Finding the Muse

Inspiration for an artist or designer can come from anywhere. I have to admit that sometimes I let the arts take a backseat to school, work, and life.
In those things though inspiration does strike.
My friends and I have found ourselves gathering up on Sunday evening to play a round of Dungeons and Dragons (2nd edition.... no I don't care much for newer versions)
This has always been a safety net for inspiration. Its essence is a story telling game. Players and game masters contribute to tales of (generally speaking) medieval fantasy.

This translates into hours of character sketches, writing of various tales, background stories, and artwork. It really is a simmering pot of inspiration.
If you haven't tried it, cast aside your social fears of being a nerd and step into the world of dragons and fantasy.
When you step back to the studio, you will find it has affected your work in a new light. It allows you to think outside the box, consider story lines of people you meet. What brought them right here, right now?

Why not... it's better than watching Lord of the Rings, and more enlightening than still life.

I haven't gone away

To my FB, blog, and page followers, I haven't forgotten.
This summer has been a flurry of activity with art shows, new jobs, and internships.
Life seems to be settling back down and I will soon be back on track with the page and blog.

SAD 57 has hired me to film, edit & post school board meetings and events. The internship at Saco River Community Television has been nothing but wonderful, educational and productive. I will be continuing to volunteer.

Now that summer is coming to a close, my education is ramping back up and I have returned to support the guys with autism full time.
Full success is only a matter of a very little bit of time. Still plenty of the artwork for sale here at the studio.

Artist space in Portland, Why am I PISSED?

This is all in response to an article posted here by the Maine arts comission. It's one of those facade sort of situations that lets Portland bill itself as an "Arts friendly city" and it is driving me nuts.
At the risk of sounding off and being "Ranty" I can hardly contain my contempt for this set up.

Efficiency apartments for artists that are available ONLY by application and review. This is not being labeled properly. This is Cheap housing for Elitist MECA students only. I am sure the project is being pushed by MECA. I honestly hope they are not intending on using money from the good people of portland to subsidize this double dipping BS scheme.

What about artists with families, kids, who are already paying rent reliably and have a place to live but are trying to work in their living space? What about artists getting muscled out of the gallery scene on first fridays because of lack of room at galleries? What about artists who ARE NOT ATTENDING MECA?
Why is this an option, but not artist WORKING space that opens up on first fridays and has a place for artists to show and move their work? The old mills in Biddeford are already doing this, and the result has been great.

When you rent a working space for X dollars, you could also be paying for X feet of space in the open gallery...
Efficiency apartment? Portland already has low income housing... labeling it "For artists... by application only" Makes it low income housing only for MECCA students. MECA has plenty of money... buy your own damn dorms!!!
This in no way is conducive to new fresh art entering our city. This doesn't "add to the arts" in Portland.
Cheap working space would attract serious artists from Portland and the outskirting areas who have the dedication, drive and motivation to produce art. It would give these people a place to be seen and noticed on the First Friday Circle. Which as of right now is dominated by unaffordable and unrealistic galleries.

(I love my gallery owner friends out there...more or less) But what working artist with a family can afford 40-60%, and a month of sitting in the gallery being a retail agent???

This whole thing leaves me steaming and disgruntled.

When I start seeing some real income, it is on my bucket list to buy such a building in Portland, or some other city and watch REAL artists turn the frikkin world on its EAR!


My response to the article (that will probably be erased) is posted below.... and I tried to temper it.
The efficiency apartments for artists thing seems like a good idea on the surface and I am sure makes folks feel good if it is pitched to them properly.

A better resource (IMHO) would be artist WORKING spaces on the cheap in a warehouse or building somewhere that could open up on first fridays.
Not living space, working space for artists with a resource to show work and move art.
There are MANY artists on the outskirts, and intown Portland who have Families, kids, Rents and what not. But need a dedicated space to produce and move their art.
This building might be great for a young, single artist with no family who is struggling to hold a job.
Lets just call it what it is..... Elitist space reserved solely for MECCA students.
Go ahead, beat me up over this comment...I'm just looking at a transparent situation and reading the text behind it.

Missing for hundreds of years "Salvator Mundi"

A lost work of Leonardo Davinci seems to have surfaced. Sold at a private estate auction a few years ago, it apparently is on the block now for a mere $200 million.
I have long been an admirer of DaVinci and this new piece is no exception. Except for the unsettling fact that the face reminds me of my teen age buddy Bill. (maybe it's the mustache).
Apparently the art had been re-painted, and attempts to improperly restore it had done more harm than good. A pains taking process has brought it back to some of its glory and is scheduled to be displayed in upcoming months.
Check out the full story here.
If you live anywhere within driving distance of this piece being displayed, I would say don't miss it.
Things like this find makes me wonder how many master works are floating around out there in granny's attic that are unrecognised and holding long secret stories. It's art world mysteries like this that really make the imagination stagger.

The NEW art buying engine?

It looks like Art.sy is poised to take the art world by storm. As the tagline suggests one can discover fine art, powered by the art genome project.
The site promises to launch in the spring of 2011, which is shortly about to pass by.
Taken from the website:
"Art.sy is led by Carter Cleveland, a Computer Science Engineer from Princeton University with a passion for fine art, and Sebastian Cwilich, a former executive at Christie’s Auction House and Haunch of Venison Gallery. Sebastian is also Founder and Chairman of ProyectArte, an international nonprofit art school for young emerging artists.

