I am taking a break from blogging on my Art of Schmidt site until life calms down a little. I’ve been juggling an art show deadline that’s looming and the art hasn’t been coming
together, and some health issues. I hope to get back to blogging more frequently after the art show opening, On and Off the Wall at the Artists Gallery in Frederick, MD. I will be joined by many local artists who work in a variety of media. All art will be for sale via silent auction and proceeds will help raise funds for the continuation of the gallery, which is operated exclusively by artists. For now, here are some progress photos of my box entry, Stopping by the Woods. Here is a link to the art show if you want to know more about it: http://www.theartistsgalleryfrederick.com/march-2018-box-show.
In my next post, I hope to show you the completed project, but for now, I am still figuring out how to bring it to a successful conclusion. I was not happy with how the sides of the box turned out, so I am re-doing them from scratch in Photoshop. Next week, I hope to transfer these images to the box and paint the panels in Acrylic. Here are the Photoshop files in progress that will be displayed on the other sides of the box. The box is based on the poem, Stopping by the Woods on a Snowy Evening, by Robert Frost. I love this poem because it is so mysterious. Is he talking about death, life, or the push and pull between responsibilities and dreaming, when he stops to admire the snowy woods, but then decides that he has other things to get back to at the end of the poem when he says he has “miles to go before I sleep”. I think the poem can be open to many interpretations and that’s what makes it interesting. Thanks for stopping by!
Time seems to be getting away from me lately; working long hours at my part-time job, keeping my house clean and neat, cooking, running errands, etc. I’ve had precious little time lately to do art, or even to blog, or think much about the when/how/what, I want to blog about. My thoughts have been scattered like so many leaves on the wind, and my content ideas for this week’s blog post have ranged from marketing tips for artists to ideas for making time for art, and finally to the reason why artists need a portfolio. And I have come to the conclusion that I might have put the cart before the art because before artists can market their artwork, they need a substantial body of work to choose from with a concentrated theme and a style. However, before I get into a lot of detail about why artists need a portfolio to help market themselves to galleries, etc., I want to provide a definition of an artist’s portfolio. What is it? An artist’s portfolio is a visual reproduction of an artist’s work, often displayed as photo reproductions in a removable file folder, and other formats may include a printed book of an artist’s artwork, or a CD with jpeg images, or other formats such as online portfolio, “which showcases an artist’s style or method of work.” (Source: Wikipedia, “Artist’s Portfolio,” retrieved from https://en.wikipedia.org/wiki/Artist%27s), a portfolio can be used by artists to show employers and gallery owners the artist’s collection of best works, often limited to a specific medium and theme for clarity and cohesiveness (ibid).
To investigate this idea more fully, I did some research via my favorite source, the World Wide Web. According to an article entitled, “6 Things You Can Do To Promote Your Art”, by Agora Gallery staff, A compelling portfolio will help artists to create “branding and packaging.” (www.agora-gallery.com) In addition, a portfolio paves the way for artists to enter art competitions “post on their website,” and create marketing materials (ibid), such as brochures, business cards, fliers, etc. Furthermore, a crucial aspect of an artist’s portfolio is the “visual reproduction,” of an artist’s art, because the quality of your art reproductions, (ibid) whether it is in photographs or prints, will play a crucial role in capturing your potential fans and customers and turning them into followers. This is especially true of visual heavy sites such as Instagram and Pinterest.
