Bøger af Graeme Smith

A pictorial history of Glasgow Harbour - the greatest port in Scotland and one of the largest in Britain - from its beginnings to the present day.

Do you have a long term vision about your career?Most artists tend to focus on an individual painting.An exhibition is a collection of their paintings.But what if the focus is on the exhibition, as one of a series of exhibitions?Then there's a different mind-set.There are other ways to leverage major career momentum too.But you still need sales and marketing strategies.You can't turn an art business into a successful career overnight.You just can't skip the fundamental steps needed for a solid business.You've got to be patient too!Even if you do things right, you can't do them all concurrently.That means there is no short cut to success.A professional artist is not merely a painter - that is what makes an artist.You are also in business, or have a career, or in a profession.Money is a measure of how well you do.It's not the motivation, that's your desire to follow your dream.But it does say something about how well you've followed the dream.It also makes achieving your dream more feasible.It's unlikely better income leads to better work.But it leads to a better lifestyle.You can live in a garret in poverty or have whatever lifestyle you'd like.Either way your work will remain of much the same standard.Often artists assume the artwork sells itself.People fall in love with the work.Marketing is a matter of putting people in front of paintings (exhibition).Instead of blaming your painting for a failure to sell question the marketing.Was there a failure to influence people's opinion in relation to your paintings?Possibly there was a failure to find out what opinions were held to start with?But you have to earn money so YOU need to master marketing!Most artists think very little about marketing.They hand it over to someone else hoping they know what to do.But many of those people do NOT know what to do.Most people do not have a clue about most things they buy!When you shop for anything how specific is your 'decision-making' criteria?How expert are you in areas like law, bedding, accountancy, or real estate?Probably not much at all and therein is an extraordinary opportunity.Most potential buyers do not have highly sophisticated buying criteria.They have an idea what the prospective purchase could do for them.They might even know what they paid in the past and that's about it!That means you can re-set the buying criteria for your entire market.Most people come to buying situations (your art) with flexible buying criteria.Can you make your works their most logical choice?And at the same time provide the best financial result for you.All this without changing what you paint!Hire out your works instead of selling them!

An artist who lived in California wanted to learn how to paint polar bears.In addition his painting skills were quite modest.I suggested he do many small experimental studies by looking at photographs.It didn't matter if they're finished or not for they were ways to learn about bears.After 250 studies his first painting without a polar bear or a photograph.He was totally surprised at how well his polar bear turned out.Also the standard of the work was infinitely better than it had been in the past.He had internalized his learning.The polar bears he created were not a photographer's either as they were his!As a way to learn about realism use photographs (at least to start with).Any photograph is of something.If you want to learn to paint portraits, then choose facial photographs.So like the Californian artist don't just select any focus on one.Then even from the start you can become a specialist.You get to understand portraits.Over time you will develop the individual paining skills needed.You will also know how to paint your subject your way.Eventually you can focus on another subject.If it is related to your original theme you will learn much quicker.Focus on one sex then later the other is an example of portrait focus.You'll note the similarities and also the differences.You could go from portraits to head and shoulders studies and then full figures.Follow this pattern for long enough, and you'll be able to paint anyone!People who do anything well also do it faster than those who don't.That applies to painting as much as anything else, it's an indicator of skill.Skill in art, sport or even medicine is basically the same phenomenon.It's practiced behaviour in action.Most artists don't do anywhere near enough paintings to develop any real skill.Many small experiments will beat one or two major efforts every time.But you must do the 'hard yards'!Painting a large number of experiments develops painting skill, and attitude.You'll become more discerning, because you acquire more experience.You'll not need, nor want, other people's assessments.A number of experiments at the same time increases productivity.For you reduce wasted time.If you run into a dead-end with one painting move to another for a fresh start.When the initial painting is returned to, there will be a different attitude.Otherwise set it aside again.Working on a number of paintings at the same time also saves materials.A particular colour can be applied to the work for which it was intended.BUT there are bound to be other works where that same colour is appropriate.When you buy paint, buy in quantity, but only use as needed.Can't remember what you did before then do whatever you think of now.In the end it doesn't matter!Usually you'll find most works will finish fresh and roughly about the same time.Avoid major works.They take time (years), usually done slowly and are often large and complex.You'll tend to labour over them as you seek to do your best.You learn to paint by painting.You do not learn by someone telling you what to do.That way you learn they know what to do and if you get stuck you ask them.But you can also learn by looking.That's how you learn about the appearance of things.Traditional art learning is based on looking and putting.It's possible to learn many simple things and gradually combine them.A problem is that you can only paint what you can see.But by actually painting such things you get to understand their appearance.You also develop skill at depicting those you do most.Let your experiments evolve.Those that don't work out won't matter as you learn a great deal from 'failures'.You'll learn what to do and what not to do next time.Regard these as exercises or studies or experiments.They are never going to be framed, sold or kept for posterity.Just do many and do them reasonably quickly.

My mission is to help you make money as a professional artist.OK you can paint well.You must believe that to even think about a professional career.But you can paint very well and do it as a rewarding past-time.In spite of a widely held belief your artwork doesn't sell itself.If it did, you'd be able to hang your work up anywhere and people would buy.You should know better than that.You've done your apprenticeship.You know how to manage time.You also know how to be productive.In other words make the best use of whatever time you have available.You've learnt how to sell.But that's not all you know!You have a contact list of potential and actual buyers.You've created a simple website as a way to help develop your contact list.You also understand pricing and know the importance of framing.With all that in place your career foundation has been laid!Now you are ready for a professional career.Will you do what everyone else does? I can help you in a way you would never have previously believed possible.BUT if you do NOT have ALL those preliminary steps in place.Your career will NOT be as successful as you would like.For example improved exhibition sales will probably NOT happen.Your income will NOT compound as your prices rise with additional sales.And you'll get very few referrals to increase the works you can sell.There will be stagnation or even a decline!You may even have experienced good sales in the past.That doesn't mean they'll continue as the world has changed.There is less discretionary income, so new things need to be done.The number of works other artists do affects your place in the art market.

Photographs are a basis for learning about realism.Any photograph is of something.Continue with the subject matter you want to paint really well.Then you are continuing down the correct path (for you).Your focus is always on buildings or whatever you fancy.Like the Californian artist don't select any building focus on one (shed).Then even from the start you can become a specialist.You will also focus on something you are interested in.This will help maintain the necessary motivation while you learn.You get to understand buildings.Over time you will develop the individual paining skills needed.You will also know how to paint your subject your way.Move from a general focus to a narrower one.Say instead of houses you focus on old houses, or churches.You'll note the similarities and also the differences.Because they are all houses you will learn much quicker.Eventually you can focus on another subject.You'll note the similarities and also the differences there too.Because they are related to your original theme you will learn much quicker.From one type of building to another similar one is an example.People who do things well also do them faster than those who don't.That applies to painting just as much as anything else.It's one of the indicators of skill.By now you should notice repetition helps your skill development.Skill in art, sport or even medicine is basically the same phenomenon.It's practiced behaviour in action.Most artists don't do anywhere near enough to develop real skill.Work on several experiments at the same time increases productivity.For you reduce wasted time.If you run into a dead-end with one painting move to another for a fresh start.When the initial painting is returned to, there will be a different attitude.Otherwise set it aside again.Usually you'll find most works will finish fresh and roughly about the same time.Working on a number of paintings at the same time also saves materials.A particular colour can be applied to the experiment for which it was intended.BUT there are bound to be others where that same colour will be appropriate.When you buy paint, buy in quantity, but only use as needed.Avoid major works.They take time (years), usually done slowly and are often large and complex.You'll tend to labour over them as you try to do your best.Instead occasionally do a slightly larger experiment.Focus on learning what you can.Action with materials = technique.Practiced techniques = skill.Habitual technique + skill = style.