Art.sy’s investors and advisors include global leaders in the arts, media and technology. Investors include Dasha Zhukova, Founder of Moscow’s Garage Center for Contemporary Culture; Wendi Murdoch, Film Producer; Eric Schmidt, CEO of Google; and Jack Dorsey, Creator of Twitter. Advisors include Larry Gagosian, Owner of Gagosian Galleries; Barrett White, Director of Haunch of Venison Gallery; and Joe Kennedy, CEO of Pandora. "

With such powerful "and loaded" backers and investers the project shows some promise. The outstanding questions remaining in the back of my mind.
Is it just going to be a popularity contest? If an artist gets enough "facebook likes" do they show up?
What is it going to take for an artist to get listed?
Will this be just another place for every person with a pencil to post pics (I.E. Deviant art)?
How does an artist prove their worth the be a part of the "genome"?
Is this just going to be another -elitist art listing? A place where emerging artists stand no chance unless they have slept with or are owed a favor by some well known?
Snobbery galleries already do this, and isn't really of any use to hard working artists or collectors.

There are many questions lingering around, the only answer I seem to find is "wait and see"

Art.sy seems to be gallery owner driven. Art.sy listing the art and connection for people to buy the art from galleries. Art.sy then wants to collect a commission from the gallery selling the art.

This raises the thought in my mind.... how many commissions can be had off of one artists work? This sort of thing kills me. Galleries want 20% (ish) already, now Art.sy wants another 10%. The artist has to make the art, host the opening, get the attention, sit in the gallery all month being a retail agent, and now... lets grab 30% -50% of what they generate.

This leaves the person creating the product being scraped off the bottom of the shoe like so much dog shite on the walk.

This project can be a great tool for artists and buyers, or it can be one more way to further the rape the creative minds and the works they create. Connecting galleries to buyer is perhaps one way of weeding out less experienced artists. Sadly, many new buyers and collectors may not realize that great art can be bought without a gallery.

We are just left waiting.

http://art.sy/

-Lloyd M

It is what it is INVITE

The opening is officially arranged. July 8th, 6:00-8:00pm at the West Buxton Public Library.
Work will include Oil, Acrylic, Pen & Ink, Photography and other works by myself, Lloyd Metcalf.
The inspiration for the name is an admiration for a common phrase of accomplished artists, "The work speaks for itself." It is what it is, is a place I always aspire to in my work. some sort of communication of something inside... even if I don't know what it is.
The creative interests are scattered enough to qualify this time to say, "It is what it is" A display of my art.

Check the Facebok event page assume you are invited.

It is what it is: An Art Show

An upcoming art showing for Lloyd Metcalf opening July 8th. The idea of crawling before you can walk comes to mind.
Instead of running straight for the brightest light, why not head for the one you can put your hands around and follow the path that lights up?
The West Buxton Public Library has been kind enough to offer me a showing of my work that will hang for the entire month of July.
This means the studio will be a buzz of activity (once I beat down this cold bug) and the work will be some of my best yet. Already I am pleased with the work that I have been producing and I have been very inspired to keep the ball rolling in new directions for the future.
"It is what it is" Is refelctive of the more well known saying that I feel some of the more refined artists use, "I think the work speaks for itself".
This show will be a mixed bag and mixed genre of work that is the explosion of creativity that has stricken me recently. There will be photography, pen & ink drawings, digital art prints, and full size paintings of Acrylics and Oils. I am not even sure what else.... because it just "Is what it is" A showing of my work.
The idea of starting more locally and creating a local buzz seems more of a logcal step than throwing the little fish into the big pond. Why not work on growing the little fish in the little pond first?

It should be a great evening and a better month. All the work will be for sale, with some of the profits going to benefit the library (not required... my decision). With this no cost option, of a showing, that leaves me with a little budget for the opening itself and some publicity.
Details to follow soon (fb event and all that) until then.... mark a place on your calendars July 8th 6:00 PM at the West Buxton Public Library.

34 River Road
Buxton, ME 04093
(207) 727-5898

see you there!

Ai Weiwei hanging in there

Just a short post this evening, and I am even stealing it from someone else. (don't judge, I'm not lazy, just tired) and this is relevant to the art world.
Ai Weiwei was allowed a visit from his wife and he is apparently being taken care of well, but his wife finds him "tense"
Full story here: http://bit.ly/lhjyB2

Hang in there Ai Weiwei! I look at these updates on him, and I am grateful to live in America... and even grateful for my discontent with the government, and how I am allowed to say so. In China, life is different. I think this is a lesson for America. As we slowly and willingly let go of freedom after freedom, here is where that road leads.

New work

A pen & ink sample of some of the new work. I decided that while things are so busy, perhaps I should be working on more "mobile" art forms until I get some time to sit in the studio.

Not like the other

Friday Artwalk at 3 fish gallery was the place to be. Max and Erin Leon "Not like the other" showing.
The brother / sister team brought their finest which, as usual, set the bar a little higher in the Portland Maine art circle. From the opening of the doors, until the night was over 3 fish was buzzing with activity.
3 Fish Gallery at 377 Cumberland ave is hosting the artwork until the end of the month, and not all of it has sold... yet.

The Leons are becoming some of Portlands more collectible artists as their work has been showing up regularly with consistent outstanding quality and improvement for well over 15 years. With every show, art walk, and display Max Leon and Erin Leon show growth experimentation and jaw dropping talent in every piece.

For this show Erin profiled her amazing handmade prints which not only exhibited her expert use of line, energy and form, but also profile her ability as a master craftswoman in her medium of choice.
Max exhibited a number of geometrical sort of pieces he has dubbed Tetronometry. A very exciting, new and unexpected direction for the artist. Many Max Leon collectors were expecting the en caustic and oil paint work from his past but were surprised and very pleased with "Tetronometry". Clean lines, geometric patterns, shapes and forms.

As I walked through the exhibit people were buzzing and chatting one another up in the usual way. What struck me most were the viewers of the art. People were immediately drawn in and would be staring at a piece. The conversation was breaking the viewing reverie for many of the opening attendees.
Returning before the month is over would be well worth the trip to fully have an opportunity to take in the work displayed before it is gone or sold.

I honestly can't find the words to express my complete impression of the work the Leons displayed. I could thumb through a book of art critique and design terms for a few hours and piece together some mish mosh that would fall sadly short of transferring the experience to you my readers. After a number of drafts, none leave me satisfied with anything that could do justice to the work I saw. I can only urge everyone to make an effort to get into 3 fish and stand in front of the pieces displayed. I had to check my own bank balance a number of times during the evening with a desire to bring something home.
I have been blessed with the friendship of the Leon family for quite a few years now and make no mistake that every time I find a doodle in one of my sketchbooks, or a piece gifted or purchased over the years it finds its way to a frame, and a special place in my home.
While the work is amazing, it is a chapter in the ever expanding work of Max and Erin. I believe the work for both artists displays a place of achievement and mastery. This show also lets us know that what we saw was certainly "Not Like the Other"

You Suck at Photoshop!

If you suck, or are a master, this is a MUST SEE!
I have spent quite a bit of time talking about digital art being art and photoshop is one of the most essential tools for anyone who wants to be useful in the internet world.
There are tutorials out there that can literally leave your head swimming. Ever find essential information being fed to you by a 12 year old?
Learning while laughing until you nearly pee you pants is one of the best ways to retain information. You Suck at Photoshop fits the bill!

Upon opening up the software it can be daunting. Adobe has stuffed their software packages with so much power and versatility over the years that it takes some time to get comfortable. Tutorials are the most common place to start, and here I have seen some great ones.
The information is valid, but scripted to be hilarious and worth watching regardless of your interest in photoshop. Pay attention, you might learn something.

Have you heard this art?

Should I blog about a "band" in an artblog? Hell yeah!

When I see a live band on the billing for my favorite club, I usually start making other plans. I'm glad I didn't this evening! April 29th at the Asylum in Portland Maine, I met up with a few of my usual friends and some faces new to me and we tucked ourselves into the cramped downstairs venue. It was going to be Ludovico Technique opening for Aryia. Lights and gear filled  over 50% of the small floor space and I wasn't even sure what I was in for.
"Ludovico Technique" The words kept rolling around my head, where had I heard that? and what did it mean? The merchandise guy for the band finally put it together for me. It's the technique used to "cure" Alex in the movie "A Clockwork Orange".

So Ian, our friendly local DJ pulled the music down, and the drummer and keyboardist started in with digital, industrial ass kicking. Their sound is definately rounded out with the lead vocalist. I really enjoyed the digital sound mixing and keyboards with a real drummer. I could hear certain influences in their sound. Maybe they listen to Skinny Puppy? Some Trent Reznor for seasoning? but the music they were making was completely their own, fresh, exciting, driving, clean and totally "rock-out-able".
The whole band uses make up lights, and performance to present themselves as "goth industrial". I hope I'm not classifying them too much by saying this, certainly quite "industrial", but with an undeniable appeal.

The performance started to quite a stiff crowd, ignoring this, the band poured in 110% of themselves. The singer stepping into the crowd, up close and personal as he worked, began to spread his energy to the people in the crowd.
By the time their set was done, I was wishing for more, and the gathered people were well "lubed", dancing, and enjoying the show. I personally felt it was a shame these guys were opening and not headlining the night.

After their performance the guys came to mingle with the crowd. Their conversation and attitude were entirely positive, personable, and engaging. Complete professionals all around. I HAD to buy one of their CD's and find myself anxiously awaiting the full CD realease soon to come.
This is a band that without question fills the role of artists. In a time where the music business is filled with Disney and Nickelodeon made music with puppets holding microphones, I was wondering where the musicians are.
Here they are, I am so glad to push away the cobwebs of the old days. Iggy, Trent... subculture is doing just fine, look who we have in the next gen of musicians!
Get out and support these guys whenever and wherever you can. Do whatever it takes to get their CD's in your hands, like them on Facebook, Their website is in the works.
Just    -  wow  -

Has anyone else seen these guys perform? I would be interested in hearing other folks thoughts.

Billing for creative services (pt 2)

So someone needs a logo, video, website, or ad and you are a ninja in Adobe?
Great! sounds like you have a client on the line.
I have recently got some sound advice on how this should work and I feel it's worth sharing. Not all your customers and clients are going to realize what is involved with the projects you bring to the table.
This is especially true in logo design and things where simplicity rule as most effective. Editing video is another place where people tend to lose touch with what is involved.
So here is the meat and bones of what I have learned:

* Charge fairly, for what you are worth, and be up front about potential future fluctuations in price.


*  Have your client bring you examples of what they like and don't like. This can save you hours of guessing and frustration.

*  You are getting paid to deliver what your client wants, but don't bring proposals you hate. This work will be a rolling advertisement for you as a designer too.

*  Your computer is running, is the meter? Billing for time rendering animation and video is not only common place, it is essential. Especially in a world of HiDef Video production. Even the latest I7 processors with scads of Ram (which you laid out scads of overhead for) can take hours to render. This is time that you could be working on other clients projects.

*  Don't always try to under cut the competition. Production houses and Ad agencies charge what they do for a number of reasons. Often there is a formula behind it. A couple of people operating out of their home may be able to go a little cheaper, but keep your eyes looking forward. Are you going to want to do this job, for this price, a year from now?  I have found myself in this position for a couple of clients at this point. I am giving them a very sweet deal, but in my rush to secure the job and make a little income, I went too cheap.... now I am all but doing their work for free and renegotiating a price after the fact is much harder than before you start. (perhaps make it clear you are doing an introductory deal)

Billing for ad creation, logo design, and video editing is a little softer field than pricing your art. There seems to be a lot of "depends" in the equation. Solidify things as much as possible by estimating how many hours you will have in, how much overhead, and limit the number of revisions in the deal.
If you have unlimited revisions..... you will find a client to use the "unlimited" number up.

When doing logo design and other advertising, keep the old files on hand.
How simple is the Nike logo?
A client needs to understand that just because the end result is simple, it is not a simple process to get there. If you look at the Nike swoosh, or Adidas lines, yes someone could draw that in a few seconds....
You will find clients who expect you to bill them for how long it takes to draw that logo.  In their mind, that's all there is to it.
Justify your price with your research, color choice, design, discarded designs.
Lack of communication between creator and buyer can make for some sour times.

I have made the mistake myself, and that is why I think it is important to share it with my creative followers here and on facebook, twitter, wherever.
I was under the impression that someone with experience in advertising, video and film wouldn't need an itemization of the work involved. I could not have been more wrong.
I am now working on revising my invoices to allow for itemization of billing so no one feels shorted, and no one feels over extended. While this isn't always common place, the "small guy" in a smaller creative operation needs to stand apart from the giants like Time Warner who turn out 30 second ads for thousands upon thousands of dollars... with invoices not itemized.

So like fine art, here is my personal equation (-ish) for commercial creative work.

# of hours working on the project -estimated (the clearer the client is and more samples they have of like / dislike can shorten this), + account for agreed number of revisions, overhead? (Will I need to print samples? + studio overhead), + Uncle Sam %, + additional 15% as a buffer.

This all seems quite soft and it is. Many ad houses also look at their clients. How much are they worth? what are they going to do with the product? are they a non-profit? is there potential connections in this job?

A constant monthly deal needs to be revisited yearly, and agree to that up front. This way if you are losing on the deal, you are only losing for a year. Those on-going jobs are great for consistency, but not if you are losing money on them.

(more to come later)

Pricing Art and Creative Services

Charging for creative projects (PT 1)

Billing is the most challenging aspect of being a creative person trying to make a living, why?

First it needs to be broken down into pieces. There is the artist and the person paying for services. between these two places there can be a million variables and a million mis-communications that makes charging for a creative service frustrating and send so many things into a downward spiral of a hatred of income.

Granted my experience around this is relatively fresh and I have found myself floundering with billing issues due to inexperience. I have spent some time learning from my professors at SMCC and other artists and creative professionals. I thought it might be important to share what I have learned with other people who are charging clients for creative services or products rendered. (this will come in a series)

To price a painting

Lets start with perhaps the easiest one. The creation of a product or work of traditional art (which I also do). This is billing for a painting, sculpture, or crafted item which the artist has created, not digital art (that falls into another place IMHO for billing purposes)
An artist can stand back, look at his/her work and have a rough estimate of what the raw materials in a particular piece has cost. If not, keeping receipts will be important. For me, I know what each board costs, what tubes of paint and mediums cost and how many were expended, and how many, if any brushes I wrecked creating this piece of art. This is what I consider RAW cost. That is not paying the artist for talent, time, studio overhead.... just the raw materials in the piece - be honest....
I then put a value on my time. That time may be from priming and gesso up to finish varnishing. I also try to consider shortcuts I use. I often will prime a number of boards all at once, and varnish a number of finished pieces all at once to save on time, effort and space. So this prep and finish time is often minimal as I may do 5 to 10 at a time.
How many hours did you spend painting and creating? Not drinking coffee, talking to your friends, and shmoozing collectors, but actually working and focusing on the piece of art. If you keep a stop watch handy, it may really surprise you how little time you actually spend with brush and mind on the piece.
Here is the place a lot of artists need to honestly look at their worth. It is very difficult to do, to admit you are a $13 an hour artist. Sometimes a $10 or $8 an hour artist.
If you don't have galleries contacting you to hang your work, you are in this place. You need people to buy your work, to start collecting it, to talk to their friends about it while it's hanging on their walls at home. We all want to throw a $10,000 price tag on our artwork, but if no one is willing to pay that price, you will be left looking at it for the rest of your life. I can say a chicken is worth $1,000, but if no one pays $1,000 for the chicken... it's worth nothing at all.
There is the idea that if an artist doesn't value the work, how can anyone else? So pricing SHOULD start at $10,000!!!
This will only happen if you win the lottery and have a "superstar" artist telling everyone how wonderful and great and valuable your work is, doing all the publicity and making you famous without earning it. This can make you a short lived artist.
You have to work your way to the $10,000 price tag, you need to sell modestly to begin. You need to increase your time value (hourly rate) to get to $10,000. I tend to start valuing my time at the same rate my current employer does, and I like a little extra for my education.
A studio has overhead and other costs for sure, but most likely you don't need to recoop an entire months rent, heat, lights, utilities in one painting, or sale. Divide down a daily operating cost of having a studio (really). You may decide that either your art isn't ready to support a studio, or you need to spend more time in it working. The best studios are free, or close to it. but once you get to the daily cost, consider how many hours you spent making this piece of art.
So heres where we are:
RAW MATERIAL + HOURLY RATE + small OVERHEAD = painting price

Probably A LOT less than the fantasy number you plucked out of the air.
Now step up to the plate, Uncle Sam is involved and will steal 25% of everything at the end of the year, you are also making a retail sale (are you paying sales & use tax?).
If you make under a certain amount you end up not paying taxes at all and get the money back (bonus!). Artist fall under that "Self Employed, independent contractor I-9 category I believe. A place that can cost you dearly if you don't consider it now.