High-quality photography is a must for an artist’s website, social media postings, portfolio, commerce shops or online galleries, etc… To stand out from the competition, Artists need their artwork to shine above all, not for their followers to focus on bad photographs, with fuzzy or blurred images that are dark and badly composed. These flaws will detract from an artist’s work. Although some experts will advise artists to hire professional photographers to exclusively document their work, I have a different take on this issue. I think artists should do whatever works best for them, rather than a hard and fast rule like this one. I know from personal experience that it can be difficult to afford the fees from professional photographers as an emerging artist. For example, one of the choices I have made in order to make time for art is to work part-time. There are both pluses and minuses of this life choice, and while it affords me additional time to work on art while I am at my best, (during early afternoon hours) it also limits the amount of money I have to spend on art supplies, marketing, etc. My solution for photography is to take my own photos and learn how to do this skillfully. If artists want to learn how to take their own photos, they can learn this skill through a variety of avenues, such as reading photography books from their library, taking photography classes at their local community colleges, and experimenting with different cameras, lighting, and tripods, etc. I also recommend an article called,” 4 Steps to Photographing Your Art”, by Art Archive, which can be retrieved at https://www.artworkarchive.com/blog/4-steps-to-photographing-your-art-like-a-professional.
If you can afford a professional photographer, by all means, do some research and seek out professional recommendations from trusted friends and family. But be sure the photographer in question has experience in taking photos of art. Here are some tips from Agora Gallery offers regarding the content of an artist’s portfolio: 1.) Use high-quality photos to document your art, 2.) Include a brief and compelling description of each artwork, include information such as: “size, title, media”. Also be sure to include a succinct description which describes the art. 3.) Tell a story about your art if you can, what inspired you to do the work, etc. 4.) Include a strong biography which describes your backstory as an artist, such as your journey as an artist, etc. (Source: Agora Gallery, “6 Things You Can Do To Promote Your Art”, retrieved from www.agora-gallery.com). Make sure it isn’t generic, and that it sets you apart from other artists. As you write your biography, think about the first page of your favorite book and why it moves you or grabs your attention and makes you want to turn the page to find out what happens next.
In this post, I have included some oil paintings I completed during my senior year at McDaniel College as part of my senior studio final project. These help explain the concept of consistency in style, subject matter, and medium, as they are all self-portraits, executed in oil paints in an impressionistic style. The theme of these works was to illustrate different feelings expressed in the lyrics of songwriter, Sting. Some of the songs that inspired these works are: Lithium Sunset, Secret Journey and Let Your Soul Be Your Pilot. Many of these songs express struggles with failure, depression, making choices, getting back up again and making sense of the world. Here is a brief lyric from Let Your Soul Be Your Pilot:
When you’re down and they’re counting
When your secrets all found out
When your troubles take to mounting
When the map you have leads you to doubt
When there’s no information
And the compass turns to nowhere that you know well
Let your soul be your pilot (Source: http://www.sting.com/discography/lyrics/lyric/song/176)
It is also important to do research about potential galleries you would like to exhibit your artwork before you send out your portfolio to galleries. For example, you might want to read their website and look at the work of artists that they already represent to get an idea of what style, mediums they gravitate towards, the gallery’s philosophy, etc. You might even want to make a drive to visit the gallery in person and meet the staff
if that is possible. This will give you an idea of what their customer service is like, and if you might mesh well with the gallery staff or not. Remember to be strategic about your choices for art competitions and gallery submissions, and look for opportunities that will be a good fit for your art.
Thanks for stopping by! I am planning to write about the topic of how artists can market their work as a series, to follow up this week’s post on why artists need a portfolio. Next week’s blog post will describe the concept of artist portfolios in more detail and all the different formats which are available.One final thought before I close, before you can make a portfolio, you must be putting in the hours in your studio and make art as much as possible, nights, weekends, etc. Also, it is important to invest time in learning and developing your specific medium of choice and style. This may not happen overnight and it takes time. After all, if you aren’t making art, you have nothing to promote.
In a follow up from last week’s blog post about copyright infringement and how to avoid it, I am looking at the other side of the coin and investigating how artists can protect their work from being stolen online. However, I must offer the caveat shared by Drew Kimble, author of the article, “Stop Stealing My Sh*t,” that there is no foolproof guarantee that any of these measures can protect an artist’s work. Indeed, according to Kimble, if a thief has the technological know-how, they can steal an artist’s work. However, in the words of Kimble, there are strategies which can be used in an effort to deter thieves from unlawfully using an artist’s content.