1: The importance of supply and demand.2: Pricing.3: Sell for lower prices!4: Sell for higher prices and make more!5: Wrapping up.

I started playing hockey in 1954. It was just something to do between cricket seasons.This was when I attended Bathurst Teachers' College.I retired from playing hockey in 1974. Then I commenced a career as a coach.At one stage I was a NSW selector and a member of the NSW Executive.I was even the Deputy President of the NSWHA. Then I moved to Wagga.I was a member of the NSW Hockey executive (1966 to 1977}. Also the Deputy President NSWHA (1976 - 1977). I became associated with Stan Imer and John Gray. They were secretaries at different times. Norm Richardson was an early president who took me under his wing. I also played tennis at school. One of my best mates then was an excellent tennis player. Many years later I saw John Whittaker on TV. He was then president of the NSW Lawn Tennis Association. I played tennis on and off since school. When in Parkes I even played a year or two in a competition. But I am only an average player. I caddied at Duntry League Golf Course on Sundays. In the winter I caddied on Saturdays and Sundays. I became a regular caddy for one golfer. He was runner-up in the club championship. His name was Hunter Lowe. That's how I acquired my first golf club. Hunter gave me a 4 iron. I used to practice with it quite a bit. I still have my 4 iron given to me when I was caddying. I won ski boat in jingle contest. Rob Lynch used to be a regular water-skier. But many of the other Magpies joined me from time to time. But a range of sporting gear came with the boat. This included a set of golf clubs which I still have. I always intended to take up golf seriously so the clubs were handy. But first I needed to retire from cricket. This just didn't happen. In recent years I have been less involved in hockey.Although I still watch the grand final of the local competition each year. It's the same time as the GOF dinner.So I have not attended the dinner since Ingrid started playing hockey. Naturally I view the Olympic hockey.Australia are the number one team (men) in the world. Even after an unexpectedly poor result in Rio they still retain that ranking. Most people are surprised that hockey is the world no. three sport.It follows after soccer and cricket.The popularity of the three sports in India is a major reason for this.

1: Career planning basics.2: The next step.3: Learn from the champions.4: Your career.5: More time savers.

Do you have a long term vision about your career?Most artists tend to focus on an individual painting.An exhibition is a collection of their paintings.But what if the focus is on the exhibition, as one of a series of exhibitions?Then there's a different mind-set.A career can be an ongoing stream of exhibitions.You can generate this income stream if you know what to do.A successful artist should have this knowledge.But even if you do you might not have the available time!You don't need to do it but someone does!A key element is people willing to buy your work.You need sales and marketing a major gallery provides its main artists.This is essential BUT someone else can do it.There's a lot of day to day stuff that needs doing in any profession.An artist is no different and the more successful you are the more there is.Meet people, phone calls, enter competitions, framing, finances, etc.So where do you get the time from?You'll have to do all this yourself initially.Eventually you need an agent and you'll know exactly why you want them.Instead of the agent telling you what they want.Is there a magic bullet?There is NO way art business becomes a successful career overnight.You just can't skip the fundamental steps needed for a solid business.Well, I have some news for you which should be encouraging.It IS possible to build a money-making art career without breaking the bank.But you've got to do things right the first time!In terms of finding your own agent that is the focus of this Focus.Then your career path will open up for you.But there ARE wrong ways.If you try to cut corners, it means 10 times the work in the long run.So you've got to be patient!Even if you do things right, you can't do them all concurrently.That means there is no short cut to success.

Publish on Labyrinth Books.Tell your story.Write your story.Publish your story.Market your story.More help.

Photographs are a basis for learning about realism.Any photograph is of something.So continue with the subject matter you want to paint really well.Then you are continuing down the correct path (for you).Your focus is always on landscapes.Like the Californian artist don't select a landscape, focus on one (rural, urban).Then even from the start you can become a specialist.You will also focus on something you are interested in.This will help maintain the necessary motivation while you learn.You get to understand your landscape.Over time you will develop the individual paining skills needed.You will also know how to paint your subject your way.Move from a general focus to a narrower one.Say instead of rural landscapes you focus on a specific area, or haystacks.You'll note the similarities and also the differences.Because they are all landscapes you will learn much quicker.Eventually you can focus on another subject.You'll note the similarities and also the differences there too.Because they are related to your original theme you will learn much quicker.From landscape at a certain time of the year to another at the same time.Then from one kind of landscape to other entirely different landscapes.Follow this pattern for long enough, and you'll be able to paint anything!People who do things well also do them faster than those who don't.That applies to painting just as much as anything else.It's one of the indicators of skill.You should have noticed repetition helps your own skill development.Skill in art, sport or even medicine is basically the same phenomenon.It's practiced behaviour in action.Most artists don't do anywhere near enough to develop real skill.Work on several experiments at the same time increases productivity.For you reduce wasted time.Once you run into a dead-end with a painting move to another for a fresh start.When the initial painting is returned to, there's a different attitude.Otherwise set it aside again.Usually you'll find most works will finish fresh and roughly about the same time.Working on a number of paintings at the same time also saves materials.A particular colour can be applied to the experiment for which it was intended.BUT there are bound to be others where that same colour will be appropriate.When you buy paint, buy in quantity, but only use as needed.Avoid major works.They take time (years), usually done slowly and are often large and complex.You'll tend to labour over them as you try to do your best.Instead occasionally do a slightly larger experiment.Focus on learning what you can.Action with materials = technique.Practiced techniques = skill.Habitual technique + skill = style.

Are there basic sales steps?Introductions, get to know one another and setting the scene come first.In spite of "first impressions being of greatest importance‟, it's NOT the case.If a buyer is a woman spend a bit more time on preliminaries than a man.Investigating is next and is the crucial aspect when making a sale.You MUST know WHY someone is going to buy before you can sell.In this phase it's too easy to be the expert and tell people what they need.But what's needed is to ask questions, and avoid being the expert.You must find out the buyer's needs or get a better understanding of wants.Question asking is a critical selling skill at this point.Questions get the prospect talking and control attention (response required)Questions also persuade (people persuade themselves).Reasons don't persuade, they generate argument.Sales success depends on how questions are used.If they uncover reasons why people buy that can advance the sale.It should lead to a clear and specific action.But they must firstly uncover implied needs (implications).Then they must be developed into explicit needs (solutions).If you draw sufficient information from a potential client (prospect).The purchase (painting) is presented as a solution to a problem the buyer.Make a presentation, demonstration, or describe the benefits of a purchase.If enough information is gathered previously, this will be quite straightforward.Obtaining a commitment from the purchaser is next.This may be for purchase, closure of a sale, but could advance to a next step.An advance or continuation is a normal part of the sales process.For example they might agree to take the work on approval.At least five distinct steps are often necessary to make an important sale.The buyer must be comfortable with all aspects.Usually several visits to a studio or gallery are needed for a sale.Sales strategies close a sale first visit are inappropriate or counterproductive.If NOT ready to decide pressure is irritating and a prospect will not return.So why does a salesman do this?If the client is ready to buy but almost ANY approach works then.BUT if the client is NOT ready to buy something different is needed.At the very least, contact must be maintained until the next visit.Big-ticket items requires consultation with other people.Provide memory aids as many art buyers will appreciate this kind of help.