Bill of Sale

Not only does giving your buyers a bill of sale add to the authenticity of what they bought, but it adds confidence in their future purchases (My apologies to customers who didn't get one.... come back and I will give you one now that I have learned)
On the bill of sale you can add Sales tax.... but had better be paying it to the government not just pocketing the extra. IF not, don't add it, take a loss and consider it included.

So heres where we are:
RAW MATERIAL + HOURLY RATE + small OVERHEAD + 30% = painting price

Lets break it down.... I have piece I recently did on 2x4 foot board.
Raw material cost $25 + $56 (14 x 4 hours)+ $10 overhead + 30% =  $118.30

I started at $300 and will probably sell it at $120. Why? I wanted to see if my time value had risen. Seeing my buyer so pleased at $120 indicates to me, it hasn't yet. Keep making art at the current rate, keep collectors buying and supplies in the studio. As people become excited about my art, and the demand on my time heightens, I may need to adjust my time value again later. It takes a while to feel out what your customers are happy to pay. Don't squeeze them for what they are unhappy to pay.... it's what they are happy to pay. I do ask my customers to try to avoid discussions of price with their friends, although I know it comes up.
This is the way to find the value on your hourly time. Plug in the happy sales number on the end, and you can see where you landed for your hourly rate as an artist.
$14 to $15 an hour, not great.... but I could have been at work, not painting to get that. It is only one sale and $120 might only seem like a teeny drop in the bucket for the energy that goes into creating fine art.
It is, but if 50 people hang my work on their walls at home, and talk to their friends at dinner about it the value will grow.
If my work goes to a place of business where many people see it and consider it in a day, the value grows even more.
In the early days, you are selling your work to support your work, when it hangs, it is an advertisement for you.
Want to make more than $120 today? spend 8 hours in the studio, make 2 pieces, thats $240. When creating a product like fine art, the price can change and most likely people don't balk.  A painting you sell today for $120 might be worth $200 next month, and no one will blame you for it.... (if its selling)
It's when you get into billing creative services that things get tricky

to be continued....
(Coming up in PART 2)

Supplies on sale

Today just a quick post to share my latest discovery for supplies. It's true that I get a lot of my supplies from Lowes or Home Depot. There are many things that just can't be had at home supply and hardware stores though. Particularly fine brushes, paint, pigment, and mediums.
I have recently discovered Mr. Art. Prices are pretty sweet, even for higher end Acrylics and oils.

The listed supplies on their website are far too extensive to cover. I have been perusing and drooling over much of their listed stock. I have seen a few things priced better, but most seem very fair. Even compared to the local craft store "deals". When it comes to pigment and paint, the artist gets what they pay for. More money, usually means more pigment. High pigment means purer color and better opacity, for less paint used. Essentially, buying cheaper paint is similar to buying expensive paint (takes more paint to cover). buying the quality saves a lot of time and frustration.

All this aside, the prices on paper, sketchbooks, canvas, and other supplies seem very nice on Mr. Art. I am working on putting together my own order as I work on getting the studio in order for warmer paint filled days.

I ain't just squirtin' on the wall!

Banksy! If you haven't heard the name by now, you ARE living under a rock. Although admittedly he is better known on the streets of the UK, if you don't know the name, it's time to get with the program.

Drop everything you are doing right now, zip over to Amazon and pick up a copy of Exit Through the Gift Shop. You can also click over to Netflix and watch it right now on instant watch ( I believe). No matter how you get introduced to Banksy, make sure you do. The website is up and holding some great images of his street art as well.

I mention all this because of the upcoming talk in Portland Maine around street art vs. vandalism (see earlier post) and I think it may be important to head into this talk with a clear image of street art, and ask yourself what separates the two. The piece on the billboard, admittedly makes me squirm a little. I don't like the defacing, but I think that is the point.
Also take some time to consider the ad it is covering up.... not really much of a loss. The messages are so well communicated in all the work. Banksy leaves little ambiguity in his work, minimal guessing about what he wants to say. This message I think is what makes a defining difference.

Before you folks run off to Lowes to pick up a can of spray paint, it is still illegal, and even Banksy is coming more inside to show work. Street art can be commissioned, and I think there can be a working solution for everyone involved.
"Writing on stuff" is a human condition. It may not be me or you specifically who did it, but we all did. Lets reward the art, and clean up the junk..... in order to do that we need to be clear about which gets a frame, and which gets the hose.
What is the difference between a TAG and ART?
Let me know....

Sexy Art - Sexy Design - What?

   Making art around the topic of sex is nothing new. It has happened for centuries and it serves a multitude of purposes. It can get people talking about your work, some offend, some titilate, some just express. Those that have a message or emotion to express or portray something about themselves are in the fine art world. Many, fresh art faces are coming on to the scene with images verging on pornographic eroticism, but expressed in the right setting makes a good buzz in the arts community.

   I think these artists are taking a gamble. Will their content help or hinder their endeavors? It's a decision I think each artist makes when exhibiting work of this nature. Inevitably displaying risque work could lose an artist some collectors, it could also gain some new ones. It's an open experiment that can hurtle a fine artist or photographer into international fine art galleries, or land them in the street with "dirty" titles.

   What about the commercial artists charged with sexy endeavors to sell products? Spend a little time perusing the Macy's catalog and website. In particular I am refering to the lingerie department.
  At first you might think... woah, this dirty old man!!! just wants to see frilly draws!

While I can appreciate a good set of frilly draws, I am thinking of the photographers for this particular section. These photographers may have one of the hardest artistic and creative jobs in the business. Yes they have pretty men and women to photo, but lets consider the photos. These images are selling and presenting relatively risque items in a very conservative manner. They need to appeal to a VERY wide audience, something a fine artist often doesn't consider. The photographer has to entice the viewer, usually female, in and give her something to identify with and make her want to be what she is seeing (sounds like art to me). The photographer needs his model to be a blank slate on which the consumer is able to project their face, then see themselves as sexy in the result.