One of these methods which artists can use to protect their artwork is called watermarking (Kimble, https://skinnyartist.com/stop-stealing-my-images/ . This approach involves creating a mark in a photo editing program, such as PhotoShop, often incorporating your name and the year in which you created the art. (ibid) I first learned about this technique when I was taking a Business of Art Class, taught by local photographer and art business coach, Rebecca La Chance, of Thurmont, MD. Previously to taking this class, I had not thought about protecting my artwork very much, as I had viewed it more as a hobby than a business. However, since 2017, when I made the shift from hobby artist to art business entrepreneur, I have been thinking more about the issue of copyright, both with regard to avoiding copyright infringement, and also how to protect my artwork from being stolen. As I started to do research about copyright infringement, I was shocked about how much art online has been copied wholesale from celebrity photographs and is for sale as handmade art on websites such as Etsy. And there is no way to know with certainty that the artist who made this artwork actually asked the photographer for permission to use their source as a reference for their art.
It is one thing to copy another artist’s work in order to learn from it and to give credit to that artist, as I have done with my master copies. However, it’s quite another thing to steal another artist’s work and take the credit for it. I’d like to think that some artists are ignorant about this issue, and to give them the benefit of the doubt. I hope that is true, but I don’t know if that is true in all cases. Copyright infringement certainly wasn’t a topic that came up in my art classes at college. However, I think it should be addressed, since these college courses in graphic design, painting, illustration, and photography are supposed to prepare artists for the professional world after they graduate, as graphic designers, animators, photographers, professional illustrators, and artists, etc.
More to the point, I think artists who steal others artwork are robbing themselves of the opportunity to create their own work and grow as artists. Although it may take more effort to take your own photos, the hard work is well worth it, because you get an opportunity to learn about the principles of composition, light, etc., and these fundamentals are critical components of making art in any medium. These principles can help you make higher quality art in general, as composition and lighting are important aspects of making attractive artwork.
On the other hand, I admit that when I was a teenager, I used celebrity photographs to learn how to draw portraits from magazine covers. The truth is, I had no clue about copyright laws at the time. But, knowing what I know now, I wouldn’t offer these drawings for sale or display at an art gallery or any of my commerce shops, such as Etsy and Red Bubble. I have also used the celebrity photos as a learning tool in my 100 faces in 100 days drawing challenge, but these drawings were not for sale, and I frequently gave credit to the photographer’s name in my Instagram posts. I feel now though, that I want to step it up a notch, and not even use copy written photos at all as a reference, but to search for public domain photos, or better yet, learn to take good photos of my own, so that the artwork I create can be more original.
Of course, the issue of artistic theft is not a new one, because, in the past, art was stolen by artists who made forgeries of other artists work such as the famous case of the so-called Vermeer paintings, (i.e. Amsterdam vs. Han Van Meegren (1947). Source: “The Essential Vermeer,” retrieved from http://www.essentialvermeer.com/misc/van meegren.html. So with all this being said, should artists stop making their art available to others through the World Wide Web or not? And if artists decide to post their art online, what are the options to protect their art from thieves? To make this decision, I think artists need to weigh the pros and cons of posting their artwork online to decide how to market their art. And they also need to look at the options available to them to safeguard their artwork online by researching different methods, such as watermarking, slice and dice, disable right click, and shrink wrapping, (Kimble, https://skinnyartist.com/stop-stealing-my-images).