Just imagine how many artworks are done in a year.You aren't distinguishing 'good' and 'bad', or realist and contemporary artists.Some artists create a few pieces, others hundreds and some thousands.Printmakers, due to the nature of the process, create more than most others.Now also consider just how many artists there are.Count anyone who actually paints, prints or makes artworks.You aren't trying to distinguish between 'good' and 'bad' or realist and contemporary artists.I've seen figures in an Australia Council report suggesting 40,000.That's my country but there are more in the USA, Asia, UK and Europe!Also imagine you could look into each artist's studio.A corner of a garage, spare bedroom, or elaborate purpose built structure.While there, count the number of finished paintings, prints or other artworks.Add all artworks in all galleries and other places where people can buy art.Don't forget works that are not on show but in the stockroom out the back.Again we don't know how many works this would come to.But it's another huge amount.How many artworks do you suppose are sold annually?No doubt galleries sell quite a lot, as do many art shows.Paintings are even sold over the fence to the lady next door.No matter how sold, or for what amount, it's quite a large number too.Someone could research to find estimated answers to these questions.Total all works produced yearly by all artists and subtract those sold?If the answer is a negative amount, then demand exceeds supply.If the answer is positive, then supply exceeds demand.It's pretty obvious that supply exceeds demand.Unsold works, in studios, galleries is the amount supply exceeds demand.Any industry where supply exceeds demand is a depressed industry.This is true for the art industry.Just as for the wool, car, housing, or any other market segment.To understand this is a step to a realistic appraisal of what is possible.Do you wish to be a serious participant in the art industry, as an artist?It's not usually sufficient that you be a 'good' artist.Many very talented people do not 'make it but many do of course.Should you even consider prints then?The print production process means oversupply is more acute.If they're not going to earn money, then why have prints published?Selling prints is a pretty tough business.Seriously consider if they are worth spending your professional time on.But because you are reading this book you have decided that you do.Be guided to a realistic and long-term approach to print publishing.Make a major contribution to your professional career by making money.These days there are all sorts of print processes.Once it was etching, then lithographs, followed by screen prints (serigraphs).More recently giclee prints have become popular for posters.It can be confusing, so how do you sort it all out?Let's focus on just one aspect of print production, reproduction prints.That's making copies of your original artworks.Should you be involved in this aspect of our industry?There ARE valid reasons why you might reproduce your work.But there are many reasons NOT to as well.Prints are a way to increase income or generate greater interest in your work.But, are you also prepared to take on the additional burden of marketing?Unless you are, print production may not the right choice!The hardest part of producing prints is selling them (what's new).Prints will not help develop a new market, unless your work is suited.So to repeat, get the marketing sorted out before having ANY prints made.This precaution saves money, time and heartache and even earn money too.When might you consider reproducing your work?If the original repeatedly attracts buyers (a painting you could have sold 30x).YOUR original paintings are selling faster than you can produce them.You supplement your income with a low price range if paintings appreciate

My ideas from my personal background and experience.This book does NOT cover activities involving my family.Naturally, like all families we have done many things.However they are things we share rather than share with others.I live in Wagga Wagga in Australia. I've lived here since 1977, so am comfortable in this city of 65,000 people. It's an environment with both strengths and weaknesses.I'm not located in the major art centres of my country. So I'm out of touch with the current art scene there. I'm independent and provide an alternative for those who feel the need.In recent years, e-mail has eliminated the distance dramatically. I'm in touch with people all over the world.I've also found that the art culture is much the same everywhere. So there is interest in my views as a result.I do paint, and have had many one man exhibitions (22 actually). These days I spend most of my time writing articles and other stuff. I do not paint anywhere near as much as I once did. So now I'm probably a writer who paints sometimes. I've been in Wagga Wagga from 1977.So I'm comfortable in this city of 65,000 people.It's an environment with both strengths and weaknesses.On the one hand: I'm not located in the major art centres of my country.So I'm out of touch with the current art scene there.But the conventional wisdoms don't seem to be working for many artists.I'm independent and provide an alternative for those who feel the need.I'm not a drink connoisseur. Like most people I know what I like. One of those drinks is a tawny port. When I had the gallery to establish a Port Club. The idea was to reward regular gallery clients. So I bought a barrel of port from Brown Brothers winery. After several years we actually tasted the wine. It was quite good. BUT it got better each year after a re-fill. I commissioned various potters to make one-litre flagons. Each Port Club member (30) annually received a flagon. This was filled at a special event. The barrel was filled also from casks of port. After ten years every member received 10 litres of port.That concluded the port club. But I still had the barrel with some port so I started to re-fill it. Occasionally we'd empty some flagons. On my 80th birthday the cask was about 1/2 full. So I filled several flagons for the occasion. When tasted, my family thought it was OK. BUT I was expecting it to be superb. A bit later I realized what the problem was. The cask being only 1/2 full the rest was just air. For best taste the cask needs to be full. So now I request casks of cheap port for my birthdays and Christmas. I am trying to fill it again BEFORE taking any port out. BUT it is a SLOW process! Hopefully the cask will be full for my 85th birthday.Then we can have a tasting. If I am not there then my birthday will still be a suitable occasion. AND a similar tasting every five years after that. The barrel being re-filled in the meantime. Music hasn't played a big part in my life. The ones I like mostly date from before I became deaf. I just don't hear it any more. These are my favourite pieces of music"Harry Lime Theme" Third Man film on zither by Anton Karas. "Dance of the Sugar Plum Fairy" Nutcracker Suite Tchaikovsky. "In the Mood" by the Glen Miller Band. "The Toreador Song" from Bizet's Carmen. "The Three Bells" or Jimmy Brown song. "Spanish Flea" by Herb Alpert and the Tijuana Brass. Play them at my funeral when I die (as surely I will). That could even comprise the whole funeral service. Then you can think whatever you wish while listening. These days I take the dog for a daily walk. I am also marketing books I have written. Health probably OK for my age. Deafness a major problem but have hearing aids which help a bit.In recent years, e-mail has eliminated distance dramatically.I am now in touch with artists all over the world.That re

Whatever art is MUST happen EVERY time art happens!Art = x.Then x must happen every time art happens.Not sometimes, occasionally or even mostly.BUT every time - always.So what is art?There is an answer and it is the foundation of much of my writing.What value does the answer have in a commercial context?All things done in a commercial context are done for business reasons.So what is it about art that is also commercial?How will this help everyone - not just some (artists)?If people pay money there should be some benefit for them.That should be the focus of an art business program.It is my focus.My answers those questions.It's not rocket science but common sense.It's art business for the 21st Century!I have written books focused on ways an artist can earn more money.They grew out of articles I wrote in the Art Professional newsletter. Instead of being scattered over time, as originally published.Common themes were joined as a larger, comprehensive books.My books are available for a small fee.Your potential income is considerably greater than the fee.Some artists have not done foundation activities for a successful career.But they jump into more advanced books but their projects failed.Until recently I wrote the Art Professional newsletter.The newsletter has a focus on the needs of full-time, career artists.On the other hand many of my books are for any professional artist.For those people that book provides what they need.I have taken many years to learn lessons and write books.You are welcome to look elsewhere.But will not find solutions such as I offer.Some may even sound similar but they WILL be different.I doubt if others have individual components nor philosophical orientation.Many who are not familiar with what I write may not realize that.

1. Think outside the square!You've probably heard statements like 'thinking outside the square'?I write on the assumption that most readers are painters.But I have had one or two potters, subscribe to the newsletter I write.The potters were looking for new ideas.They could get information from within potting circles.There's more of a chance of a breakthrough if a search is made elsewhere.That's thinking outside the square.To get something really useful the potter will need to translate what is written.So it becomes something that suits their own situation.We all translate what is read into something useful or nothing happens.I remember reading, quite a long time ago, about Picasso.He decided that he'd like to work with clay and sought out some potters.All were keen to demonstrate to the famous artist what to do and techniques.Picasso would have none of this.He shut himself in a shed for a week or so.When he re-appeared the potters were amazed.He developed new ways of working with clay and created new forms.They could only have come about through Picasso's unique vision.He did not want to be side-tracked by working in the way of others.Before he'd had a chance to develop his own approach.He was really stepping outside the (ceramic) square.Picasso made discoveries that were unlikely had this not been done.Let's stay with the potting idea a bit more.Because clay can be turned on a wheel it's possible to make similar pieces.Selling similar pieces is a common problem for potters, but not painters.But reproduction prints are a parallel.Many potters produce two lines, production pieces and one-off works.Production pieces are often utilitarian, such as mugs, cups, saucers or jugs.They're "bread and butter‟ for a potter, and most time is spent making them.Many are the same so it's possible to make them quickly in large quantities.This is of course essential as they're mostly sold for quite low prices.The more creative work is the artistic output of the potter.This takes less total time, but considerably more than a production piece.These "one-off‟ items are also more highly priced.Some potters' artistic work is sought after and they sell in galleries like artists.In my gallery-owing days, I promoted painters, but had one potter.In his case in my gallery, the one-offs easily outsold the production pieces.We only sold a few of the production pieces, and they were always cheap.With one potter my experience is limited and may not apply elsewhere.This suggests a potter have different outlets for different kinds of work.Production pieces at places where there was a likelihood of many sales.Tourist resorts, shopping centres, markets, where many people congregate.One-offs at prestige locations with exclusiveness, status and higher price.Perhaps potters do this but artists can do the same as well!Have production artworks and your creative works too, just like the potter.There are well-known and successful artists who've gone down this pathway.They're looked down on for this, but they are laughing all the way to the bank.Recently I met a printmaker, whom I hadn't seen for several years.He is technically superb and images complex and charged with symbolism.He is very serious about his art and "making it‟ critically.In fact he has already achieved quite a deal in this regard.So I naturally asked him how his career was progressing.He's still doing the style of work I knew as in the previous paragraph.But he and a friend have been producing prints for sale to hotels and motels.They're quick and easy to make, sold cheaply AND he finds them fun to do.An aspect of this is the artist and friend; often collaborate on the same work.They use a nom-de-plume so there's no worry about who actually did a work.This also means there are no repercussions where his normal work is sold.

This book tells the stories of Graeme and Pam Smith's Escapades in Fiji working with the Methodist Church over twenty-six years, experiencing life at the grass roots level and all the adventures encountered along the way.

Visual elements are thus concepts when considered independently.But in reality they do not happen like that.Reality is the relationship between various visual elements in a thing.The focus here is on Tone, Texture, Colour and Shape.Visual element: Tone (or value)The factor that indicates darkness or lightness or light and shade.Tones may vary between extreme dark (black) and extreme light (white).These intermediate tones are grey.Visual element: ColourColours are often grouped according to their mixing properties.Primary colours (red, blue, yellow) cannot be made by mixing other colours.Secondary colours are made by mixing two primary colours.Green - yellow and blue; orange - yellow and red; purple - blue and red.Tertiary colours such as brown, grey, rust are mixtures of all primary colours.Tints such (pink) are mixtures where white is one colour.A shade (olive) is a colour mixed with black or a darker colour.Visual element: TextureThe factor that indicates tactile quality of a surface.Texture may be rough or smooth, gritty or greasy, etc.Texture may be actual (sandpaper) or implied but it is still visual.Visual element: ShapeThe factor that indicates external form.That which shape encloses is area.Shapes may be simple such as square, triangle, circle, oval or rectangle.But they can also be complex such as an eye.Visual element: LineThe factor that indicates a row, series, course or contour.Line may be strokes or long narrow marks.Line may be straight, curved, broken, jagged, flowing or a combination.Line has length and breadth where length is dominant.It can be thick or thin and has direction.A series of lines if joined, shape, area and space may be defined by the line.Line is two-dimensional (flat pencil lines) but can be three-dimensional (wire).Visual element: SizeThe factor that indicates dimension.Size may be large, small, of somewhere in between.Visual element: MassThe factor that indicates heavy or light weight, or density or solidity of matter.Simple forms of mass are sphere, cone, cube, pyramid, prism, or ovoid.Mass relates to space and may be real (lump of clay) or apparent (drawn).Visual element: SpaceSpace relates to a lack of obvious other element (particularly mass and line).However space usually relates to being inside, outside, under or over.Space may be open (incomplete) or closed (a boundary).Space also may be actual or implied.It is sometimes termed environment.Visual element: DirectionThe factor that indicates aim or course of movement.The movement may be actual or suggested.Direction may be horizontal, vertical or oblique and relates to a plane or axis.There is a start and an end and can be seen in a serial order or sequence.

