Sale on canvas prints! Use code ABCXYZ at checkout for a special discount!

Blog

Displaying: 31 - 40 of 54

  |  

Show All

  |

Previous 1 2 3

[4]

5 6 Next

How To Earn Your Living As An Artist and Creative Person.

October 20th, 2017

How To Earn Your Living As An Artist and Creative Person.

The above artwork image is of portrait commision by Ryn Shell, in artist's pastels, completed to a clients instructions, showing the combination of artistic talent, PR skills of working with the client and the business ability of marketing commissioned portaiture as a service.

You need to treat art as a business if your business is art.


1. Talent.
We need the talent or skill to have something to sell.
Develop this. Make it a lifetime commitment to be in an ongoing search for knowledge and learn from everything and anything you can, while not contravening the copyright of others, make sure you didn’t have a fool for a teacher, by insisting on being ‘self-taught.'
Yes, one can be self-guided, but expertise is learned from experts.

2. Public Relations skills.
If you are not skilled in public relations, then learn these skills. It might be easier to employ someone to do the PR for you, but the truth of the matter is, that unless you have an income aside from your art, few artists are going to have the funds to pay for a good PR representative. Learn how to do this for yourself.

3. Business skills.
It does not matter how well you create, paint or how good the items you have to sell are, nor how well you can market these, using your PR skills, if the business side of things breaks down and you make unwise choices accounting for and using the income you earn. There needs to be a balance of all skills.

4. Diversify.
Art is a nonessential, item. If you look at how the stock market fluctuates, then realize that art is also going to fluctuate, only the fluctuation will be more extensive.
No one, can tell you in advance what artistic skills might peak nor suffer in the next fluctuation.

Take the example of the need to diversify, from what happened during the last big depression to my own artistic family, who all survived based on the actions of one family member, my mother, the only one who diversified her skills.

My father, the architect, rated at the time as one of the top 6 architects in Australia, had no essential service skills and was unemployed during the last depression.

My uncle, one of Australia’s best musicians at the time, a man who during the peak of his career, left millions to charities due to the success of his career. He had no other developed skill aside from his musicianship, and he could not make enough money to provide a home for or feed his family during that depression as people would not pay for his, non-essential service, skill, or even for him to teach music.

My mother, a dress designer, was able to diversify, from making high-end fashion. She changed to doing alterations to extend the use of clothing. She also diversified, designing apparel to fit people with deformity. Later she placed a tender to the Australian government and was accepted to oversee the manufacture of military uniforms. Due to her ability to diversify, she was able to support three families of six adults and three children through the Great Depression.
Because she was prepared to diversify her artistic skills when the need arose and was not be too proud to take orders or work with heavy-weight, harsh on the hands, military materials.

When I informed my family that I intended to be an artist, they were 100% behind my doing this. They never told me that "I would not be able to earn my living in the arts.". They did, however, insist that I have diverse talents and essential skills.

My suggestion is to develop varied and essential service skills that tie into your art. Your integrity as an artist is protected, if you have an alternative income, and you have the financial stability you need as a base to develop a successful artistic life. If you never need to use those other skills, that's great.

Happy creating.

I travel extensively to draw inspiration for my paintings and writing from life experience.
You will discover my Australian rural-lit novels at www.rural-lit.com

​Ryn Shell.

Travel Studio in Troop Carrier

October 20th, 2017

Travel Studio in Troop Carrier

The photo shows the l shape table set up. The larger table is a lightweight one, tied securely to the cargo barrier. Underneath it are lightweight, stacking, plastic drawers filled with paints. On the table anchored in place is another drawer filled with office supplies. My pastel pencils and my brush stand. To the right of the chair is the extra chest three-way fridge. I also have pastels, papers, and canvas stored in there.

Three lighting, 240 or 12 volt plus long life battery powered lighting means I will be able to work in my private studio anytime, while on tour. This will be 'my area ` my space.

The items for sale will now go in the front part of the caravan where I used to try to paint, and I always had trouble, as it was hard to paint in a shared space. Artists will understand what I mean.

I travel extensively to draw inspiration for my paintings and writing from life experience.
You will discover my Australian rural-lit novels at www.rural-lit.com

​Ryn Shell.

