unedited file (no JPGs, only TIFFs or RAW files) is the raw material of your Giclee business, especially when you've sold the original.  No file, no Giclee.  Questionable file, more expense, maybe not the same quality Giclee."

Jim has been making my Giclee prints for the last few months, as well as working with other area artists.  For more information, check out his website at fineartprintbyjim.com.

Art Trail A Success

This past two weekends I had my studio open to visitors, as did 53 other artists in the greater Ithaca, New York region.  We had perfect weather, which brought people in from Canada, New York City, Pennsylvania, New Jersey, and Connecticut, as well as from our local communities.

I sold several prints of my most popular painting, Culmination:

Culmination is the image I put in the Art Trail brochure, and many visitors commented on it.

I wasn't sure how sales would be, since the country (and the world) are facing scary economic times,  but I had my best Art Trail season ever.

One of the original paintings I sold was a floral design on paper:

I also offer this image, Abstract Flower Six,  in limited edition giclee prints on canvas.

Some things I learned from this year's Art Trail:  

• Always mark items clearly with pricing so visitors don't have to ask.
• Offer inexpensive items such as cards, calendars and prints, as well as original art, so that everyone can afford to purchase something.
• Introduce yourself to everyone who comes and ask them something about themselves.
• Be sure to have biographical material about yourself available for those who want to view it.
• Provide a mailing-list sign-up sheet.
• Offer a simple snack like cookies or chocolate.
• Have help if possible.  At times I was a bit overwhelmed handling everything by myself.  Luckily my daughter arrived just as I was trying to wrap two original paintings I'd sold.

All in all, I am very pleased.  In addition to sales and possible new clients, I also got to meet other artists and was invited to participate in a group show next year. 

 

Greater Ithaca Art Trail Open Studio Weekends

Check out the Greater Ithaca Art Trail  for  maps and information on 54 artists showing their work in 49 studios which will be open this weekend and next (October 18 and 19) from 11 a.m. to 5 p.m.  I worked like crazy last week vacuuming, moving furniture, and organizing my art in order to get ready for it. 

The Art Trail open studios are a once-a-year event in the fall when the leaves are turning and the weather is still beautiful here (depending on the weekend--this one is great).  I like them because I get to talk to people about my work face-to-face, which I don't get a chance to do when I sell from my website or galleries.

Preparing my studio for the art trail also gives me a chance to stop and reflect on what I have accomplished during the year.  I have so many new paintings to show for my efforts, and that feels good.  But stopping my work flow in order to have a passably neat studio for two weekends also gives me a chance to think about what direction I want to go in next year. 

With the economy in its crazy free-fall, maybe I should just hunker down and conserve what I have, but I am an optimist, so I will continue to take on new projects and to think of my life as expanding rather than contracting.

The last painting I completed before getting ready for the trail was the second of two canvases for a commission I received recently:

  Matrix 2, 56" x 42"

Now I will put out some chocolate candy and get ready for the crowd!

Painting an Abstract Commission

   Commissioned Abstract Painting

Recently I was talking to some artist friends about painting commissions.  One friend was complaining that her client wanted a painting of their house which listed all kinds of very specific criteria that had to be included.  Another also complained about clients "talking too long" about what they wanted and said she felt like charging them more for the longer they talked.

I mentioned that I also was working on a commission, but since I make non-representational abstract paintings, I didn't really have this problem of the client asking for too many specifics.  "I need to get the colors right," I said, "and to express a feeling, mood or idea."   

Is that easier or harder than having a specific subject matter to paint?  I think it is just "different," and that each kind of project depends on the artist's particular expertise and talent. 

One thing that makes it easier for me to paint commissions is that I always paint two canvases instead of just one.  That frees me up so that I can be more spontaneous.  If I mess up one, I still have the other.  It also allows me to paint one canvas in a narrow interpretation of the client's desires, and the other in a freer, looser style.  And then they get to choose. 

The image above is my first attempt, almost complete.  Below is the beginning of my second attempt: