In my latest oil painting I added a marble wall as my backdrop. Here are my tips + tricks. Research I had never attempted to paint marble before. So I headed to the internet. I watched several videos. But there was one video in particular that I watched over and over. I would watch it just to get reinspired. Seeing the process again helped remind me what I should be doing. The video: HERE Process The thing is that in the video she is working with acrylic paint. I was slightly nervous to try the same process with oil paint. So instead of using water to make the paint flow I needed to use mineral spirits and oil. don't forget the rule: fat over lean. Fat over lean is the most common oil painting rule you will hear. It refers to using more oil in each subsequent layer. The fat over lean rule applies to all oil painting processes, not just painting marble but it's also key to painting marble. What does that mean, practically? You need to start your first layer with mineral spirits (or you could even use something water based like acrylic paint. Never use acrylic paint ontop of oil paint). Then with each subsequent layer you must use more oil than the first layer. For example: Layer 1 mineral spirits + oil paint Layer 2 mineral spirits + a little poppy oil + oil paint Layer 3 poppy oil + a little mineral spirits+ oil paint Layer 4 poppy oil + oil paint Layer 5 Mostly poppy oil + a little oil paint Why is it important? You want to avoid cracking. Oil paint doesn't dry, it oxidizes which means that instead of water evaporating the oil paint is become hardened when it reacts the oxygen in the air. For this to happen it needs to have air. If I use a lot of oil on my first layer (which may take a week to "dry") and then I use mineral spirits for my next layer (which will take 1 day to dry) then the layer underneath won't have the air to oxidize and it will cause cracking. Instead of re-describing the process that you can find in the video above, I'll just say I think oil paint worked the same as acrylic paint and water as long as I kept the fat over lean rule in mind to avoid damage later. Tools I used: Oil Paint Mineral spirits Poppy oil (you can use Linseed oil, but because my background is really light I wanted an oil that won't yellow as much with age). Scrap paper to protect the floor Many different sizes of brushes (some pretty ragged old ones for different textures) Sponges - be careful, some times the sponges need to be washed out first. You just want to avoid random dirt Shop towels (paper towels from the hardware store. They are best because they are tough and they don't leave that white paper towel dust everywhere.) Conclusion I loved this process because it was so opposite of how I normally work. My painting style is very precise and planned. Painting marble was messy and experimental. I found the key to success was many layers. 2-3 layers may look pretty good. But if you push a little farther (4-6 layers), you can find magic. Good luck! -Amy

We are slightly obsessed with productivity. That might be unhealthy. But also we need to get work done and often we are working against ourselves. I hope these tips help you. Photo by Jana Early. 1. Goals I can't be the first person to tell you that you need to have goals. Your goals need to be specific and attainable. Grab onto a large goal and then break it into steps (small goals). Example: >I need to finish this commission (big goal) >Today, I need to work on the XYZ (don't even say you have to finish XYZ today, that might still be unattainable goal and you'll lose those good vibes if you fail. >But maybe saying "finish XYZ by the end of the week" will be attainable. (and you'll get a mood boost if you finish early). Breaking everything into smaller attainable steps will help you stay motivated and positive. Set yourself up for success, not failure. You're the boss. 2. Mood On that note, you're the boss. Yes, you need to get into the studio no matter what and make the art. But we've all had days where the hand and the eye didn't want to work together. You can be productive in other ways. But maybe working on "the" art isn't it. You don't want to recklessly make mistakes you'll have to fix later. Be aware of when this line of thinking becomes procrastination. But it's also okay to recognize that you need to work on something else that day. 3. Setting Set the mood. Get yourself ready to work. For me, I need to be fed and caffeinated. I also like to make it smell good via candles or essential oil diffuser. Making sure things are straightened up and aesthetically pleasing are also super valuable. Lastly, noise. Do you like working in silence? Do you work better with background noise? Whether it's nature sounds, white noise, audiobooks, music or a favorite show-- make sure it helps keep you focused, not distracted. 4. Breaks Breaks are crucial. You're not a robot. Your back might hurt, you might think of a time urgent email you need to send. But most importantly, your eyes need to take a break from the work. When you come back you will see your progress more clearly, which will encourage you and also help you adjust mistakes. Conclusion Keeping your studio both professional and fun, flexible and structured is not easy. But we have to be excited to get into the studio otherwise it will show in our work or we will quit. I'm not always excited to do the work. But there are victories and good times. Like anything worth doing, it's hard. But it helps when I focus on the good things. And it helps to use these tips to make work as enjoyable as possible which in the end will make that time more productive.