Paintings of the Blue Wren

October 20th, 2017

Paintings of the Blue Wren

This is the first of a planned series of small paintings of the fairy wrens that visit my Goulburn Valley county home. The superb fairy-wren (Malurus cyaneus), also known as the superb blue-wren or colloquially as the blue wren, has been voted as Australia's most loved bird. I'm in the process of painting three more small fairy wren pictures to complete what will be a set off four works that will be available to order as small prints, cards, decor and gift items through FineArt America.

I travel extensively to draw inspiration for my paintings and writing from life experience.
You will discover my Australian rural-lit novels at www.rural-lit.com

​Ryn Shell.

Planning a Painting Tour Vehicle Internal Lighting

October 20th, 2017

Planning a Painting Tour Vehicle Internal Lighting

Reg has installed a 12-volt chargeable battery run, bright LED light in the inside cabin of our ‘troopy’, car and I have a 240-volt florescent light fitting mounted high on the cargo barrier behind the driver’s seat.

In the cabin, of the troop carrier, we have removed the eleven passenger seats to make a small room, and I have mounted a table across at the back, tied to the cargo barrier.
Underneath this, I will have plastic lightweight drawers containing my oil painter’s art studio equipment.

I have removed the comfortable seat, and back from a conventional swivel stool we found at the tip shop, and I place this on top of a plastic crate, which doubles as storage and the base for a comfortable seat.

Can you tell, how eager I am for our next painting and writing, tour?

Safety note:
I do not use thinners or flammable liquids when oil painting or cleaning brushes so no dangerous materials are carried in the car.

I travel extensively to draw inspiration for my paintings and writing from life experience.
You will discover my Australian rural-lit novels at www.rural-lit.com

​Ryn Shell.

Jane Sutherland, artist, 1853-1928

October 20th, 2017

Jane Sutherland, artist, 1853-1928

One of the artists whose work I most admire is Jane Sutherland.

Jane Sutherland 1853-1928 was an artist and art teacher.

At age seventeen, her father George Sutherland, who was a drawing instructor and artist exhibiting with the Victorian Academy of Arts, encouraged her to enroll in the National Gallery Schools. She studied under Thomas Clark, 1871-1875, Oswald Rose Campbell, 1877-1881. Eugene von Guerard in 1877, and George Frederick Folingsby, 1882-1885.

She is an artist of the same era as Tom Roberts and Frederick McCubbin and painted with them at the Box Hill artist Camp. See:- her work 'Obstruction, Box Hill' in 1887.

She exhibited in 1878 with the Victorian Academy of Arts and the Australian Artists' Association. She later exhibited with the Victorian Artists' Society. She also exhibited works in the federal exhibitions in 1899, 1903 and 1906 at the South Australian Society of Arts, and along with Clara Southern, and May Vale, exhibited in the First Exhibition of Australian Women's Work held in the Exhibition Buildings, Melbourne, 1907.

Jane Sutherland, Clara Southern, May Vale and Jane Price also exhibited together in a 'Private Exhibition of Pictures' held in November 1905 in Frederick McCubbin's home, in Shipley Street, South Yarra. Fredrick McCubbin was ‘gentleman’ artist of whom I have a great deal of respect. Many of the male artists. One in particular, went out of their way to strive to prevent private art galleries hanging the work of the great woman artist’s of the day.

Fredrick McCubbin’s strove to correct some of the professional disadvantages female artists encountered. He was ridiculed by his male counterparts for both this and his devotion to his family.

Jane Sutherland and her close friend, Clara Southern, were pioneers of the plein-air movement, and they sought to advance the professional standing of women artists. Jane Sutherland was considered the leading woman artist of the Heidelberg School.

Jane Sutherland Biography
Jane Sutherland - Obstruction, 1887
Jane Sutherland - Girl in a Paddock, c. 1890
Jane Sutherland - The Mushroom Gatherers, c. 1895
The Creek, 1895
Jane Sutherland - Daydream, c. 1895
Field Naturalists, 1896.
A Cabbage Garden, 1896
Emanuel Phillips Fox - A Love Story, c. 1903
Jane Sutherland - Portrait of Margaret Sutherland as a Young Girl, c. 1905

Heidelberg School Background

Around 1904, Jane Sutherland suffered a mild stroke, after this, she stopped painting large on location landscapes and adapted to painting small oils and pastels, of her garden local surroundings and portraits.

