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What Should Artists Do with Unsold Art?

Several few weeks ago, I read a blog post by Jason Horejs entitled, “What Should an Artist do with a Lifetime of Unsold Artwork?” The article focused on a question posed by a reader on Jason Horejs’s site, who had reached the age of ninety, and had produced a vast collection of artwork during their career as an artist and had never mastered the art of marketing, but nonetheless had showed their artwork in various shows and competitions throughout their lifetime. Despite this, the artist was left wondering what to do with the artwork that hadn’t sold, and felt that their shyness had played a part in keeping them from selling more artwork. Jason Horejs opened up the question for discussion on his blog post, by asking readers to respond to this reader’s question about how to dispose of excess, unsold artwork, whether the artist was living or not. The answers to this question varied from hosting a super art sale, donating the work to a charitable cause, or selling the artwork to auction houses and art galleries thereafter.

Although I hope to have many more years to live, I am considering this question myself, “What should I do with my unsold artwork?” This question has been taking an added significance since I am rapidly running out of space in my apartment to store my paintings and drawings, despite occasional sales, art commissions and donations over the years. I am new to the world of art entrepreneurship, and still have a long way to go in refining my marketing and sales techniques; however, I have been painting and drawing for several years. In fact, I have been drawing and painting since I was nine years old, when I took my first painting class, and I have been intentionally focused on selling and marketing my artwork for about a year. Over time my stash of unsold artwork has continued to accumulate.

In addition, after attempting to organize my artwork this past week, by wrapping them in wax paper and bubble wrap, I am getting an idea of how much work it will be to find places to put my artwork. Now that I have a clearer picture of how long this organization process will take, I’m also realizing that I do not want this task to consume all of my time. I also don’t want to start renting a storage space to store the art yet, although it may come to that at some point. Another problem is that I am less inclined to give my artwork away to friends/family because I am making the switch from creating art as a hobby to a small business, and I feel it’s unfair to offer my artwork for free to some and charge for it from others.

In the past, I have given my artwork to others as gifts, and some of it has been trashed as a last result when I could not think of a way to salvage the painting. Other times, I have recycled canvases by sanding them and re-applying gesso to start a new painting. Sometimes I can get a really great painting out of the recycled canvases. Occasionally, my artwork has been sold to collectors and fans of my artwork. I’m grateful for each and every sale. On the other hand, I’d like to consider what some of my options might be for dispensing with my artwork. Some ideas that come to mind are: 1.) listing places in my neighborhood and surrounding areas, where my artwork can be exhibited such as art galleries, retail stores, and coffee shops, signing up for more art contests,, decorating my home and switching out the artwork periodically, and storing my best work and researching additional strategies to sell them online or in books about art business.

Here’s what some other people had to say about the subject of disposing of excess, unsold artwork: Gallery owner of Xandu Art Gallery in Phoenix, Arizona: Jason Horejs states that: “It’s never too late” to learn how to market your artwork, on his blog www.reddotblog.com,  Artist: Lori McNee suggests: Evaluate the unsold painting to see if you can make it better, on her website www.finearttips.com, and Teaching Artist: Christine Martell offers: Use old artwork to make new work by collaging drawings and paintings or making sculpture out of it, on her website http://christinemartell.com/about-christine-martell/. What about you reader? Do you have any additional thoughts on this subject? I would love to hear your suggestions, as I work through this long-term project of organizing my art studio and my unsold artwork.

Sketchbook cover, edited.jpg.
I’m taking a break from my biographical sketch of Sting this week and working on some prompts from this sketchbook. I hope to get back to the portrait next week.
Sketchbook, sunflowers,edited 2
Pictured is a colored pencil sketch of a field of sunflowers.
Sketchbook, Emperor Dragonfly, edited 2
Here is another page from my sketchbook of an Emperor Dragonfly made with colored pencil.
Sketchbook, Redwood, edited
A colored pencil sketch of a redwood tree.
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The Importance of Color in Art: Choosing a Color Scheme

Today I am blogging about an introduction to the color wheel and how artists can use it to choose an effective color combination. Since last week, I have been consulting a reference book entitled, Color is Everything, by Dan Bartges. I wanted to try out some various color schemes for my Biographical Portrait of Sting, which I posted about in last week’s Sketchbook blog post.  After consulting the book about possible color schemes, I tried out two versions of a tetrad color scheme; one is described on pg. 35, and consists of oranges, reds, and greens, while the other color combination includes blue-green, red-orange, yellow-orange, and blue-violet and is described on page 36 of Bartge’s book.