a photoshoot mostly for my benefit gives you a look into the space where I work Location- I've carved out a corner of our downtown Tacoma apartment where a traditional dining room might be. The building is historic. The old windows and tall walls provide both a beautiful space to work but also to display my work. Photos by Seattle photographer Jana Early Shooting the Studio For professional reasons, I really needed a new headshot. A mutual friend connected me to Jana Early. I immediately fell in love with her work. This photoshoot became a creative collaboration. Working in the studio Many artists dream about getting their own studio space outside the home. (probably because of children, I imagine). But for me working at home is the dream. My "hours" are untraditional. I need the flexibility of working around meal times at all times of the day while still being home and available for my spouse. Some people view dishes and laundry as distractions but for me they are nice little productive breaks. Studio organization For me, organization is key to my productivity. Everyone has a level of mess they are willing to tolerate. I think my level is 4/10. Things can be messy as long as they are in a nice neat pile out of sight. On my shelf: chemicals- oils and mineral spirits, sprays, fixatives etc. boombox brushes fern essential oil diffuser In the hutch: miscellaneous tools notebooks/binders colored pencils/markers aesthetic trinkets Bench: Inside- acrylic paints Ontop- oil paints & folder of documents Tabaret: (french word for table, it's actually just from ikea) In the drawer: random junk On the shelves: shop towels (paper towels from the hardware store). my tackle box of watercolors On top: slab of marble I use for a palette (interior design sample. You can get them at Habitat for Humanity) Photos by Seattle photographer Jana Early That's all folks I don't really spend a lot of time with paint on my hands. Nor do I make a habit of having several paintings on easels either in my studio or my living room. But it's for the pic right? You don't need a studio separate from your home. But you do need a space that's just yours where you feel safe and undisturbed from judgment or children. You need somewhere that tells your brain "this is where I work" (also makes it a tax write off) and where you can leave y0ur work undisturbed for tomorrow-you. -Amy

Buying art is easy when it's cheap but as soon as that price goes up it becomes emotional and a little more complicated. Here are some things to consider. this blog post is about buying art because you love art, not as a financial investment. 1. Can you afford to buy it twice? This is common financial advise- if you can't afford to buy it twice then you can't afford it. This rule comes into play because when we buy things that are that expensive they begin to hold power over us. If I buy shoes so expensive that if I lost them I wouldn't be able to replace them then I will be afraid to wear them and I might become a little obsessed. I agree with this line of thinking. But it is also fair to say that art isn't really replaceable. You can't really buy the same painting twice. It is irreplaceable. I guess what I'm saying is 1) yes, consider your budget. Is this a little stretch for you or a huge unreasonable leap? Art prices should make you a little uncomfortable but they shouldn't put you in huge debt 2) This item is unique, if it brings you joy it is entirely reasonable to budget for it like a car payment or something similar. It's an investment (not like one you resell or that makes you money. But like an emotional investment.) 2. Do you have a spot in mind? In my experience we are made up of several different aesthetics. I love crazy prints and bold colors with eclectic furniture and knickknacks. But I also love clean spaces with whites, dark greens and golds (more sophisticated). Consider your space and your current aesthetic- what have you actually settled with in real life? Will this piece fit in with your style? Where will it go- do you have the wall space? I wouldn't recommend buying art with the thought "oh I'll make room". Take a minute to consider where it will actually go. You (and the artist) would hate for the piece to sit in storage for months while you tried to rearrange your life. *If you're life is in flux (like moving) it's worth asking the artist or gallery whether they will hold it for you. It's better for the work to be safe and on display while you unpack etc. 3. Have you thought about it for at least 24 hours? Art is such an emotional decision especially with a large amount of money on the line. Sometimes when you see artwork you fall in love immediately and it can be tempting to buy right away (we love it when you do this). But sometimes when you've had a chance to really look at it, you're not so in love as you thought you were. Of course this depends on what sort of shopper you are. For me, I can talk myself out of anything. I've also purchased art both ways. I've impulse purchased and I've thought for months. For me, it helps when I've thought about it. If I can't stop thinking about it weeks later, that means I really truly love it. I've come to regret my impulse buy (not huge regret. I just know that given the same choice I probably wouldn't buy it again). But at the end of the day- would you rather have the art work or the money? 4. If you have a partner, do they also love the piece? Whether or not you share money, you do share a space. It's important that your significant other is on board. They have to live with the art work as well. Art evokes strong emotions which aren't always positive. It'd be a shame if you spent good money on a painting that had to be hidden away. Unless you have a studio or office you can put the piece, it's best to get your significant other's opinion. 5. Where are you buying from? If you are buying online - do your research. Is the source reputable? What are their terms and conditions? You want to ensure that you're protected. At this point it's not an emotional decision. You've decided to spend $$$$ on something and you need to ensure that you'll receive the correct artwork undamaged and timely. Art scams for buyers are far less common. Typically art scams revolve around fake buyers trying to scam artists. If you are buying from an artist directly, it's smart to have the payment go through something like Paypal which will ensure your money is safe. Buying art online or directly through the artist is often cheaper. However, some artists are under contract and can't sell to you directly. Also sometimes galleries offer discounts if you ask. It just depends. Take into consideration that being able to return art is not standard (at least, I don't offer it) because it's expensive and there's risk of damage every time a work is shipped. If it's possible, I recommend seeing the work in person and picking it up rather than having it shipped. If the artist is out of state or country this may be impossible. But when it is possible- it's best to see what you're buying and take it home yourself. Every situation is a little different. If there's an artist (like me) or fellow collector you trust, you can reach out to them to ask about a particular situation. Conclusion Consider your budget. Think about it for a minute - will you love this piece tomorrow? Ask your partner. Ask yourself- where is the piece going to go and will it go with my aesthetic? Make sure you're buying from someone you trust.