On the benefits side of posting artwork online, artists can gain a wider level of exposure for their artwork than ever before, on a worldwide level, (ibid) by using the world wide web to post their artwork on social media channels such as Facebook and Instagram. They can also sell their artwork online through online galleries such as Art Fire or Daily Paintworks. In the past, such opportunities did not exist and artists were completely dependent on currying the favor of art gallery owners in order to obtain a platform for their artwork. Now, any artist can get their artwork into the public eye without having to pay for application fees. If you have electricity, an internet connection, computer, and cell phone, you can post your artwork to a plethora of websites, for a minimal expense. Added to the social media channels I have already mentioned, are online art galleries which are subscription-based, such as Art Fire and Daily Paintworks, at www.dailypaintworks.com, created by artist Carol Marine. Many of these require only a small monthly subscription fee with an unlimited amount of posts for an artist’s artwork, which can be linked to commerce sites such as eBay and Etsy, so artists can control their sales completely. Best of all, there is often no jury panel involved to become a member of these online art galleries.
On the other hand, if artists opt out of posting their artwork online, they are much more limited in their ability to gain new followers or control their sales. It can also be more expensive to get your artwork in front of influential decision makers such as art gallery owners and art jury panel members. In this instance, you are limited to the gallery shows you are accepted into and more traditional art events such as art festivals and fairs, which often involve the traditional jury system to gain admittance. Moreover, it can be discouraging to artists (especially emerging artists), to receive one rejection letter after another, especially when they don’t know why their artwork is being rejected. To be successful with this approach, you need a thick skin, perseverance and a specific plan to find galleries who will be a good fit for your art. It can often be like trying to find a job, in that you are trying to make a match between the artwork you create and the artwork that a specific gallery already promotes. This process cannot be random to be successful.
Another option is for artists to choose to combine their art gallery shows with an online presence in social media channels such as Instagram, Facebook, and Pinterest. In this case, you can probably attract more fans and customer and the instant feedback you receive from your posts can be encouraging and help you to create more art. So, if you decide to go this route, you have several options to protect your artwork from unlawful use. These options include watermarking, slice and dice, shrink wrapping and disabling the right-click option (Kimble). The different strategies I mentioned are described in detail in Drew Kimble’s article, “Stop Stealing My Sh*t,” with an analysis of each method involved. A tutorial for watermarking is embedded in the above-mentioned article. If you are interested in learning more about these techniques you can click on the link, https://skinnyartist.com/stop-stealing-my-images/.
It’s that time again for me to get cracking on my box for the annual Box Show which will be displayed at The Artists’ Gallery in Frederick, MD during the month of March. I have been a participant in this show for many years and every time I make artwork for it, I learn something new and literally learn to think “outside the box.” My work will be featured with several other local Frederick Artists and all art will be for sale via silent auction at the gallery. For more details about the art show, click on the following link: http://www.theartistsgalleryfrederick.com/march-2018-box-show.
Here are a few examples of the boxes I worked on in previous box shows at the Artists’ Gallery in Frederick,
Johnny Cash, Mixed Media, 2014, Jodie Schmidt.
Johnny Cash, Mixed Media, 2014, Jodie Schmidt.
Alice in Wonderland, Mixed Media, 2016, Jodie Schmidt.
Alice in Wonderland, Mixed Media, 2016, Jodie Schmidt.
Md. The themes for the boxes range from The Chronicles of Narnia, Johnny Cash, Alice in Wonderland and this year I will be illustrating Robert Frost’s poem, Stopping by the Woods on a Snowy Evening. I will post additional photos of this year’s box as soon as I start making more progress on it. I hope to have the sketches for the box transferred to it by this weekend so I can start painting the box with acrylic paint. Thanks for stopping by!
If you’ve been following my blog posts for a while, you’ve probably seen my Voices and Visions poetry illustration series, which I have posted on my blog. Some of these feature celebrity portraits, such as my Maya Angelou portrait, And Still I Rise, and my biographical portrait of singer/songwriter, Sting. To create these portraits, I have combined several photographic sources to make a photo collage in Adobe Photoshop as references for the drawings and paintings for my poetry series. I want to avoid copyright infringement, especially since some of the photos are photos of celebrities. In addition, I have seen celebrity portraits often on websites such as Etsy and Pinterest and I have wondered, what constitutes copyright infringement when using photographic sources other than your own? Is there such as thing as changing the photographic source “enough” to make it your own, or not?