ALL MY CAREERS *** Memories of a lifetime *** born Young 1936..***.. EMPLOYMENT: ***..Euabalong P.S. 1956..***..Parkes P S 1957 - 65..***..Macquarie Boys H S 1966 - 67..***..Lurnea H S 1967..***..James Ruse Agricultural H S 1968- 69..***..NSW Dept of Ed Metropolitan West Region 1970 - 77...***..Mount Austin H S 1976 -79..***..NSW Dept of Ed Riverina Region 1980 - 81..***..ALSO: ..***..Education lecturer Macquarie University..***..Art Ed lecturer Charles Sturt University..***..Art curator Charles Sturt University..***.. EDUCATION: ..***..Orange H S 1948 - 52..***..Bathurst Teachers College 1954 - 55..***..National Art School - distinctions ALL final year subjects. (1966 -1970)..***..Macquarie University 1974 - 84..***.. SPORT: ..***..Bathurst Cricket Association 1954..***..Dubbo C A 1955..***..Lake Cargelligo C A 1956..***..Parkes C A-1957 - 65..***..Sydney Churches Competition 1970 - 75..***..Riverine Club Wagga-1985 - 90..***.. HOCKEY: ..***.. PLAYER: ..***..Bathurst Teachers College 1954 - 55..***..Parkes HA Pioneers 1956..***..Parkes HA Ex-Students 1957..***..Parkes HA Magpies 1958 - 65..***..Sydney HA Northern Districts 1966..***..Sydney HA Cumberland 1967 - 1971 (retired)..***.. COACH HOCKEY: ..***..Parkes Magpies (1965)..***..NSW Combined High Schools (1971-74)..***..Sydney University (1973-74)..***.. NSW University 1975 - 1976..***.. Co - Founded NSW Hockey Coaches Federation (1974)..***..Department of Education CHS 1970 - 1973..***..Wagga Wagga Hockey Association 1978..***.. CO-FOUNDED: ..***..Parkes Magpies Hockey Club (1958)..***..Parkes Junior Hokey playing structure (1963)..***..Wagga CHA..***.. UMPIRE: ..***..Australian Umpire (1969)..***.. N.S.W.H.A.: ..***..Selector (1963 - 1977)..***..Executive (1966 - 1977)..***..Deputy President NSWHA (1976 - 1977)..***.. CARS: ..***..Austin-Healey, Allard J2X, Austin A/40, Alfa Romeo Bertone coupe, Citroen GS, Holden FJ., Holden Barina, Honda Scamp, Honda Accord hatch, Honda Integra, Honda Prelude, Jaguar E Type, MGTF, MGTF 1500, MGTD, MGA 1955, MGA Coupe, MGBGT, Mini Clubman, Mini K panel van, Rover V8, Triumph Herald convertible, Triumph Dolomite, Vauxhall Cresta, Vauxhall VX 490, Vauxhall VX 490...***.. CAR CLUBS: ..***.. JOINED: ..***..MG Car Club (Sydney)..***..Central West Car Club..***..Alfa-Romeo Car Club..***..Citroen Car Club..***..MG Car Club (ACT)..***.. FOUNDER: ..MG Car Club of Wagga Wagga (1989)..***Gathering of Faithful MG car event (1996)..***.. ARTIST: ..***..2 works hung in Wynne Prize (1969) major Australian award)...***..Won various art awards and had 22 one-man exhibitions...**..Judged art shows in various parts of Australia...***.. ART EDUCATION: ..***..Art Consultant NSW Department of Ed. 1970-77 (Sydney)...**.."SPACE Art Education" primary schools NSW (1970 to 1997)...***..Co-Founded NSW Art Education Association (1972) ..***..Art consultant with NSW Department of Ed. from 1980-81 (Riverina)...***..Developed Career Guides for professional artists (1999 to 2009)...***..Mentor to artists and galleries owners..***.. MARKETING: ..***..Partner in Business Thinking Systems, Wagga Wagga (1999-2004)..***.. GALLERY FOUNDED: ..***..Riverina Galleries, Wagga Wagga (Old Brewery Gallery) 1979 to 1997..***..Riverina Framing (980-90)..***.. CONSULTANT/CURATOR: ..***..Charles Sturt University (1985-94)..***.. AUTHOR: ..***.. NEWSPAPERS: ..***..Hockey reporter for Parkes Champion Post (1959-1965)..***..Parkes cricket reporter for Dubbo Liberal (1964-1965)..***..NSW reporter for Hockey Circle (1961-1976)..***.. MAGAZINES: ..***..Monthly in 'Australian Artist' magazine (from 1995)..***..'International Artist' (from 2002)..***.. PUBLISHED: ..***..'Art Professional' newsletter (from 1995)..***..Art Professional Marketing (Kindle books)..***..ArtPak a correspondence course for artists (1995)..**.. BOOKS: ..***..Coaching Creative Hockey..***...Handout to teachers..***..SPACE Art E

Could you have special Christmas promotions?Christmas only comes once a year, but it comes every year.Particularly frustrating when you know a great deal of money is spent then.Your artwork could easily be just the right gift for someone.For many artists their too-hard basket has selling at Christmas time.Because the rest of business is pulling out all stops!You are against full-on marketing thrust of the whole retail sector for the $$!The one thing people do not have at Christmas is time.So Christmas is actually a tough time to sell anything that takes time to buy.That's usually us!So what should you do at Christmas?Possibly keep the $$ ticking over with an easy to do promotion.But when you happen to read this it might already be too late to implement.A prominent department store starts planning for Christmas in October.BUT it's October 14 months before the Christmas that's subject to planning.A reason for early planning is so immediate Christmas activity is monitored.So one of the main ways to stay ahead of the game is to plan very early.This is as important for you (and me) as for major big city department stores.So here's an idea for next Christmas, or maybe the one after that?As a professional artist, money is part and parcel of your life.It's nothing to be frightened of, inherently bad, just a tool for doing business.It's a way to measure success and make your dreams (many) possible.So have a prosperous Christmas as well as a happy one.For business people like us, prosperity is largely of our own making.We decide what we sell, how we will do that and where we will do business.Every career decision we make influences our prosperity or lack of it.Some of this will be short term and at other times the effect will be long term.Often, short term gain leads to long term pain.So it's not necessarily easy getting the right balance for prosperity!You can make a wrong decision without knowing you've made a decision.Not doing anything has an effect on what happens.That's because our careers do not operate in a vacuum.Competitors, clients, governments and other factors affect our prosperity.They are making decisions even if we are not!Sometimes this effect is direct and at other times more subtle.Sometimes an effect is intended, but others accidental, or even incidental.Quite a deal of this activity is out of our control.Take these factors into account; as best we can, to make career decisions.Prosperity doesn't come easy these days, so good wishes can only help.Good planning will help more though.There is a time of the year when many artists have a 'quieter' period.Usually it's when we make New Year resolutions about things we'd like to do.In business terminology we set goals both short and long-term.In business there should be long-term strategic plans, as well as short-terms.I have read that some Japanese businesses have 500-year plans.That is certainly long-term thinking, but it is of somewhat dubious usefulness.A five to ten year time scale is enough for most businesses, including yours.Time to achieve something major which isn't daunting in the short term.Short term planning should deal with achievable objectives.They carry you to longer-term ambitions like signposts on a road to success.Goals only stay as resolutions if we do not also plan how they're achieved.Tick them off as you make progress for eventually the destination is closer.It follows short-term objectives should be more precise than longer term.