My second ever mural is visible in downtown Tacoma. Check it out on Broadway. Spaceworks Rapid Mural Program In 2020-2021 during the height of the pandemic Spaceworks decided to start a program called rapid murals. Rapid murals were paintings done on the boards that covered business' windows that were closed due to the pandemic. I was accepted into this program and two sketches were approved. But then things started opening back up. It became harder to coordinate with the businesses and my murals kept getting postponed. The Tollbooth Gallery The tollbooth gallery is in downtown Tacoma on Broadway, right in front of the old Woolworth windows. This structure used to be a message board and then it was turned unconventional "gallery." The gallery would occasionally have a different paint job and/or video installation. But it had been a long time since it had been changed and the tv that had video kept getting stolen. Cue Spaceworks reaching out to me. (pictured above: the before images of the tollbooth gallery) The Call It wasn't actually a call, it was an email. Gabriel, the head of the program, reached out Sunday night. There was still the rapid deadline. It needed to be done Saturday night. In 2021 they had paid me for supplies so once we had a little chat about what I was going to do I ran off to buy supplies. The Process I started with spray paint because I knew it would be difficult to get an even coat of paint. I'm not sure that's true. I had no experience with spray paint and I might've been idealizing it. I guess I thought it would take less layers than a house paint. **I had to buy many cans of spray paint before it was evenly coated. (my husband, Mitchel, helped me a lot during spray painting. He is much better at it and has stronger hands). (pictured above: the "tollbooth" after it had been spray painted). I was super thankful that the design aspect of the mural fell right into place. It would have been much harder to meet a deadline if I'd been confused about my vision. But I knew I wanted it to be "my" colors. I wanted it to be bright, refreshing and fun. And I had my original sketches as jumping off points. I altered them a bit and I changed the original wording. (the wording I chose are quotes from a dear friend who passed away in 2021). (pictured above: process photos of painting the mural) More on Process I used a heavy construction paper from the hardware store (thanks for the tip mom) to make stencils. Then I was able to spray paint silver and white daisies all over + the words. The word stencils were a little messy to read since letter are close together, so I outlined the last word with paint. The paint I used was Behr paint from Home Depot. I got the sample colors of each ($6) and I didn't even come close to running out (which is saying something because a lot of the paints I had leftover from my last mural). The paintings needed at least 2, sometimes 3 layers to be even and opaque. I brought a bucket of water to keep my brushes clean between colors. I bought gem stones and faux fur online because I really wanted this thing to be a little silly coo-coo. The super glue was fairly easy to use until you got your fingers coated and it was hard to hold the gemstones anymore (Mitchel helped me bejewel as well). (pictured above: the finished product. photos are compliments of Spaceworks) In conclusion Throughout the week Tacoma people were on Broadway. Every day I was met with friendly hellos and compliments. One guy bought a paint brush from me, which paid for my iced coffee <3 I also really appreciated the creative freedom and the thrill of finishing something so fast. I am a slow, realism painter. This project was much more fun pace. 10/10 would do again. I love that I've been allowed to make an impact on the city I love, even if it's temporary.