It was during this time she painted the beautiful 'Portrait of Margaret Sutherland as a Young Girl,' c.1905. She continued painting, exhibiting and teaching art, with the assistance of a family member, up 1911.

~~~

I travel extensively to draw inspiration for my paintings and writing from life experience.
You will discover my Australian rural-lit novels at www.rural-lit.com

​Ryn Shell.

Steps to Writing Your Artist Resume

October 20th, 2017

Steps to Writing Your Artist Resume

Steps to Writing Your Artist’s Resume by Ryn Shell

List your most recent activities first (under each heading). Use 10 pt. Type or larger.

1. Name

Name (in bold or larger font)
Address:
Phone Number(s): Work, Studio, Home, Fax
Email:
Personal Website: (if appropriate)

Comments: Be sure to list addresses and phone numbers that are current. Make it easy to be reached. The inclusion of such information as place and date of birth is optional.

2. Artistic Education

3. Artistic Teaching experience

4. Grants/Fellowships (Awards/Honors, etc.)

5. Exhibition Record (* solo shows marked by asterisk)

6. Bibliography (Reviews/Articles/Catalogues, Reviews/Articles/Interviews)

7. Publications (Published Writings, Critical Writings)

8. Conferences (Conferences/Symposia)

9. Other Categories
There are a wide variety of professional activities that can be deserving of headings.

Gallery Representation (Gallery Affiliation)

Artist Residencies (Artist-in-Residence)

Professional Service (Service)

Technical Abilities (Technical Expertise, Technical Skills)

Professional Organizations (Professional Affiliations)

Exhibitions Juried

Exhibitions Curated

Collections that include your work.

Commissions.

Website

References

~~~~
I travel extensively to draw inspiration for my paintings and writing from life experience.
You will discover my Australian rural-lit novels at www.rural-lit.com

​Ryn Shell.

Wild Horses, Blumbies Gold

October 20th, 2017

Wild Horses, Blumbies Gold

I titled this oil painting Brumbies Gold was created during an art masterclass I taught at Buninyong Gallery. This followed an on-location painting tour of the Snowy River. I've no regrets with my life, having lived all of my dreams, and then being fortunate enough to create new ones.

I travel extensively to draw inspiration for my paintings and writing from life experience.
You will discover my Australian rural-lit novels at www.rural-lit.com

​Ryn Shell.

Brumbies Blue, award winning painting of wild horses

October 20th, 2017

Brumbies Blue, award winning painting of wild horses

This horse painting was created after a trip to the Snowy River and during a time when I was teaching advanced art students to paint horses. This oil painting won a championship exhibit in art at a professional level competition. I call the work above, 'Brumbies Blue.'

I travel extensively to draw inspiration for my paintings and writing from life experience.
You will discover my Australian rural-lit novels at www.rural-lit.com

​Ryn Shell.

Carlton and United Brewery Clydesdales

October 20th, 2017

Carlton and United Brewery Clydesdales

At the Buninyong, Gold King Festival, the Carlton and United Brewery Clydesdale team would set up on the vacant block of land alongside my Buninyong Gallery, each year. I became a regular fan of these magnificent horses, and they became a favourite painting.

I travel extensively to draw inspiration for my paintings and writing from life experience.
You will discover my Australian rural-lit novels at www.rural-lit.com

​Ryn Shell.

Weaving Loom

October 20th, 2017

Weaving Loom

I stumbled on this weaving loom in a junk yard. It brought bark happy memories learning to weave when I was in my teens. My sister in California took up weaving before changing over to quilt making.

I do not know the age of the weaving loom, but I thought it a beautiful sculptural piece. I'm hoping a collector finds it. I see beauty in the craftsmanship, involved in making a functional piece like this.

I travel extensively to draw inspiration for my paintings and writing from life experience.
You will discover my Australian rural-lit novels at www.rural-lit.com

​Ryn Shell.

 

Displaying: 31 - 40 of 54

  |  

Show All

  |

Previous 1 2 3

[4]

5 6 Next