Since I am new to the word of art entrepreneurship, the concept and understanding of copyright infringement with regard to the visual arts are somewhat new to me. On the other hand, I have heard about the subject in passing, such as in the celebrated case of the Obama poster campaign portrait, in Associated Press vs. Fairey, (2009), in which a photo of former President Barak Obama taken by AP freelancer, Mannie Garcia, was used by graphic artist Shepherd Fairey to create a campaign poster for Obama. ( Source: Kaitlyn Ellison, 2014, 5 Famous Copyright Infringement Cases (and what you can learn, retrieved from https://99designs.com/blog/tips/5-famous-copyright-infringement-cases/). Accessed 16 January 2018. As a former history major in college, I am much more familiar with the issue of plagiarism with regards to the written word, as in not citing your sources in research papers and essays, etc. When I was a student at the University of Maryland, Baltimore County, if a student was found guilty of plagiarism, with regard to a term paper or essay, they would be booted out of the University, permanently. As a result, I meticulously cited my sources as I took notes, and double and triple checked for paraphrasing and direct quotes during each draft of a research paper. I know many of the guidelines which refer to that sort of subject, such as you should always cite your sources when you give direct quotes or paraphrase another person’s ideas, both in the body of your paper as footnotes and at the end of your paper as works cited page. In fact, there are even websites devoted to the study of specific types of citation methods such as APA style, Chicago style, etc., which you can learn about on the Purdue Online Writing Lab which can be accessed on the following link,https://owl.english.purdue.edu/owl/resource/747/08/, and how to implement these styles in a college essay.
On the other hand, the world of artistic copyright infringement seems murkier to me. How do artists avoid copyright infringements when creating art and how do they protect their own works from unlawful use or theft? To find out, I started researching some articles online about copyright infringement…I discovered that there is no magic formula for changing a source photograph enough to make it original and that it is far better to use your own photos if at all possible, according to the author, Helen South, 2017, of the article, What ArtistsNeed to Know About Copyright. On the other hand, if this is not possible, as, in the example of using photos of celebrities, artists can make use of websites such as Wikimedia or Wikipedia to look up photos of specific celebrities. (ibid) These websites give details about the provenance of each photo, such as whether it is copy written, the photographer’s name, date of creation, and whether or not this photo is available for use, and under what terms. The photographs have a citation that states, its sources, such as the photographer that took the photo and whether it is labeled public domain or creative commons. (ibid)
Be sure to read all the notations about the artwork to be sure it is not copy written and to understand the conditions for which it may be used. Finally, another example of copyright usage is when artists make master copies of other artists work for their own study and development. For example, well-known artists such as Mary Cassatt, considered studying the old masters and copying their work to be an integral part of an artist’s education, and she copied old master masters, by Italian artist, Correggio. (Source: The Art Story: Modern Art Insight, Mary Cassatt, American Draftsman, Painter and Printmaker, retrieved from http://www.theartstory.org/artist-cassatt-mary.htm, Accessed on 19 January 2018. Biography.com, Mary Cassatt: Painter, (1844-1926), retrieved from https://www.biography.com/people/mary-cassatt-9240820. Accessed on 19 January 2018. and Getlein, Frank. Mary Cassatt: Paintings and Prints, Abbeville Press Publishers: 1980, New York, pg. 12.
It is important to label your master copies with the notation, After (Artist’s Name). You can also add additional information such as the title of the work, date of creation, medium, and the date that you executed your version of the masterwork on the back of the painting. In addition, to avoid claims of plagiarism or worse yet, art forgery, I never sell my masterworks and only use them to learn more about technique and I always give credit where credit is due. If I post them on my website or elsewhere, such as Instagram, I clearly indicate that they are master copies with all of the details about the picture’s provenance. This article is by no means comprehensive about the ins and outs of copyright law regarding visual art
and is only intended as a basic introduction to the subject. Thank you for stopping by!
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.
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.
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, FindingYour 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.