I've been painting since I could form memories but this year 2022 I completed my very first mural (and received my very first hate message!) Before: The scene was an upstairs bathroom in a University Place home. The family had recently moved in and they wanted to begin to make the place feel like their own. The bathroom is for their young son. They requested an ocean reef. They had originally looked for stickers/decals but they had peeled off the wall too easily with the moisture of the bathroom. On their hunt for an artist, they landed on me because they trusted that my style would lean more realistic rather than cartoonish. I'm thankful they trusted me as I let them know this would be my first time. The homeowner told me when I had finished, that she had chosen me because I had told her "this is my first time but I'm 100% confident I'll be able to do it." I guess confidence really is key. The process I used Behr wall paint from the hardware store. I chose a high gloss so that in the future it would be easy to clean and resistant to water. I bought only one small sample of each of he chosen colors but it was enough. I didn't use up any of the colors completely. The homeowners also provided the original wall paint which was helpful for doing touch ups. I started with a sketch of my plan. I used my lightest color and carefully blocked out the reef. If I had used pencil it would have been very difficult to cover with paint. I used an ipad to look back at reference photos of reefs. This project is different then a lot of my work, I let myself have more room for creative liberty. I didn't have the time to make it exact so I used photos more as a jumping off point rather than to copy. And so on This mural took a lot more time than I anticipated. It was partially due to scheduling (the only time available for the homeowners was about 1-2 a week). But mostly I just underestimated how big walls are even if the room is pretty small. The paint also really needed 3 layers which I didn't anticipate. The end It was so wonderful working for this family. They were so sweet and accommodating. Their new born baby even came a week early so I could meet him. 10/10 would do again. Oh also when I posted my work as a video with the sentiment that great things take time to make, a really rude human commented this: Which honestly just made my day. No one has ever been rude to me on the internet. It's kind of an honor. See the video here. And another video about it here.

Take a little look into my studio. We all have things that help us get through the work, these are some of mine... Smell Smell is a little bit of a ritual. This is not always present but it helps for sure. I love to have a candle burning. But if I've run out, I also have an essential oil infuser. It's the atmosphere more than smell really. Sight A clean studio also isn't 100% necessary. But there's a limit and it's pretty low. Straightening up my space is one of the ways I prepare my mind to be working. It's easy once I'm straightening up to realize something that's a little off with my work and before I know it I've been sucked in. Sound This is the most important feature of my studio practice besides the actual work. Music is occasional but it's typically reserved for the 2:00-4:00 pm hours when I have restless energy and I need to move my body. Most of the time it's a good book. Fiction always, usually mystery or thriller. My book will drag me into the studio because drawing/painting is the best time to listen to an audiobook. My attention is free to imagine with the story and I'm not in danger of falling asleep or getting interrupted. Sitting This is the real guilty pleasure. It's also crucial to the work. Sitting/resting is essential. Non-artists probably don't know this but painting/drawing is exhausting. It takes a toll on the body and the mind. It's emotional, physical and mental. We also see the work better if we take a break from the easel. Grind -burn out- culture wears exhaustion as a badge. But wouldn't it be best if we could get the work done and also protect our bodies? I think so. **the realest guilty pleasure is having my phone on me. It is a distraction and I am not condoning it. It is something I'm trying to work on putting away. (but it has my audiobooks and music)

This post is about what it is like to be an artist which includes trying to make it as a small business owner. This is for people like me. It is also for me, because I won't always be where I am now and I want to remember what it was like. And I want to process what I am currently experiencing. Maybe I should just start journaling but I figure it might be helpful for someone else. So this might not interest you if you aren't an artist or a small business owner. Fair enough. Looking towards the future... There are several possibilities: 1) I give up 2) I continue but never quite succeed 3) I reimagine what success looks like (i.e. not financial) 4) I succeed- financially & artistically What I do Art practice- My art practice is complied of commissions which is my most reliable source of income. Also original fine art in watercolor and oil paints, original "illustrations" which is just fine art but simpler so I can make it faster, prints of original fine art, & designing products . Business owner- Marketing/ selling myself on social media, my website & looking for opportunities to enter my work Accounting- keeping track of the money Shipping products Printing- ordering things Admin- answering emails etc. Side jobs- I have a part time job working for a Tax & Bookkeeping company. (10 hours a week) Occasionally I work in the garden for some old friends. Life- Life is family & friend commitments. It's cleaning the house and doing the laundry. It's spending time with my husband. Life also includes that thing that is a heavy burden. I think everyone has at least one of these. (sometimes people have 2+ these burdens, they blow my mind). My heavy burden is my chronic pain. I'm undiagnosed, but I deal with muscle pain