MGCCWW STARTMechanics are the foundation of MG car clubs in Australia.And maybe elsewhere too. After the Second World War the rich people bought sports cars.That meant mainly MG TC's. After a couple of years they sold them and bought something else. The mechanics who looked after those cars then bought the TC's cheaply. They could keep them going and also modify them, which they did.It was people such as these who also competed in races, hill climbs and trails. MG Car Clubs in Sydney, Melbourne, Brisbane and Adelaide.Were founded on this tradition. Wagga Wagga came much later when mechanics like Ron had old MGB's.Gradually cars improved and became more complex. The old art of being a mechanic started to change. Some people became car sellers, and others restored old cars (like Dick).Others upgraded their skills by working in big garages and others were left behind. My start.Back in 1997 I was teaching Parkes. My family lived in Dubbo where I went during the school holidays. There MG owners used to park in a group in the main street, Macquarie Street. They'd chat and look at one another's cars and occasionally go for a drive. They were mainly MG TC's and TF's. I never saw a TD for many years. There might be fewer in Australia than the other T series as most went to USA.Used to admire the MG's and got to know some of the people. One was another teacher who had a TF.I had about enough money to think about buying a car. Some of that was compensation for my deafness.That had happened a couple of years earlier. There was one owner wanted to sell his TC.It looked great in pale blue with cycle guards and it went well too. So I thought I'd buy it for my first car.Then I made a mistake. I went home and told dad. He thought I'd kill myself in one of those. Next thing I knew I was the owner of a 1954 FJ Holden. It was cream with brown upholstery.I also had to get my licence. So I went for that the next day but had a minor bingle and failed the test.Went back the following day and passed. Haven't times changed?After four months of driving the FJ.I knew if I kept that car much longer I really would kill myself. They just couldn't handle. The motor was OK but it leant over at alarming angles when cornering. It had too much power for the chassis. That's why people used to put sandbags in the boot. The rough roads didn't help either.So I bought my first MG a 1954 TF. I showed it to my dad after I took delivery. This was the first of six MG's I have owned. I enjoyed driving the TF but became attracted to the idea of additional power. So a year later I traded it on an Austin-Healey 100. Although there were only three gears it had overdrive. A flick of the switch and the Healey and I were overtaking.However there was a penalty for that power. It wasn't long before I had four worn tyres. In addition the car had a fatal flaw just as the FJ Holden did. It could handle all right BUT it was far too low. The underneath of the car would scrape roads and gutters everywhere.Except on the highway.So it was time for another MG. This time I swapped the Healey for an MG TF, which was in immaculate condition. It was a 1500cc model too.Although you'd need a stopwatch to tell the difference from the 1250cc version.I had this car for a number of years, using it as my daily driver. Eventually there was a blown motor.That was the end of my MG motoring for many years. My next MG is another story though.Because that purchase also was the beginning of a car club.

Coaching is like baking a cake.You usually need a recipe.BUT you still have to supply the ingredients.THEN mix them together in the right order.AND do the actual cooking.The ingredients you need to supply are: Your time.Some money.How your cake will turn out depends on your supply of the ingredients.It also depends on how you do the cooking.This is the sequence in which you actually do things.How your cake turns out depends on the manner of your cooking.It will also depend on your stove.Your energy, determination, persistence and single minded focus.It also depends on the correct temperature of your stove.You should end up with a solution to your coaching problem.It is unlikely to be identical to any other.The differences will be own input.That's how it should be.BUT if you do not have the required ingredientsAnd a suitable stoveYou should not attempt to cook.Wayne Gretsky - a creative hockey player.Recently I saw an interview on Australian TV with Wayne Gretsky. The Winter Olympics were on in Canada at the time. I had heard of him before. He seemed a pleasant person who was enthusiastic about ice hockey. He wasn't as big as I thought he might have been. I imagined ice hockey players as being something like grid-iron players.Except not often of African origin. Gretsky didn't fit the image at all.Canadian friends told me he was one of the smallest players. But he was a master despite his size.He holds more records than any other player in ice hockey history. He was also amazing to watch. He survived by quickness and intelligence.He also had supernatural peripheral vision.In addition he understood the dynamics of the game so well.He generally knew where the puck and the other players were going.Before they went. So he often seemed to be skating around pylons.As the mesmerised opposition remained stationary.He controlled the play so well.That the area behind the opposition's net was called 'Gretsky's office'. He used to get the puck behind the net and essentially stop the play.Then pass to the player who was open and in it went. He was so quick.The opposition didn't want to chase him behind their own net.For fear of getting 'burned' which often happened anyway.There's brutality in ice hockey so most players are big and strong. The finesse is there but overshadowed by the hitting (body checking). There is much less now than there used to be.But the injuries are getting more severe. That's because those big players are moving faster and thus hit harder! Gretsky had a couple of enforcers though.They made mincemeat out of anyone who went near him.Europeans play with more attention to finesse on a larger rink. But that was the beauty of Gretsky. He was too small to hit or be hit in most cases So he concentrated on the other skills.Wayne Gretsky turned his weakness (size) into a major advantage. You can do that too if you focus on what you can do.Rather than on what you can't. Work on your strengths.You'll not just get up when knocked down.You'll also improve what you do and get knocked down less often. Maybe like Gretsky you'll get so good you aren't knocked down at all!The start stops most people.Back in my art student days I learnt how to deal with this problem.I was in the third year of a four-year art course.One memorable evening I arrived for class and was the only one there!I wasn't happy but decided not to waste my time.I looked at my blank canvas and didn't know what to do.Yes the start certainly had me stopped.Have you had this feeling?I still didn't know what to do.I mixed Indian red with turps.Because the paint was runny, I flicked some onto the canvas.I splashed on more.Still further splashes followed the first ones.It was a bit like an Indian red "Jackson Pollock‟.I decided to join up the dots.I was pleased with the result which I had not anticipated before

The start stops most people.Back in my art student days I learnt how to deal with this problem.I was in the third year of a four-year art course.One memorable evening I arrived for his class to find I was the only person!I wasn't happy but decided not to waste my time.I looked at my blank canvas and didn't know what to do.Yes the start certainly had me stopped.Have you had this feeling?If I was going to waste paint it may as well be a colour I didn't like!So I mixed Indian red with turps, still with no real idea about what to do.I still didn't know what to do though.Then just because the paint was runny, I flicked some onto the canvas.I splashed some more and still further splashes followed the first ones.It was a bit like an Indian red 'Jackson Pollock'.Still not knowing what to do, I decided to join up the dots.After a while, I looked again at the canvas, all covered with irregular shapes.But I was no further ahead in working out what to do.More speculation led me to an idea that I could colour some of the shapes.I used white paint and coloured some shapes with it and Indian red mixtures.Eventually I finished and had another look at what I had done.Even though I didn't know what to do, I had done something.It was an abstract painting.I hadn't anticipated it before starting but was pleased with the result.The next week the same thing happened.I shut my eyes made random marks and again made an abstract painting.I continued like this for the rest of the year for no longer did the start stop me.I had found out the solution to that particular artistic problem.It doesn't matter what you do at the start, as long as you do something.It can be quite random although that doesn't necessarily have to be the case.Starting a new website is no different!Don't wait, just get on with it.Write down whatever you can think of.Add any other details as well.Just get started!Now your imagination can work for you!You'll think of more details and over time you will develop your site.It will be better than you could ever have imagined, but you do have to start.Branding is what big companies do.But this doesn't mean small business and even artists, cannot do it too!Any business can gain considerable advantages from successful branding.But just what is branding.It happens to cattle on a ranch or farm.Cattle receive a very painful mark on their rump which stays for life.It's a symbol showing the cattle belong to a particular property.A brand shows something belongs to an organization or individual.I'm sure you are familiar with symbols that represent peace or women.Even small companies have logos that that is what the brand symbols are.How about artists?Well our signature on each work is our logo and our name is our brand.You know who painted a painting as soon as you read 'Vincent'.There's no need to even study the work itself!Your brand is based on your works, pricing, promotion, and appearance.All you do to establish and foster an artistic career combines to form a brand.It's your unique way of doing things.Find the essential core and promote it by linking it with your logo (signature).Your brand is how people think about you.Your logo is on all works, including those not done yet.A brand symbol is a powerful marketing advantage in this type of promotion.You need to sell yourself to sell your business.You are the key person in your business.Selling yourself is not easy for many people, but it can be learned.People in other careers do it so there's no reason to think artists are different.