Sting, pencil sketch
Line sketch based on the Photoshop collage.
Sting in Landscape, with symbols, with black and white
Photoshop collage I made with various photographs.
Sting's Biographical Portrait #1, flat
Here is version one of my color sketch, using a tetrad color scheme of blue, orange, red and green. This sketch was made with watercolor and pencil.
Sting's Biographical portrait version #2, flat
This is version two of the color sketch tetrad version # 2, with blue-green, red-orange, and yellow-orange. The sketch was made with watercolor and pencil

But before I get into the definition of tetrad color schemes, I would like to give a short overview of the color wheel and how it can improve an artist’s artwork.According to the article, “Color Psychology: The Emotional Effects of Colors”, retrieved from http://www.arttherapy blog.com, the color wheel displays the three primary colors and its secondaries, and the twelve colors which are included on the color wheel are: yellow, yellow-orange, orange, red-orange, red, red- violet, violet, blue-violet, blue, blue-green, green, and yellow-green. The most important colors displayed on the color wheel are red, yellow and blue, from which you can mix almost any color. (ibid) However, this concept should be considered in a theoretical context, because paints do not necessarily contain only one color. (ibid) In fact, paints often contain residues of other colors which can affect the final outcome of color mixtures (ibid).  Some colors that you can mix from the two primaries include yellow + red= orange and red + blue= violet.  These colors are called secondaries.(ibid)  It’s interesting to read that primary colors theoretically mixed together, can create any color you wish, but that in practice, it is not always so easy. I think that this is a concept I have grasped as a seasoned painter but did not have words to explain it. This is why I need to buy specific cool reds such as alizarin crimson, or warm reds, such as carmine to get reddish colors that are either warm or cool in tone. Now I have evidence to support my observation and I can explain to others why I need to buy so many different paint colors to create specific colors!

According to the author, Bartges, (2008), a triadic color scheme utilizes three colors which are equidistant from each other on the color wheel, and these colors create “a strong, triangular relationship.” For example, Bartges, 2008, states that a frequently utilized triadic scheme for landscapes includes green, orange and violet. Furthermore, in the words of  Bartges, 2008,  the “most visually powerful triad is red, yellow and blue, which are called the primary colors”.

I decided to apply this knowledge about triadic colors to my portrait of Sting. While I knew I wanted the colors to be pleasing to the eye, I didn’t want them to take center stage. Instead, I wanted them to complement the symbolic nature of the artwork. In this drawing, I wanted to tell a story about Sting’s ancestry and family stories, which I learned about by watching a PBS tv show entitled, Finding Your Roots, a few weeks ago. In this drawing, Biographical Portrait of Sting, I wanted to tell a story about Sting’s ancestry and family stories with references to his great-grandparent’s trade as lace makers, their migration to France, and to describe the setting of his hometown in Newcastle, England. These items were symbolized by the Canada geese migrating in the background, the lace handkerchief, the fleur de lis symbol, (which is often associated with French royalty, according to Britannica.com), and the ships and dock of the Tyneside docks represent the setting where Sting grew up amongst the shipbuilding trade in the 1950s. If you are interested, you can learn more about Sting’s family story by visiting the following website: http://www.pbs.org/wnet/gperf/blog/stings-roots-beyond-england/. The PBS website includes an overview of the television series, Roots, Finding your roots,   which features an episode that investigates the family history of Sting, Sally Field, and Deepak Chopra. Thanks for stopping by! I hope to continue work on the color sketches pictured here and post the results on next week’s blog post.

 

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How to Develop Your Artistic Muscles: Make a Sketchbook

A few weeks ago, one of my art fans complimented me on a painting which she had viewed on my Art of Schmidt website, entitled, Phyllis and Dad. She said that she liked the colors, that she admired my talent, and wanted to know the story behind the painting. I told her that the painting was based on a collection of family photos which I had collected and that I always remembered my father as being older than other kid’s fathers. I also shared that this was the first photo I had ever seen of my father taken when he was young. Although I do not know his exact age, as the picture is not dated, I would estimate that he was in his early twenties when this photo was taken of him and his first wife, Phyllis.

I was of course, grateful to hear the compliments about my artwork, but at the same time, I wanted to share that the artwork I post on my website does not come about by magic. It takes a lot of effort.  Furthermore, sometimes more than one version of a painting or drawing is created to lead to the finished product that people see on my website, commerce site, and social media feeds on Facebook and Instagram. In fact, I have to practice on a weekly basis to keep my drawing and painting skills from getting rusty. During this conversation, I shared all of these insights with her and I hastened to add that if I relied solely on my artistic “talent” then it wouldn’t get me very far. Instead, I have found that practicing art is much like practicing a sport or playing an instrument. I believe that in order to get good at any of these disciplines, one needs to practice, a lot, and on a regular basis to maintain a certain level of skill. And sometimes it may require me to make a drawing or painting over and over again until I get it “just right.” In the words of songwriter, Sting: “I will reapply the needle of the record player again and again to the bars of music that seem beyond my analysis, like a safecracker picking a lock, until the prize is mine.” (Sting, Broken Music, dust jacket cover, 2003).

I was thinking about this conversation this week when I was trying to decide what to blog about. While I was pondering this, I wondered how to make this knowledge which I have gained about the need for artists to practice their art, into an applicable blog post that anyone can learn from. According to the author, and textile artist, Bren Boardman, one specific way for artists to stay “in practice” with their craft is to keep a sketchbook. The sketchbook serves as a repository to record their ideas and inspirations, such as “color swatches, quotes, magazine clippings, newspaper cuttings, or reference photos” for artwork in progress. (Boardman, Bren. “Sketchbooks and Mind Mapping for Artists”, https: www.textileartist.org).  Bren Boardman, textile artist, and author of the article, “Sketchbooks and Mind Mapping for Artists”, states that sketchbooks can help artists to develop their ideas for artwork and that using a mind map in their sketchbooks is an effective strategy for fleshing out ideas for new artwork. In her article, she provides some useful tips on how to start a mind map diagram, sort of like the “web” I remember from grade school in which my teachers used to help my fellow students brainstorm new ideas. In Boardman’s mind maps, she starts with a word or phrase that encapsulates her concept for a new artwork and draws connecting branches, which describe her ideas in more detail, sometimes using imagery. To start a mind map, she recommends that you write a word or phrase, with which you can associate, the main idea. (Boardman, Bren. 2013)

In addition, Boardman states that it is helpful to consider what type of sketchbook you would like to create such as a reference sketchbook, where you might “collect color mixing tests, color swatches or samples, or an idea generation sketchbook”; such as creating a mind map which describes the process and ends with the final result. On the other hand, perhaps you might make a sketchbook that would describe a trip or journey. Furthermore, if you still feel overwhelmed by the process of starting a sketchbook, I’m including a list of suggestions that Boardman offers in her article to get you started with the process. For example, you might include: “photos, magazines or prints, magazine or newspaper cuttings, drawings, sketches and doodles, text, poetry, stories, thoughts, thoughts, letters, extracts, statements, words, fabric, threads, wools, beads, buckles, papers of all kinds.” (Boardman, Bren. “Sketchbooks and Mind Mapping for Artists”)

In this blog post, I include my process for adapting  Boardman’s mind map idea and translating it into a project I wanted to create of a genealogical portrait of recording artist, Sting. My inspiration for this project was based on an overworked watercolor painting I made last summer, a portrait by Durer of a man standing in front of a landscape,  and a TV miniseries, entitled, Finding Your Roots, with Henry Louis Gates, J., on PBS. The segment I took inspiration from was called, “Sting, Sally Field, and Deepak Chopra,” and was filmed in 2014. Gates spoke with each individual in turn and he shared what he had learned about their ancestry through genealogical research. In particular, Gates shared that Sting’s third-great grandparents were lace makers who started a family in Nottingham, England in the 1820s. However, due to the Industrial Revolution, which led to mass production of products and consumer goods, they were forced to seek work elsewhere in Calais, France and in Australia.