and fatigue on a daily basis. It limits how much I work and what sort of things I can do. Sometimes I can be normal, other times I am resigned to the couch. What it feels like Being an artist is so personal. I'm always going to be making work, but if I make work then I want to sell work. But at the same time if my business isn't succeeding it is a huge source of stress and makes me feel like a failure. But I can't just not make the work. >So when the business isn't going well I continually think about money and promoting myself. Two things which are disgusting. I don't want to become consumed with money or myself. >On top of that is the heavy burden (different for everyone, but we all got one). For me it is also very connected to my work because my pain and fatigue hold me back from accomplishing everything I want to in a work day. It isn't all dire. I do love the flexibility and freedom that comes from working from home and having multiple sources of income (thank you day job, I took that job to alleviate some stress from being "fulltime artist"). I love that I get to have lunch with my husband. I love that the work I do really matters to me and it really brings joy to other people. There is more beauty in the world because of what I do. So I guess what I'm saying is- I love the work itself but the stress of making the business succeed while balancing life can be overwhelming and stressful. It can plunge me into a toxic spiral of caring about the wrong things and stealing my peace/joy. What I think about it It's complicated. I've just been pushing through. I'm an optimist in a lot of ways and I have a continually hope that good things are just around the corner. And often they really are. In January of this year, I made $40 (depressing). In February, for the first time ever, I sold a in art piece. Followed by 2 more in March. Right now as I'm writing, I'm overwhelmed and discouraged (could you tell?). But I am a firm believer in providence. God has alwaysss been faithful to me. I've always had enough, even if it wasn't everything I wanted. He has given me these skills and dreams, He will continue to be faithful to me. But He loves to make us wait & trust in him. If you aren't a Christian this ending is a let down for you. Because like myself, you've probably searched through business and art business books looking for the answer. How can I succeed?? I don't know. If I knew I'd be rich from my art and I'd be publishing this as a book revealing the secret we are all searching for. I don't know if I'll ever get rid of my pain or sell enough work to have a sustainable business. It is not easy to find peace in the unknown. But whether you're a Christian or not. Unknowns are inevitable and we have to find ways to make everyday count. If I wait until I succeed to be happy or have peace & joy. I'm going to find that success hollow. It's in so many stories it's cliché- the person who only wants riches and glory will never have enough. But we still tell ourselves that we need those things to be content. Our joy can't be reliant on something that is so fleeting. Life is too important and precious to not appreciate every day we have on this earth. I want my life to be more than the success or failure of my business. Hard things take so much of our attention and they can become consuming. Busyness gets in the way and makes me forget these truths. I have to remind myself daily of what really matters and choose contentment & live with gratitude.

Thoughts and tips on what creativity is and how to cultivate it. First off. Let me first say that if you read at all and you are interested in learning how to be more creative, don’t read this post. Yes, this post will only take you 4 minutes to read. But the original book will literally only take you 1 hour to read. It’s very short, concise and humorous. But if you put off reading at all costs, please by all means, keep reading my shortened version. I am writing this post for my benefit as a reference and because it resonates with me so I want to share it with you. Click here to buy. What is Creativity?: 1) “By creativity, I simply mean new ways of thinking about things.” 2) “Creativity can be seen in every area of life-- in science, or in business, or in sport. Wherever you can find a way of doing things that is better than what has been done before, you are being creative.” 3) “Another myth is that creativity is something you have to be born with. This isn't the case. Anyone can be creative.” Thoughts on Where Creativity comes from: We have all experienced when you can’t remember a name and then it pops into your head hours later without you thinking about it. Also consider all the things you do without thinking about them such as driving, eating or tying your shoes. There are things that our unconscious mind can do better than our logical mind. “This is how I began to discover that, if I put the work in before going to bed, I often had a little creative idea overnight, which fixed whatever problem it was that I was trying to deal with… So I began to realize that my unconscious was working on stuff all the time, without my being consciously aware of it.” The problem with the unconscious: “It is unconscious. You can’t order it about or hit it with a stick. You have to coax it out in all sorts of strange and crafty ways.” “So when we are in touch with our unconscious, it sends us hints and gentle nudges, and that’s why we have to be quiet.” When you are using your unconscious mind to be creative you’ll come up with fuzzy, undefined ideas. Let them develop a bit but eventually you’ll use your conscious logical mind to evaluate the quality of the idea. But in the first place we have to cultivate circumstances that will allow our minds to wander uninterrupted. Cultivating Creativity: Cleese refers to an experiment that was conducted around architects to determine what made a creative architect. The 2 things that stood out between the group of creative architects and the group of uncreative architects were: “The creative architects knew how to play” “The creative architects always deferred making decisions for as long as they were allowed” Playing : When you are playing you are relaxed and free. You don’t have to be anxious and you don’t have to get it right. “The greatest killer of creativity is interruption. It pulls your mind away from what you want to be thinking about. Research has shown that, after an interruption, it can take eight minutes for you to return to your previous state of consciousness, and up to twenty minutes to get back into a state of deep focus.” You can avoid interruptions by setting boundaries around your space and time. A closed door and an allotted time to work can help protect your thoughts from distraction. Even when you protect yourself from outside distractions, there will be the distracting thoughts of your mind. So get a place to write them down so you can deal with them later. Deferring: When you defer decisions you may 1) get new information 2) get new ideas.. And therefore you can make a better decision if you are able to make yourself wait. “Creative people are much better at tolerating the vague sense of worry that we all get when we leave something unresolved.” Tips: Basic tips. He lists 11. Here are my top 4: 1. Look for inspiration in others. Find an idea from someone else and borrow it as a jumping off point (no copying obviously). “If you find the notion of borrowing like this a bit dodgy, look up a fellow called Shakespeare. He stole all his plots, and then wrote rather creatively.” 2. Keep going. Some fields require lots of education before you can be creative in them. You’ll need years of experience before you are thinking of new ways to do medicine for example. But in the arts: “beginners sometimes have a freshness in their approach that later fades away.” It’s typical for someone to come into the arts fresh and then as they master the trade their ideas become conventional. The greatest minds continue to nurture and trust their unconscious mind. “Playing…keeps you fresh.” Playing can look like enjoying something else like gardening, playing an instrument or baking. 3. Coping with setbacks: “when the juices are not flowing, don’t beat yourself up and wonder if you should retrain as a priest. Just sit around and play, until your unconscious is ready to cough up some stuff. Getting discouraged is a total waste of your time.” 4. Get your panic in early. Use your panic to help you start, it gives you energy. You can face the difficult parts when you reach them. Conclusion: My favorite take away from this book is the idea that our unconscious mind is the one that is doing the creative leg work. Most of my ideas come to me 1) when I'm about to fall asleep 2) when my mind is wandering. If we can find ways to harness our unconscious mind than we can glean more ideas. It also releases us from the pressure of "just sit down and find a solution." It often won't work like that. If I want my unconscious to start mulling something over I will intentionally think about it with my conscious mind in the hopes that when the time comes I may have unconsciously come up with a solution. I also try to defer decisions as long as possible because that idea will develop and grow over time. If I don't need to act on it right away, I might as well wait.

Highlights and snippets of this guide to being a business smart artist The Complete Smartist Guide by Ekaterina Popova & Alicia Puig This book is perfect for emerging artists. Whether you’re literally just starting out or you’ve been down this road a few years, this book is for you. I am a few years down the road, so some parts were redundant for me but the book is a great resource. It’s organized well so that if you want to skip around you can totally do that. I read through it all because even if I’ve heard something before, sometimes there are bits that jump out or are said in a more helpful way. Popova and Puig are artists but they also have experience in many different fields of the art world such as working for a gallery or starting a magazine. For that reason I felt like they had a comprehensive and helpful look into the art world. They’ve accepted submissions from artists so they can tell us the do’s and don’ts. Where they lack expertise, they interview other established artists for more information. So, without further ado. Here are some of the highlights I gleaned from The Complete Smartist Guide: PRACTICAL: Create 2 folders in your email. One titled “keep” and one titled “pick me up”. In the keep folder you can add all the emails you may need to reference in the future. In the pick me up folder you can put all the encouraging emails you may need to read when you feel discouraged. “It’s your job to communicate how the viewer can connect to your work and convince them why it’s important for them to own it.” pg 68 This is in regards to storytelling as a form of marketing On page 64 there is a really helpful checklist for whether you are ready to sell art When submitting to things it’s good to email a week or two after application to make sure they received it pg 159 “Sometimes an artist has to submit up to five times before being selected” pg 162 “Every business deal has the opportunity to be more creative or less creative than the next. There is no such thing as a standard contract or business deal.” -Ashley Longshore, pg 94 Our biggest tip is to remember not to sell yourself short. You don’t have to be an expert to start making money from a skill you have. If you are simply better at something than most people, you can likely find someone who will pay for the convenience of having you do it better and more efficiently than they can!” pg 90 Major companies like Target or Anthropology usually work through print companies.So if you sign a contract with a print company (such as Artfully Walls) then your work may be featured at that large brand company. Pg 304 “Condition yourself to respond to your environment and find positive triggers that help you settle