The models are heavily photoshopped, but left with curves, a couple even with ,albeit minor, love handles on occasion. these are not the cover models of vogue, although with Adobe's help they could be. The models have static, typical poses to highlight the product. Lighting needs to be perfect, not sharp, not dull, everything needs to look sparkling clean.

Where I am going with all this? I think that sometimes much more thought is going into the end product of a commercial photo shoot than often goes into a generally accepted "artistic" photo shoot. I wouldn't suggest either is more or less valid in the arts world than the other. The Macys catalog photographer, I am willing to bet, gets very little artistic appreciation for what he/she does outside their immediate peers.

   My artistic hat is off to these people today who are grinding away, using their talents to photograph coffee mugs, carpet tiles, vases and homegoods. Sexy bikinis for summer and frilly draws too. The under appreciated photographic artist. I honestly believe the skills they use everyday in their work, MUST reflect in some truly remarkable results in their private work. Practicing the skills of lighting, shadows, communicating and idea everyday makes them an easy habit.
Indeed some googling on people in this commercial profession have some remarkable artistic work in their off time.

Art or Vandalism?

Portland Maine is seeing it's share of tags, spray paint and street art lately. What is it and where is the line between art and vandalism?
A valid question asked by Jay York,Jessica Lauren Lipton,

Jennifer Hutchins and plenty of other business owners around Portland who are not insensitive to the arts, but are finding their buildings and property spray painted and marked up. This is something that causes real losses to these people and costs real money to fix. Plate glass store windows can not be left with "tags" in the name of street art. We are not just talking about sidewalk chalk either. Large permanent marker, spray paint, and in some cases canned paint are a few of the tools used by the taggers. PACA creative conversations: Street art or Graffiti  is happening at SPACE gallery 538 Congress St. Portland Maine on Tuesday April 19 6:30-9:30 PM. to quote the event description  "If you are a property owner and have had to deal with acts of graffiti vandalism or you are someone who thinks that street art adds to the urban environment this discussion is for you! This panel will explore many facets of the issue, from defining what is graffiti vs street art and the socio-economic causes and effects of the two. Come lend your voice to this exciting issue. The panelist will be Kyle Bryant, Andy Graham, Trish McAllister, and Jay York."  The conversation is already heating up online. It should be worth coming out on a Tuesday evening to hear what people are saying. I am hoping to hear from both sides of the issue. Where do you stand? When DOES Tagging and Graffiti go from being vandalism to street art?  Is this just kids and "Gangstas" marking turf? or is this an art?

Art, pixels, computers, Where is the limit?

Here is a name all digital artists should know and recognize. Massive Black. This team employs some of the most cutting edge talents in the digital arts realm. Once all the digital art geeks are done buzzing about this group, I would like to introduce the classic fine artists to this team.
The work on the website is just amazing, full of energy, movement, life, and.... Art!
I have been known to regular the site when looking for inspiration and to explore the possibilities of what can be done with a Wacom and Photoshop.
The art and animation these people are turning out is setting the in a very high place. Does this mean that everyone needs to reach this level of artistry to work in the field? I don't think so, there is room for artistic interpretation. It never hurts to look ahead at what the pros are doing and know that what you see there is possible with discipline, practice, and dedication.
I have nothing but the utmost respect for the artists on this team, and I would urge all artists, especially those in the digital field, and my fellow students of Communications and New Media to keep both eyes on these people.

Secrets of pulling an income from art?

The events of the past week have kept me struggling to get back in step with terminal positivity. I have now done it.
Let me introduce you all to Alan Bamberger owner of Art business.com.
Some may already be grumbling about this guy who is a professional art appraiser and apparently also helps artists to price, sell and market their work effectively.
I discovered this article (click it after you read this post) on his website and I think it summed up a number of things going through my head and heart lately.
That was fine and even better than fine terrific. I found this article very inspiring for me personally and ate up the whole thing.
Have you ever heard the saying "tip of the iceberg"? What if the ice berg was the tip of the north pole?
This man has a SLEW of articles aimed at helping artists learn or become familiar with the business side of what they do. After trying to catch my breathe at the amount of information and "sticky" articles on his site, I then realized there was ANOTHER section devoted to people interested in buying and collecting art.
I am now a Bamberger fan for sure I thought, look at all this!!! Scrolling through I realized he was also addressing digital art, and a modern world for artists to approach when they are ready to consider going pro.
I found his advice solid, "Price and sell locally, the national galleries will come later."
Things we should all know, he seems to state plainly and put your head back in the right place.
I found many of his articles inspiring, and very helpful. It's true that you are left with the full impression that the get the full "pro" experience you should call him.
Mr. Bamberger can easily consult world wide, phone or skype! For now I will be lost in the multitude of helpful articles and getting my studio in working order, but have his consulting tagged and marked on my "to do" list.
I don't see these articles as complete directions of how to, but as springboards of things to consider, research, and know when moving forward as an artist.
The articles give the ambitious artist and entrepreneur a place to focus, things to work on. No one can "make you a success" it has to be done first hand.
~Worth the read~
Lloyd Metcalf

Custom digital toys?