I took inspiration from this TV series, a failed watercolor portrait of Sting, and from a sketch by Duerer which featured a portrait of a man and a landscape in the background.  To record my thoughts, I took notes as I watched the TV segment and I re-draw these thoughts in a mind map. I knew I wanted to make a portrait that was different from the typical face front painting or sketch of a person with a wall as background, and that I wanted to let the artwork tell a story about the person. I wanted to use symbols to tell the person’s story so that it would lead the viewer to contemplate the scene and ask questions about what the symbols might mean. After I completed the notes, I set to work looking for images on the internet of Sting, his hometown of Wallsend, England, and some symbols to describe his ancestor’s migration to France and their profession as lace makers. Then I put all the photos together in Adobe Photoshop to create a collage as a reference for the resulting sketch and three value watercolor painting.

Sting watercolor portrait, flat
Original watercolor painting of Sting with English landscape.
Sting mind map final
Mindmap I made based on the TV mini-series, Finding Your Roots, with Sting, Sally Field, and Deepak Chopra.
Tennis-mindmap
Example of mind map from Wikipedia.
portrait-of-caspar-tower-and-a-river-landscape-1520
Portrait of Caspar, Tower and a River Landscape, Albrecht Durer, 1520. This portrait by Durer, influenced the composition for Sting’s biographical portrait.
Sting in Landscape, with symbols, with black and white
Photoshop collage I made with various photographs. I created a black and white image and applied a cut out filter to create a value scale in black and white. 
Sting, pencil sketch
Line sketch based on the Photoshop collage, drawn with pencil on backing board.

Stay tuned for more updates on my painting process of this portrait! Thanks for stopping by!

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Voices and Visions, Artist Statement

It’s been several weeks since I have blogged, and the reasons are many. Some new responsibilities as my mom’s caregiver, due to her shoulder replacement surgery in October, lots of hours at work, and a new custom order, among other things. Also, I keep trying to think of the perfect topic that will be entertaining to my audience and informative. And yet, when I do that I feel like I am not being my genuine self, and that leads to more inertia. So instead, I decided to share my artist statement for my new poetry illustration series, Voices, and Visions. So here it is.

Desert landscape with pregnant woman and plants
This is an oil painting which depicts the feeling of creative block. It is symbolized by the desert landscape and the pregnant woman, as well as the bean plant growth cycle.
Two figures in a barren landscape with a teddy bear and leaves.
This oil painting is an interpretation of Robert Frost’s poem, The Secret Sits. It is also inspired by a music video by the Cranberries, called Ordinary Day, in which the main character chases her younger self to try and resolve unfinished business.

Voices and Visions

 How does an idea for a painting get born? For me, it’s sometimes a memory being re-played, hearing a song lyric that resonates with me, reading a poem that lends itself to telling a story or visiting an inspiring art exhibit.  This series focuses on the connection between stories described in the written word, such as poetry, song lyrics, and quotes and the visual narratives that illustrate these works. The works may describe a feeling, a memory, a season, or some universal truth described in color, metaphor or symbols. Perhaps this series has been percolating in me for years, since 2005, in fact, when I graduated from McDaniel College with an art degree. My art mentor, Steve Pearson, who is now (Assistant Professor at McDaniel College), sparked an interest in me about how to make artwork that communicated personal truths and ideas.

To facilitate the creative process, he recommended that I keep a sketchbook and collect artwork that inspired me. This process would help me to identify the themes that mattered most to me and to write a content-based artist statement. Lastly, I created a series of work that described these themes through color, symbols, composition, etc.  It’s been several years since then and I have had a lot of experiences since then, read books, listened to music, attended concerts, had different jobs, and pursued different artistic subject media, such as the portrait, and more recently still life and landscape. But I keep coming back to artwork that has a meaning or a story to tell in my artwork, and especially to the portrait which was the first subject that ignited my interest in art. One significant event that sparked this recurrent theme, and they are: 1.) A drawing class that I took at Frederick Community College.