into your creative mode.” Put things in your studio that make you feel creative: beautiful things, flowers, candles, whatever pg 279 Submissions to magazines don’t have to be just art magazines. Lots of different magazines have art in them pg 217 If you are accepted into a small gallery, show up like a pro, treat them like they are just as important as a high flying NY gallery. Pg 219 “You have to invest in yourself in order to succeed” pg 223 Applying to small local opportunities are a great way to build your resume and artist portfolio pg 216 “Even the smallest opportunities will give you a reason to celebrate and inspire potential collectors to invest in your work.” pg 215 “When you are honest and upfront about your transgressions the more likely it is that you will quickly be forgiven.” pg 208 “Despite common conventions, you don’t have to put in eight hours a day in order to be productive.Sometimes spending four solid hours in the studio or varying your hours on different days is more effective.” pg 193 MOTIVATIONAL: Take charge of your career, no one is going to save you “Like any relationship you are looking for a good fit… If you didn’t end up selling a piece, that’s okay. Sometimes a work of art gets scooped up right away, but more often than not it takes a few years to build your reputation and trust with collectors. You’ll start to see steadier sales once you reach this point in your career, so work hard to get there.” pg 73 “Don’t feel pressured to make your entire income from art sales alone.” pg 80 “You and your work are not less important than anyone else’s” pg 83 “You also have to fully be comfortable and okay in knowing it will take time; you have to always create more work and you have to be willing to make mistakes” interview with Kestin Cornwall, pg 317 “You are your project. You are working to be just a bit better, grow just a bit more than yesterday. You have to be willing to be wrong.” -Kestin Cornwall pg 318 “Them being great will not make you small.” -Kestin Cornwall, pg 319 “If you feel called to create then you are an artist” pg 280 “Trust in yourself and believe in the power of supportive family and friends who will continue to encourage you to meet your goals. It’s never too late to start or start over again.” pg 282 “Pay attention to the work you are making and see if it’s still exciting for you.” pg 282 “Remember: Community over competition.” pg 312 “You’re not a creative machine.” you should rest. pg 273 “Whatever opportunities didn’t work out were simply not meant to be, put in the work.” pg 274 Ask yourself: “why do I continue to make art, even when no one is paying attention?” pg 277 “What often holds us back is not lack of time, credentials, money, or materials, but our feelings of unworthiness.” pg 268 “There is more than enough room for all of us creatives to find success and our place in this industry.” pg 268 “Your life and career will have high and low seasons.” pg 272 “Even if the circumstances surrounding a particular moment of success were serendipitous, YOU played an active role in making it happen for yourself.” pg 239 “Your artist community really wants to celebrate your successes with you.” pg 241 “When we take care of ourselves and temporarily stop making art, no one is severely affected… We are not saving lives --- it’s just lipstick.” pg 264 “You won’t achieve goals that you don’t believe in. Fully embrace what you’re working toward and start believing that it’s not only possible, but will happen.” pg 233 “Our possibilities are not limited by what others think artists are capable of, or by how artists have achieved success in the past.” pg 236 “Jealousy will only distract you.” pg 237 “Nobody doing more than you will criticize you, only someone doing less.” pg 237 If you aren’t chosen for an opportunity it isn’t necessarily a reflection upon the quality of the work. You might not have been the right fit for the opportunity or not in the judge’s subjective taste pg 215 MARKETING: “Don’t just sell art, make it an experience.” pg 74 Smart sales strategies- instead of thinking that you sell “abstract painting” rephrase it for your customer--you are selling “chic modern decor” pg 113 Their favorite times for email marketing: Tuesday-Thursday in the morning, midmorning or afternoon. pg136 When you need to network with people but you hate networking, use what motivates you. Think of a bare minimum of people you need to engage with and create a personal prize system and stick to it pg 144 “We’re often so concerned with how others are judging us, but in reality many people barely notice our mistakes, if at all. Even if you’re nervous, it always helps to smile. :)” pg 145 “Plant the seeds and trust the process of meaningful, sustainable relationships in your community.” pg 145 “People are skeptical of being asked for favors, sales, or exhibitions, so the best approach is to offer a sincere compliment, then briefly share who you are and what you have to offer.” pg 145 “One of the best tips we can give you for cold emailing is to be very specific with why you are reaching out.” pg 146 “People generally don’t like being told what to do.. Shifting how you approach telling people about what you are doing and are ultimately looking for can yield more positive results.” pg 148 “There are many art lovers who have never set foot inside a gallery” pg 182 “The more specific you can get on the reasons why your clients choose to purchase your work, the higher chance you have of finding other people like them.” pg 183 If a client is thinking about a piece but hasn’t closed yet. It can be helpful to make a mockup of what the piece would look like in their home. *ask for a photo of their room and edit the painting image onto the wall pg 185 Follow up with your collectors if you’ve finished a piece you think they may like or would go well with something they previously bought from you pg 190 CONCLUSION That was a lot. But still shorter than a 350 page book. I hope you can use this post as a reference if you need some practical, motivational or marketing advice. I recommend you read the book though because these are just the things that jumped out to me. There is so much more. Buy the book here