I try not to talk too much about advertising and things of that nature, but heres one I think Artists and creatives can enjoy AND profit from.
   Skinit offers peel and stick "skins" for all sorts of digital toys. Phones, controllers, laptops and a multitude of other things. Designable by the end user, and reasonably priced.
What if your laptop had a sample of your design work, with your .com and digital resume announced? The possibilities for this is endless. I really like the idea, and its market value to customers has some real world potential. I am considering the phone skins.
My laptop is one of those "rubberized" covers and won't be able to take a skin. It has my mind buzzing of quality places to put it to use though.
http://www.skinit.com/ I'm just saying... its worth the look if you are any kind of digital artist / graphic designer.

Want to live forever?

Through Time

When we are young, we think we are invincible and we will live forever. When we are older we want to be young again and think we will live forever.
Instead of heading up to the studio in the rain, and chill, I opted for a little digital experimentation. Why not free up the brain a little, have no intended result, compile images, technique, and layer on layer to see where it leads. I ended up with something that reminded me of all the adventures, and things I have experienced to get "here" today. Things are still moving up and on, but in 40 years I have really done A LOT of stuff to be who I am now with what I know.
living forever now I think is easier than I previously thought. There is art, we can always immortalize ourselves in imagery I suppose. The best and most common way I our children.
This image isn't as deep as it would seem. According to my last post (I think it speaks for itself).
What do you think ???? let me know

I think the work speaks for itself

Lately I have been staying up late glued to my Netflix account watching the Art :21 Art in the twenty first century PBS television series. If you are even mildly interested in creativity, fine art, or just the inner machinations of the hiccupping brains of artists, this is worth the watch.
    I honestly had no idea this series existed and was heading over to watch Art & Copy when I stumbled across this gem. Some of it, gets a bit dry and sleepy in places and some of it is just plain inspiring and enlightening. I think the dry and sleepy parts for me are either A) late night hours or B) An artist that just doesn't grab my fancy, although all in this series have my respect.
    While watching this series I have come to the realization that there are 2 typical responses that come about when an artist is asked about their work, a series, or a piece of their art.
    The first response is the expected one. It's an "educated" ramble about the deep meaning and struggle of the artist around every single piece they have ever created. Some do this to the point where you find yourself looking away, up and around thinking, "This HAS to be a sales pitch at this point." The talk runs on for so long, and is loaded with what seems like practiced vocabulary that everything suddenly seems a little bit contrived and you may be falling into a trap.
The second response is when the artist might say some sort of terribly brief thing only a sentence or so long, and ends with, "I think the work speaks for itself."

Louise Bourgeois was one of the latter. She spoke very strongly about the passion for her work, but put it simply by saying something to the effect of, "If my work says nothing, then I failed."
  That quote may be a bit off, my memory is failing a bit at the moment. The point she was making was, that if her work conveyed no message, no meaning, no feeling to the viewer... then she failed.
I hope to pool myself into this latter category of artists who, when asked about their work, let the art be what it is. I personally feel that if I make a piece, and need to stand next to it and speak for 10 minutes to explain it, it has failed. (Or it has now become performance art)

Some artists create wonderful works, and in my humble opinion need to stand aside, and let the viewer experience the art, without the artist prattling on with a practiced speech gleaned to perfection from an art opening or a masters degree in the art history.
Sometimes people like art because it is nice to look at. Or uncomfortable.
Sometimes people like art for no reason at all.
Just let it "be"
That long speech with all the big words to describe your inner struggle or the "deeper meaning" of the piece can be explained bit by bit to those who ask specifically about these minute details.

    Some buyers DO want to hear that stuff, and they will harass you until you spill those big words.
I think generally when presented with an opportunity to speak about the work an artist should give a general detail:

This piece is called __________ It is oil on wood panel (or whatever medium) __feet by __ feet. Making it represents an important piece in this showing of work, I hope everyone is enjoying the show.

If there is more to be asked, such as from the media, there will be follow up questions.

    Very few artists who do speak seems to know when to turn off the stream of verbiage when it comes to their work. Sometimes more IS wanted, but it becomes mis-read by the artist I think and assumed EVERYTHING you can think of is wanted!
There seems to be no happy medium. The artist will either tell you it speaks for itself, or they will spend the next 10 minutes describing a tsunami of emotional adjectives, psychological terms, and art critic jargon that brushes upon used car salesman at some point.
It's a rare artist that finds this mid ground and a place I will strive for in the future, with the intent of the brief, "I think the work speaks for itself"

Recently I was asked about my work. It was a friendly sort of conversation, and I found myself asking, "Do you want a real answer, or an art gallery answer?"
Perhaps more appropriate goal would be to find the polite way for the artist to ask that question. Just like sometimes viewers like art because it's nice; Sometimes artists just paint birds because their nice.
Sometimes we make a painting of a flower, because we just wanted to paint a flower.
Sometimes the art has to just "be" and the answer just hast to be "because"

-Lloyd M

Studio - Back in Action

Maine finally decided to release its wintery grip and things came to life at every turn. The fuel of creativity woke up with the spring and I just could not wait to hit the studio and get some work done.
   Last night I found myself milling about, clearing some space and trying to figure out what all the stacks of sketches, torn paper and tools were doing in their various piles. Once these were sorted through an older idea came to mind, and that was to do a series of smaller pieces.
  I cut 10 boards and Gesso'ed a layer in place. A couple more layers to go and work can begin on these.
I really am anxious to get started and have had to remind myself to be patient, enjoy the process, and take things one step at a time. I have been keeping my nose in  a small sketch book I picked up a month back. I have a long string of possibilities in place for these smaller pieces.
   There is still some cleaning and much organizing to do around the studio, but it's in quarter swing anyway, full swing soon to follow. I have had a wave of inspiration lately of new techniques and loosening up of the styles to make new work that will blow your head!

Sketchbooks are your lifes blood!