The Flowers group is divided into three pathways.The focus is on the transition from experimenting to becoming an artist.Once you have done the hard yards this is an easy and natural step.The first follows the REALISM path.This continues from the previous pattern of experiments.The focus is on photographs and pictures as a basis for a search for reality.The second pathway is based on OBSERVATION.This focus is more traditional but a foundation was laid in MMM experiments.The third pathway is linked to your IMAGINATION.This focus is more personal but again a foundation from the MMM experiments.Perhaps you want to try them all?Then follow the sequence of MMM experiments outlined for logical progression.Only two pathways are possible if your MMM focus is NOT observable.Follow either / or both of the Realism and Imagination pathways.BUT you could follow just one of the pathways?What if your particular MMM focus is not be one of those template Groups!That's not really a problem - select the one that's closest.For example if your focus is on fairies choose the People Group.Then substitute fairies for people when creating your MMM experiments.But your focus is quite different - say World War 1 military aircraft?There's no group anything like that.Just select a group and substitute your focus for whatever is already there.Your MMM experiments are like the athletes training program.Like an Olympic athlete if you want to stay at the highest level you keep training.Your MMM experiments become a normal routine.So you need to be able to construct YOUR OWN MMM experimental programs.By now this should not be difficult.Then training never stops.Perhaps start each day with a short period of experiments.Then move to your main artistic tasks.By actually painting you understand how to do what you want to!There's no other way for you learn by doing.You do not learn by someone telling you what to do.That way you only learn they know what to do and if you get stuck ask them.By now you should have an experimental attitude.You are scientific about your art learning so set yourself challenges.See what happens here when you do this?Magic Multiple Miniature experiments can be copied many times too.Then you can compare different experiments with the same image.This highlights learning that would otherwise take much longer.Use ONE MMM experiment as a template for a series of explorations.Use the same materials in different combinations (black, grays, white).Use different materials entirely (pencil, felt pen).Do DIFFERENT MMM experiments as a basis for a series of explorations.Use the same element combinations (black, grays) on each one.Use the same materials each time (pencil, felt pen, paint).Explore further according to your curiosity.For example an MMM experiment could be printed on gray or coloured paper.You could even distort the MMM image!Don't worry about whether you are doing the experiments correctly.Do something and it's just about certain to be right.In the process you'll discover whatever you find out.Once you begin, you can alter or change what you have done.It's better to do something and be wrong, than do nothing.Mistakes can be corrected, and you learn what not to do at the same time.An experiment does not even have to be finished!Knowledge grows from your experience for this is what real learning is about.Most importantly any discoveries are yours.They're part of actual experience rather than just part of following instructions.Your experience and confidence grows for the more you do the better you'll get!Random starts do not necessarily have to be the case.You can plan your starts.But take time, don't rush enjoy the experience and see what you can find out.

Hi Graeme, I've been taking your advice. So my second book below is now listed on Amazon. It works. I have several more waiting for some editing and indexes. I even wrote one about my art. John Newell (Canada)With Amazon you always have the most recent version of this book on your computer or ipad.If you buy an actual book then only the current version is available.I first published this book several years ago.Since that time Amazon have made book publishing easier.Thus much of my previous advice is now redundantConsequently it is no longer in this book.AMAZON and PUBLISHERS.With Amazon.com it is possible to do things.Which book publishers couldn't possibly do!In Amazon.com you CAN publish the same content in multiple books.BUT you do need to give each book a different title.Perhaps each version is intended for a different reader base?In Amazon.com you CAN also publish multiple versions of a book.But ONLY the most recent one is available to buy.But buyers of eBooks always have the latest version.Their copy is automatically upgraded with each new edition.Thus Amazon.com and book publishers operate quite differently.Amazon.com does NOT stock books.Book publishers do.Amazon.com stocks electronic files which can become books.They only become books AFTER someone buys a copy.The buyer also pays for the printing NOT Amazon.com.On the other hand book publishers BUY copyright for a book.Then they publish as many copies as they THINK they can sell.Amazon.com does NOT buy copyright at all.An author makes money by selling copyright to a publisher.Thus there is NO relationship between sales and author payment.The copyright offer reflects a publisher's anticipated sales.Thus established authors receive more than those just starting out.A publisher makes money.IF the amount received for sales.Is greater than the amount paid for publishing AND copyright.BUT this is not easy to do.A publisher publishes AND sells books.They are actual books made of paper.Publishers earn money by selling books.But once printed a book cannot be changed.Thus any editing is done BEFORE publication.Although a new edition can be printed and sometimes is.The publisher needs to sell many just to cover costs.So published books are usually sold in a variety of outlets.All authors hope they've written a best-seller.So many authors try different publishers with their manuscript.They are looking for one who thinks they can sell the book

Photographs are a basis for learning about realism.Any photograph is of something.Continue with the subject matter you want to paint really well.Then you are continuing down the correct path (for you).Your focus is always on still life.Select any still life but focus on just one (stem in a vase).Then even from the start you can become a specialist.You will also focus on something you are interested in.This will help maintain the necessary motivation while you learn.You get to understand your still life subjects.Over time you will develop the individual paining skills needed.You will also know how to paint your subject your way.Eventually you can focus on another subject.You'll note the similarities and also the differences.Because they are related to your original theme you will learn much quicker.From one type of still life to another is an example.Then from still life to other flowers could be a pathway.Follow this pattern for long enough, and you'll be able to paint anything!People who do things well also do them faster than those who don't.That applies to painting just as much as anything else.It's one of the indicators of skill.You should notice that repetition helps your own skill development.Skill in art, sport or even medicine is basically the same phenomenon.It's practiced behaviour in action.Most artists don't do anywhere near enough to develop real skill.A number of experiments at the same time increases productivity.For you reduce wasted time.If you run into a dead-end with one painting move to another for a fresh start.When the initial painting is returned to, there will be a different attitude.Otherwise set it aside again.Usually you'll find most works will finish fresh and roughly about the same time.Working on a number of paintings at the same time also saves materials.A particular colour can be applied to the experiment for which it was intended.BUT there are bound to be others where that same colour will be appropriate.When you buy paint, buy in quantity, but only use as needed.Avoid major works.They take time (years), usually done slowly and are often large and complex.You'll tend to labour over them as you try to do your best.Instead occasionally do a slightly larger experiment.Focus on learning what you can.Action with materials = technique.Practiced techniques = skill.Habitual technique + skill = style.Photographs are a basis for learning about realism.Any photograph is of something.Continue with the subject matter you want to paint really well.Then you are continuing down the correct path (for you).Your focus is always on portraits, landscapes, the sea, or whatever you fancy.Select any still life but focus on just one (stem in a vase).Then even from the start you can become a specialist.You will also focus on something you are interested in.This will help maintain the necessary motivation while you learn.You get to understand your still life subjects.Over time you will develop the individual paining skills needed.You will also know how to paint your subject your way.Eventually you can focus on another subject.You'll note the similarities and also the differences.Because they are related to your original theme you will learn much quicker.From one type of still life to another is an example.Then from still life to other flowers could be a pathway.Follow this pattern for long enough, and you'll be able to paint anything!People who do things well also do them faster than those who don't.That applies to painting just as much as anything else.It's one of the indicators of skill.You should notice that repetition helps your own skill development.Skill in art, sport or even medicine is basically the same phenomenon.It's practiced behaviour in action.Most artists don't do anywhere near enough to develop real skill.