Short Answer: quality in subject, materials and process. Quality in Subject Quality of subject is the most subjective, no pun intended. Who is to say whether one subject is better than another? I'm certainly not qualified to say. But luckily it's subjective. I find that if you are aiming for truth no matter how simply, someone else will see it as true and valuable as well. My work is also centered around beauty and realism and so it is very easy for me and anyone else to tell whether my work succeeded in high quality of subject. Quality in Materials Quality materials are the easiest to fall in love with and the most expensive to commit to. I've completely fallen in love with the tools of the trade: the way paint comes out of the tube and rests on the painting surface, the texture and feeling of expensive watercolor paper. But materials also make a difference in quality. Nice paper is going to hold up under the paint and water applied to it without tearing or disintegration. Good wood panels won't warp and bend over as much over time. Over time fine art paints will retain their color better. I also take materials into consideration when I make fine art prints. Each print is made on a heavy, matte finished paper which gives an expensive feeling. They are also giclée prints which means they are printed with pigment based inks. Pigment based inks have a wider range of color and vibrancy and they have little to no fading over time. Quality in Process Process, process, process. Process starts coming into play before I even start working. When I'm considering a watercolor painting I typically mount that paper on a wood panel. There's a particular glue I use to mount. When I'm considering a oil painting, the wood panel needs to be primed. If the wood isn't primed than it will rot over time (100 years?) . After I do a drawing, I spray it with a fixative to avoid the lead smudging into the paint. When I'm painting, I am adding layer upon layer to create the smooth, blended, richly vibrant painting you see at the end. Consider the oil painting image above. Before I painted the true colors, I have laid down base layers. I chose colors that would support my next layer. I am going to add blues, purples and reds onto her skin so I layered her with orange and white so that her undertones are warm. Before I painted the red and yellow on the Cup Noodle, I painted in under layer of black and white. The cup is artificial, so the underlayer doesn't need to be warm. Doing a black and white base layer helps me to find the correct tones. If I'm trying to color match, I don't need to get confused over whether something is the right tone (light or darkness). With each layer I am correcting past mistakes and building the best possible image. I hope this gave you a better idea of what sets apart fine art.

Tacoma Consignment’s launch of their new gallery 253 Artist Series Photos by Phil Lewis You had me at hello As soon as Tacoma Consignment's marketing manager reached out to me, I knew I wanted to do the show at the store. I had been to TC before and I knew what high end, unique, quality items they had. It is the perfect backdrop for an art show. Art galleries in Tacoma are, sadly, few and far between. They exist. But not nearly enough of them for the growing population of career artists presiding in our city. A new gallery is just what downtown Tacoma needed. A Match Made in Heaven I’ve been so impressed with the professionalism and hospitality of Tacoma Consignment’s owners and staff. They put me front and center on their website, they promoted me on social media (including a short run ad), they took photos of me and interviewed me. They helped facilitate my work being hung up and the night of the event they provided champagne for all you wonderful guests. Some artists curse their gallery owners. I was ecstatic to be their guinea pig and to be truly proud of our collaboration. Photos by Phil Lewis Cause to Celebrate It feels like getting ready to perform on stage. The night before and day of the event strikes fear in my bones. “What if no ones shows”... “what if I don’t make any meaningful connections or sales?” … “What if people are bored?” … “What if…” Sometimes those fears do come true and I know it’s not really a reflection of my work. But I’m so thankful none of those fears came true at this event. I was blown away by the amount of support and encouragement I received. People who know the store owners, people who saw signs somewhere, people who know me, people from the city, people from other galleries, other local artists: you were there. THANK YOU. I met so many people. I was able to reach my mailing list goal of 200 because you all signed up for my raffle! I had a wonderful time talking with you and I think you all had a good time which is the biggest relief of all. And the icing on the cake was 5 sales. WOOHOO!! Photos by Phil Lewis It’s Just the Beginning It is not easy to make something happen. But new things are exciting and energizing. They breathe new life into communities. We didn’t do anything earth shattering. Galleries come and go, artists have one show or the other. But where there is one, there is the opportunity for more. I hope more artists have the privilege of showing at Tacoma Consignment. And I hope more galleries start showing up in Tacoma. Where there are people, there is art. But without more spaces, it is so hard to see art and to be seen. I’m thankful to have been a part of something new and I’m hopeful for where it may lead for myself and for others. Photos by Shot by Hana Thank you to Justin who reached out to me. Thank you to the owners Lindsey and Matt for hosting me. Thank you Hana for interviewing me and helping me get all the extra last minute things. And thank you to my dad and photographer, Phil Lewis for these photos of the night!