Early this morning I ran out my door, hopped on my motorcycle and sped off to work. Once i got there, it was about 70, and the guy i support just didn't feel like doing much.
I found myself sitting on a porch, a head full of painting ideas with my coffee and nothing I could do about it.
At my work, its all about reusing as much as we can. A bunch of scrap paper quartered and stapled is my new sketchbook.
I had always heard artists humming the mantra draw everyday, keep a sketchbook handy but never thought much of it until I got a bit older. Practice does make perfect, or at least better, and a sketchbook doesn't need to be an investment made at a snobby art store.
Just a vehicle to record thoughts, ideas and doodles will fill the gap when inspiration runs low. This is how artists make it appear that they are a never-ending fountain of creativity. They work hard at their craft, refine it, and plan ahead.
With some sort of sketch pad, you can go back and refine your rough ideas you had when you were inspired. You will be grateful for this running art "savings account" when you find yourself under a deadline and without ideas.
So... No matter how fancy or humble, jot down, doodle and sketch those ideas!

Photoshop quick tip

In the Web 2.0 world one of the new things I have noticed is the desire to put a little page curl on images to make them look like stickers or book pages. People are doing it on Facebook, Blogger, Orkit.. all over. Why not join the crowd? It will be as popular as rounded edges before you know it.
This Blog even is currently using this little visual tid bit.
   Over the past week I was asked a few times how to do this and make it look believable. So many times a page curl is put on an image and it just looks very plastic. Many folks are just putting a grey gradient on the back and frankly it looks a little cheap and a bit lazy.
   The good news is, you can be lazy and have a good clean page curl effect on your digital images. I popped together a quick video to explain how to make it happen. I know everyone out there isn't a photoshop user but many of you are and some are just breaking into some how-to sort of things.
Hope this helps!

Studio Vision

During the winter months, the studio took a break. Wood for heating the house was running low, and I made the decision, not to heat the studio for the rest of the winter.
Well, now the studio has become a stumbling ground as tools have been dropped, The enduro is just living among the paintings... this is just not going to work.
Tomorrow it looks like we might see 60's.
I would so willingly take volunteers to help me make that place look like a studio again, but alas, I have none.
My stuff, my job I guess.

Over the next couple of weeks the studio will be back on track. I am considering hitting the Last Friday Biddeford Art walk with  a renewed vigor... and some low prices to get supplies back in hand.

Digital Art and Painting Mastery

Painting Value

When it comes to digital artwork one name that pops into my head as inspiring to watch is Xia Taptara.
Through this video and many others, Xia paints in value,  then lays in color and details afterward to create beautifully rich and deep artworks primarily within Adobe Photoshop.
His work may seem a little unfinished at first glance when compared to some other master digital works like those of Massive Black.

I find Xia works posted online to be overflowing with energy and motion. The use of line, brushes and color to convey a message is very striking. Some of the work on which he spends more time, is obviously more detailed. I find myself always clicking back to his quick sketches over and over again and just finding myself inspired by the energy in the lines.

Xia is a practiced professional artist, who reveals much more than most artists do during his speed painting videos. Many artists use the speed paintings as a vehicle for self congratulation, and a "look how great I am" sort of tool. Xia's narration through the videos is very clear and to the point about what he is doing.

His website and blog carry literally hundreds of videos from the very basic to the more advanced. Worth a look.

I find myself struggling with how does someone take fine art from a place like this (Adobe Photoshop) and land it in a gallery?
There is always the obvious print out sort of technique, but something comes up lacking in that I believe. I think I am coming to a workable solution of how to display digital works effectively.... I need to improve my own skills and find someone with an appropriate space to display.

Time to get back to work. I would advise any and everyone to take a stroll through Xia's website and become inspired in your own works. His advise and wisdom is sound, and his work amazing!

Spreading the Art

Headline - Portland Maine
 This is truly going to be the Summer of art. not just for myself but a number of friends and colleagues. I am hearing quite a buzz floating around about the upcoming tourist season and art walks that can make or break a "Starving Artist".

This Summer I am making myself available to do guerrilla art show events. So if anyone has a connection to an empty space in or around Portland. I need to know about it.

The plan is to do weekend shows (usually 2 days) with all sorts of buzz and promotions. We grab the space, go in, prep it, fix it up enough to have a presentation. Do the show, make the sales, clean up and get out. I have been in touch with some folks who create music, and do performance pieces to make the event fully immersible art.

The ad is running in the movie theater but I really need everyone and anyone to spread the word, and keep an ear to the ground for a space..... just a place to show the work, hopefully sell a little.

Lets make it happen! Email me for details if you have a lead.

Art and promotions

    I have been whirling around in my head just recently ways that artists and creative business people promote themselves. I keep hearing the words Moo Cards.
I am sure moo is a great company, with many advantages and attractive features. I am not here to bash the moo quality or product at all.

It DOES seem to me however, that a connection to a good print house should be pretty high on a creative professionals list of "things to do".
   I have a couple of places that I have sent to work for print, and I am always amazed at the options and exciting possibilities of walking into a local print shop and talking to the printers themselves.

    I have found my local printers to be personally invested and interested in the products and projects I am working on.

My short post & thought for the day... buy local print local.... or at least try it, you might be surprised. If all else fails.... there is Moo.

Kicking things into gear

The weather is getting warmer all the time, and spring is drawing close. That means Summer is also on it's way to Maine and art shows are inevitable.

That means its time to wrap my head around some jaw dropping ideas to fill spaces, galleries, and ways to find everyone who needs to see the new work for 2011.

I started off the season strong in the studio. Unfortunately the wood pile ran low, and heating the house took a priority over heating the studio.

I tackled painting and playing with an old enduro bike. I now have an air compressor and a sprayer... and a load of ideas to do some thing in a fine art studio never seen before...
It's going to be a good year!