CAR SALES LESSON.I've been interested in cars for a long time. So I read various magazines and articles that take my interest. You may know the Ford Motor Company once owned Jaguar. Like many other car manufacturers, Jaguar was losing money and Ford came to the rescue. This has been a common occurrence in the car industry.Jaguar is no longer a Ford subsidiary though. This story is from an industry magazine some years ago. Jaguar has always had the passion. It was run by people who cared more about the Company.Than they did their own careers. When Ford brought process to that passion.You've got a lethal combination. You've got both sides of the brain.' (Mike Dale ex-Chairman Jaguar USA) Do you have the lethal combination? Like Jaguar, most people have passion. No doubt readers of this article are passionate about their cars.That's something that drives you on and keeps you going. It's the other part, where problems often arise.Lack of money, ideas or time, are reasons for stagnation. But simply having more time, money or ideas.Without passion is a fruitless effort. It's the combination of skills with passion that's lethal. It can make scarce resources work effectively.Whatever the amount available. Do you have passion or have you just lost momentum? Do you ALSO have the process or systems?To put your skills and talent to work? Just how well do you have things organized? Do you have a lethal combination that's crucial to success? Or waste time, money, talent, opportunity or other resources?That are available to you?Conformity will stifle creativity. There are many barriers to creativity.But there are infinitely more solutions.Everything has NOT yet been invented. The bigger the changes the bigger the potential gain. While details are critical to big ideas.Worry about them after the brainstorm. "Imagination is more important than knowledge." - Albert Einstein

Do you have a career vision?Most artists tend to focus on an individual painting.An exhibition is a collection of those paintings.But what if the focus was on the exhibition.And it was just one of a series of exhibitions?Then there would be a different mind-set wouldn't there?How you approach exhibitions is an extension of this thinking.Do you do that?Then a career can be an ongoing stream of exhibitions.Be pro-active about generating this income stream if you know what to do.A successful artist should have this knowledge.Can you identify the characteristics necessary for a sell-out exhibition?Most artists do not even believe this is possible so they don't think about it!But it shouldn't matter what you paint for artwork doesn't sell itself.If it did, you'd be able to hang your work anywhere and people would buy it.There needs to be a correlation between what you do and how it is sold.But obviously something is done to make sell-out exhibitions happen.But just one artist having a sell-out exhibition doesn't prove anything.That depends on special knowledge, contacts, opportunities they have.It's people like you who have to have the sell-out exhibitions.If you are somewhat skeptical that's understandable.The key element is people willing to buy your work.Then these people can be leveraged into major career momentum.You need sales and marketing strategies major galleries give main artists.Not all galleries do this.For MOST do NOT KNOW what to do and you must assume this is likely.Sales in a well-known gallery are quite public.That is a launching pad for continued success and sustained artistic career.So you need a marketing campaign aimed at the gallery of your choice.This is not necessarily what most other artists say you should do.BUT someone has to do it.Otherwise you will be exhibiting at a gallery that doesn't know what to do.There's a lot of day to day stuff in any profession, including artist.Meeting people, phone calls, enter competitions, framing, finances, etc.The more successful you are the more of it there is.You do all this yourself initially but eventually you need an agent.But by then you'll know exactly what you want them to do.So instead of the agent telling you what they want.You'll find one who does what you want.

Something to think about!In 1989 a portrait of Anne the Countess of Portland was auctioned.It was at dispersal of the contents of Thoresby Hall in Nottinghamshire (UK).The stately home was to be converted to a five star hotel.Presumably it has been.The portrait was expected to bring from $9,600 to $12,800.The hammer price was actually quite a bit more, about $24,640!Now that's a good story isn't it?After the purchase the new owner removed the painting from the frame.The frame is quite large being about 2m x 11/2m.The frame was sent on to another auction by itself.Maybe the buyer recognized the value of the frame?In the second auction catalogue it was described like this: "George 2 Kentian carved and gilded architectural tabernacle frame, with eared corners, the architrave carved with an egg-and-dart design and embellished with Vitruvian scroll surrounded by an opened scallopshell finial."Someone certainly knew what it was to come up with that description!Guess what?When sold on 5th Dec 1989 the frame brought approximately $52,800!Over double the price paid for the frame AND painting six months earlier.Almost makes you want to give up painting doesn't it?

Setting up demonstrations and/or workshopsLots of artists provide classes, demonstrations or workshops.To supplement art income, test ideas on other people, or help fellow artists.You can even make quite a good income from this sort of activity.There must be a reason; otherwise there's no point in the exercise.Now you know why you are going to demonstrate or run a workshop, It could easily be different from any I have indicated, or even several of them, Are you offering your services to make money?There's nothing wrong with that.No point if an approach you plan to use means no money, or not enough.Do you know things that most don't, and want to share this with people?Will it help further your career?Make certain you set it up to do just that!Say you are running demonstrations as a way of making money, But as a way of meeting people, the same set up could be perfectly fine.In other words plan what you do or you may not achieve your goals.If you provide people with value for money, almost any goal can be achieved.Who can help your project actually happen?What organizations run classes, demonstrations or workshops?There are art societies and similar groups of artists.They are the most common groups who run courses or workshops for artists.Educational institutions conduct demonstrations and workshops.This is particularly so if they're involved in adult education, Although more often they run classes.The classes are either for their students, or the general community.There are also special artists' holiday accommodation venues.They conduct workshops or classes on a regular basis.Sometimes galleries do this too, although usually they'll use their own artists.O.K. now you've planned a suitable demonstration or workshop.Write it all down.Read through it from the point of view of someone attending your course.Have you covered everything they'd want to know?For example will it be practical?Who supplies the materials, if it is?If it's the student, what do they need to bring?Double-check everything.Then write it out in several different ways.Why several different ways, you may ask?Well each different way will tend to suggest some new ideas for you to use.Different approaches for educational institutions compared to art societies.Many students may be the same, but the organizations are different.They operate in different ways, which you need to take into account.Educational institutions usually collect money at enrollment for all courses.Art societies collect money from members for a course often not in advance.But each tends to use different language too.The next thing you need to do is plan a marketing campaign.No, not to get people to come to your demonstration or workshop!It will be to sell your proposal to the group concerned.Approach any group initially to let them know you are available.It would be a good idea if you also can tell them what you could do.Who do you need to contact?When is the best time?It may be late in the year for next year, or a month or so ahead of time.What sort of workshops do they usually run?Is yours a fit or different?What is your background?Why should they use you?What can you do for them?The last one is the really important one.Once you have all this worked out it's time to approach the different groups.Naturally you'll need different approaches for each.Well, they have your proposal and are interested, what next?Follow up, that's what!Ask when they will have decided what to do.Give them a ring at about that time, or a little sooner.Find out how things are going (and so they don't forget your proposal).Let's say they don't go ahead with your great workshop.Find out what the problem was but do this politely.Are they short of money right now, or not having any more courses like t