Patterns : Graphic Design Books : Drusilla Cole - 0 views
-
Patterns Drusilla Cole Theme: Graphic Design By: Drusilla Cole Publisher: Laurence King Year: 2007 Pages: 240 pages Format: 17x24 cm Features: hardcover Languages: English ISBN: 978-1-85669-505-3 Pattern is back, and what better way to celebrate its revival than with a cool compendium of the best pattern design from around the globe? This exciting new book showcases some of the most innovative pattern designs, including graphics, textiles, fashion, furnishings, ceramics, tiles, wallpaper, and stationery. While many of the featured designers work commercially, others are independent players whose work is cutting-edge even though, or perhaps because, they don't follow conventional techniques or disciplined structures. Figurative, funky, abstract, pixel-based, graphic, or retro patterns are all featured in this visual feast of the best work to emerge in the last five years.
-
Spreads:
Art Community & Forum : Art Face Off :: Top 10 Reasons Why Galleries Reject Artists - 0 views
-
Most artists harbor the fantasy that if they could only find one art dealer that loved and believed in their work, their career would be set. They secretly believe that there exists a special person that can catapult them to fame. Many artists spend most of their careers searching for "the perfect gallery." And, as all quests towards perfection, it is never ending. If they already have a gallery, it's not good enough; if they are looking for their first gallery, they dream about the moment when someone sets eyes on their work and offers them a solo show immediately. The harsh reality of the situation is having a gallery love your work, is only one very small part of what goes into the decision to represent an artist.
-
From a gallery's point of view, adding an artist to their stable is much like adding a stock to one's portfolio. There are many complicated factors to take into consideration, and liking the "stock" usually has very little to do with the decision.
-
Too Experienced
- ...9 more annotations...
Forum : Art Face Off :: View topic - Pricing Your Art - 0 views
-
In general, I recommend artists price their work as low as they can possibly bear to start out. Remember, it is more important to cultivate on-going relationships with dealers and consultants than to sell one piece.
-
Ultimately, it is better for the work to be out there than sitting in your studio. I believe art is a process, a verb, not a noun. And, part of the process necessitates that the work be exhibited, purchased and appreciated by others.
-
Remember, this is just a starting point. If you are fortunate enough to have a gallery representative, they should work with you in helping to determine a realistic price for you work. Ultimately, your prices will establish themselves as you start showing your work and getting a reaction.
- ...4 more annotations...
pdf-mags.com - Your PDF mag's magazine - 0 views
Art Community & Forum : Art Face Off :: View topic - Top 10 Reasons Why Galleries Rejec... - 0 views
-
Too Similar: A gallery looks at the group of artists they represent, much like an artist looks at a painting. It is not so much the individual artist that is considered, but, rather, how that art fits into the existing group. Often galleries are reluctant to take artists that are too similar to an artist they already represent. Too Different: All galleries try to create a niche for themselves by representing artists that are stylistically similar and would appeal to their core group of collectors. If your work is outside the arbitrary parameters they have established, you are out of luck. Too Far Away: Unless you have already established a reputation elsewhere, galleries are reluctant to work with artists outside their regional area. Issues surrounding shipping costs and the inconvenience of getting and returning work in an expedient manner make it often not worth it. Too Fragile/Difficult to Store: Regardless of how big a gallery is, there is never enough storage space. Galleries shy away from work that is 3 dimensional, easily breakable, heavy or hard to handle. Too Expensive: Most artists undervalue their work. But, occasionally I will come across an artist with a totally unrealistic sense of how to price their work. Prices are established by the law of supply of demand (Read Pricing Your Art). If a gallery feels they can not price your work fairly and still make a 50% commission, they will not be willing to take a chance on you. Too Cheap: Artists who only do works on paper, photographers, etc often can not generate enough income from sales to make an exhibition worth it to a gallery. If you have 20 pieces in a show, and each piece sells for $500, and your show completely sells out…your gallery has only made $5000… barely enough to cover the costs of the postage, announcement and opening reception. Too Difficult: Entering into a relationship with a gallery is in many ways similar to entering into a marriage. It's a relationship that needs to be able to endure candid dialog about the things that are often the most difficult to discuss with anyone…your artwork and money. Both the artist and the gallery need to have a level of trust and comfort that will guarantee honest communication. If a gallery perceives you as being a difficult person to work with, they tend to veer away. Too Inexperienced: Many artists start approaching galleries too soon, before their work has fully matured. Most critics and curators say it takes an artist several years after college for their work to fully develop stylistically. Galleries want to make sure that once they commit to you, your work will not make radical and/or unpredictable changes. Even if a gallery LOVES your work, they may want to watch your development over a period of years to confirm their initial opinion. Artists must also have enough work of a similar sensibility to mount an exhibition. Too Experienced: The gallery fear of failure is strong, particularly in this economic climate. Careful to be sensitive to a price point that is right for their audience, galleries may not be financially able to risk representing artists who are farther along in their career, therefore demanding higher prices, than emerging younger artists. Artists with a long sales history of gradually appreciating prices may find themselves priced out of the current market.
GIMP Talk - 0 views
Hokusai (search result on Visipix) - 0 views
MoMA.org | The Collection | Alberto Giacometti. The Palace at 4 a.m. 1932 - 0 views
-
Even early on, Giacometti once wrote, he had struggled to describe a "sharpness" that he saw in reality, "a kind of skeleton in space"; human bodies, he added, "were never for me a compact mass but like a transparent construction."
Josef Albers Formulation: Articulation - 0 views
Milton Glaser on using design to make ideas new | Video on TED.com - 0 views
Do Good Design (Resource Links) - 0 views
Do Good Design - 0 views
[ NSKSTATE.COM ] - 0 views
Abstract Art Descriptions - 0 views
Welcome to The Computer Graphics Society: CGSociety - 0 views
-
it's quite a big digital art community, full of artwork that certainly make you see God more than once or twice. The fee for annual membership costs $29.95, but if you're really good, I'm sure extra exposure is worth the money. Make sure you do drop by the gallery and the features, btw, with a free membership, you can join the forum and start communicating with all the members.
Welcome | terminus1525.ca - 0 views
-
A very well-designed Canadian arts community. It got studios, forums, blogs and lots of fantastic artwork. You can register as a member then build a portfolio page to publish your works.
-
By the way, I don't think you actually have to be a Canadian to host your online studio there. Sound nice, huh?! : ]
-
terminus1525 is a collaborative workspace on the web and on the street. It's brought to life by the ingenuity and imagination of young Canadian artists working in a wide range of disciplines. terminus1525.ca's free online studios let artists, writers, musicians, filmmakers (and everything in between) mingle, show their work, and find support, feedback, and inspiration from and ever-growing audience.
beinArt Surreal Art Collective - 0 views
-
I wish I know who is the aritst who made this marveloust painting, which is currently featured on the homepage of beinArt Surreal Art Collective, a really amazing place for artists of all media. It's the surrealism that truly attracts me, part of the reason is that I don't do surreals, and I'm naturally drawn to things I can't make or don't understand. It's a good thing that my FF takes about 25 seconds to read the Artists page, but a bit of virtue of patience is always rewarding, indeed!- Ian
František Kupka. (Czech, 1871-1957) - 0 views
‹ Previous
21 - 40 of 72
Next ›
Last »
Showing 20▼ items per page
- Ian