In January of 2015, I took a drawing course at Frederick Community College in Frederick, MD. One of the final assignments I tackled was to illustrate a poem using pastels.  A major challenge in this assignment was to find a poem that had some concrete images to illustrate and not a poem that was too esoteric and abstract. I chose Robert Frost’s poem, Ghost House, which has an abundance of concrete imagery. The first lines, “I dwell in a lonely house I know, that vanished nearly a summer ago and left no trace but the cellar walls…” (Frost) gripped me with a strong visual picture.  I immediately thought of a derelict house and tried to create a narrative about this haunted house.

Slowly different images popped into my head, a derelict house, a ghost bride, a tree, a path, and some crows. To facilitate this process, I collected artwork that inspired on Google image searches and checked out library books on vampires and fantasy creatures. My next step was to create a Photoshop file collage with images based on this poem. I completed the artwork by creating a drawing based off of the collage and finished with soft pastels. To create this current body of work, I have followed this same process of creating a notebook of images that inspired, and piecing them together in PhotoShop to create my own unique compositions. I also did searches on Pinterest for the artwork of interest and looked for examples of poetry illustrations to see how other artists have tackled this subject. And I read books on poetry or did Google searches to look for poems that lent themselves visual depiction. Some of the poetry that has inspired these works is verses written by Emily Dickinson, Maya Angelou, Robert Frost, and T.S. Elliot.

Thank you for stopping by and reading my artist statement! Have a wonderful week!

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Bollinger’s Restaurant Art Exhibit

Hello Friends,

The big news here at Art of Schmidt (that’s me!), is that I have a new art exhibit displayed at Bollinger’s Restaurant in Thurmont, MD. My oil paintings of still life and landscape will be up for the month of December. All items are for sale and have been custom framed, so they are ready to hang on your wall! I took some pictures of the exhibit with my phone, but they did not turn out as well as I would have liked, so I am also posting some photos I took of these paintings with my camera before I set up the art show. The restaurant is located at 210 North Church Street, Thurmont, MD 21788 and Bollinger’s is open Monday through Saturday 6 am-8 pm, except for Sundays when the hours are 7 am- 2pm. Eggplant and Red Peppermagenta rose, flatJack Daniels,flatCatoctin Park Landscape (with watermark), 2Catoctin State Park 1 (with watermark)Completed PaintingsBollinger's Art Exhibit, flatBollinger's Art Exhibit 2Small Gems 1Small Gems 2

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Art of Schmidt Newsletter: The readable version

Hello Friends, After posting the blog post, Administrative Aspects of Being an Artist: Writing a Newsletter, I realized that I had posted the images of my newsletter as a slide show. I realized that it would be nearly impossible to read the newsletter in this format, so I am re-posting the newsletter as a jpeg Art of Schmidt Newsletter, November 2017, editedArt of Schmidt November 2017, Page 2, finalArt of Schmidt November 2017, Page 3, finalArt of Schmidt November 2017, Page 4, final, finalArt of Schmidt November 2017, Page 5, final, finalso you can read the newsletter if you wish. My apologies.

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Administrative Aspects of Being an Artist: Writing a Newsletter

Hello Friends, I apologize for my lack of blog posts lately. This past year I had several art shows such as the Frederick Coffee Company in Frederick, MD, as well as my Studio Sale at my home. These events were great opportunities to share my art with others and connect with faces both new and well known. However, I really got behind on some of the administrative aspects of my art business such as cataloging, adding new items to my commerce shops, and keeping up with my profit and loss sheet. I also created lots of new portraits in my 100 Faces in 100 days challenge which took up a lot of time. This past month, I  also had some new tasks to take on while my mom has been recovering from shoulder replacement surgery.

So now I am trying to catch up on these neglected tasks. as a result, my posts might be less frequent and you may see some blog posts from my archives. I hope to be more caught up in these administrative tasks by next January so I can post more often. Today I am featuring a blog post which showcases my latest email newsletter for Art of Schmidt. This issue has a short segment about my latest painting series, Voices,

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and Visions, in which I illustrate poetry, quotes and song lyrics in mixed media and acrylic. Thank you for stopping by! If you would like to subscribe to my email newsletter for Art of Schmidt, just send an email request to jsjschmidt2@gmail.com.