Art is a daily inspiration that has the power to transform, illuminate, educate and motivate an individual. There is no turning back once you find a piece you connect to a piece of art. Art creates interest in any spaces and also adds a focal point to your room whether you are sporting a coastal style or art décor style. When a painting stops you in your tracks, you must talk about it!
If you’re fortunate enough to have a piece of original artwork, there’s not any doubt that one of the best advantages is the feelings which it provides you. Happiness is one of the most apparent thoughts your hanging artwork or sculpture provides and it’s that often gives people the maximum pleasure. We all want to feel great. The feelings of well-being can begin prior to the last action of purchasing artwork. The excitement of hunting for and picking upon your preferred oil painting or sculpted piece of artwork could be enormous. Obviously it’s often best with the first piece of original artwork which you by, but for lots of people this will not lessen, however often they buy artwork. Collecting art can grow to be an extremely pleasant addiction for a few. Buyer advocacy groups see art as a benefit of the home or office space creating happiness and a sense of connectedness.
An additional advantage of owning original artwork is its own aesthetic quality. The hanging artwork or sculpture enhances the area in which they’re exhibited and this is frequently the prime consideration whenever someone is considering purchasing artwork. Just knowing they finish your interior layout can raise the mood of this room and everybody within it. Oil paintings and paintings deliver focal sites and talking points virtually each moment.
A wall hanging may compliment, or comparison with, the environment where it’s exhibited. When it’s purchased to mix in with the décor then it’s very likely to be the finishing touch in an otherwise ideal room. But a lot of individuals would rather have the piece stick out from the rest of the room. This will make certain that the art is observed, and admired, by everybody. Abstract artwork lends itself to the especially well.\
This week, art is found everywhere in Miami as the town welcomes Art Basel. Every December, the spirit of art and designs are usually celebrated by Floridians at the Art Basel Miami Beach art fair. The Art Basel Miami Beach art fair is one of the biggest celebrations in Miami as it brings thousands of tourists all over the world offering an endless variety of collections, galleries, and exhibitions. The art is extremely exciting, multicultural, creative community during active art season.
Incorporating art into our home interiors has so many benefits. Not only is art beneficial in the home but in an office. Commercial real estate agents believe that it adds appeal and enhances the overall area. Our client’s art collection takes center stage in their Miami home’s living spaces in our recently completed interior design project “Modern Eclectic Home”.
The DKOR Interiors is a residential interior design team who knows that artwork is so important to interior design. We are familiar with how to select the right art for our client’s collection or how to work existing art collections into designs.
Our schedules are tight this week with our clients visiting the galleries and events. We are so excited to see the art of local and international artists.
Artwork can beautify an interior space and are very special to our enthusiast clients. Our design teams are professionals that are vast in how to display and integrate unique art collections into our client’s interiors.
Consider the following tips when incorporating art into your home interiors:
Bring a touch of uniqueness to your home
Choose pieces that create a distinctive statement or add visual interest in the room. The more unique the pieces of art, the more your interiors will reflect your style.
Complement the colour palette
The colours in paintings, photographs or sculptures can smoothly enhance or add a pop of colour. The colour or hues can almost instantly liven up your space but making sure it fits your overall theme. If you have coastal home décor don’t add a pop art piece that may completely disrupt the flow of the space.
Place art front and center
Placing a stunning scripture or large canvas in the visible area of your room allows the artworks to complete the space and give the area the perfects tunning display. Let the artwork fill an empty space in your room or blank walls
Get to know the artist
Get to know the artists when you visit the Art Basel. Even when you don’t find an art piece you love at the exhibit, you can build your art collection by following those artists that speak the most of your style. The artist and the art community will appreciate your support.
When artists create paintings their focus is typically on topics of aesthetics. Concerns over the substrate, ground, painting materials and the overall durability or integrity of the job are usually either built into the functioning style, or not. Typically, last one of the concerns for the job is its stability in regards to its storage and/or shipping. An artist might have appeared at any given painting countless times to ensure it meets certain standards of this series, event, or new owner; however, in order for your job to survive, it’s vital to check out the job from the unusual perspective of the Agency. How fragile is this job? How heavy is it? What are the measurements? Are there any particular concerns for this thing that have to be considered? Successfully hauling art hinges on several important factors. Understanding what type of things can go wrong and what precautionary measures must be taken, will greatly reduce possible issues.
Paintings assembled with acrylic artist paints look indestructible in comparison to many more delicate painting mediums such as gouache, watercolor, encaustics and tempera, or drawing mediums such as pastels or charcoal. The usual understanding of the benefit of oil paints over oil is that they won’t suffer the problems brought on by oil paints’ embrittlement with time. Under many circumstances, acrylic paintings remain flexible and have the ability to withstand considerable abuse. It’s just this feeling of ease of care that artists have thought, which has resulted in carelessness and caused significant problems when moving or transporting acrylic paintings.There are many helpful resources for musicians to consult before transporting and packaging works. This issue of simply paint provides some excerpts from these resources. The objective of this guide isn’t to recreate those tools, which are abundant with examples and hints, but to examine some of the substantial issues with works done in acrylic which may not be covered within this compilation of literature.
What’s being protected?
Acrylic paintings have a lot of unique features that create value for a fine artists’ medium, but these characteristics may also be significant factors for concern in addressing the moving and packaging of the paintings. Under most environmental conditions, acrylic paintings are extremely flexible, which radically reduces the possibility of cracking in the majority of situations, yet the cost paid for this flexibility is a milder film; one which may be scratched, scuffed and marred easily. This is even more of a challenge when working with really matte or underbound acrylic paintings (meaning overloaded with pigment or other solids, exceeding the vital ratios of pigment to binder). Another property of the flexible paint is the comparative permeable nature of the waterborne acrylic. This property allows for pollutants or dirt to become embedded (particularly in a fresher film). Finally, the most crucial property of the acrylic picture (again especially representative of new films) is the possible tackiness of the surface.
The character of the oil surface leads to one inevitable conclusion: that for an acrylic painting, it’s crucial to protect the painting’s surface. Perhaps this is obvious to every reader up to now, but instead of oil paint films where the greatest threat is fracturing the painting’s picture, protecting the oil painting does require at least some different factors. Although protecting the painting’s surface has to be the primary directive for packaging and transport acrylic paintings, it doesn’t provide for all the necessary considerations.
Acrylic paint films become brittle at low temperatures, usually around 40° F. Transit by air cargo or in unheated trucks in cold winter weather can result in cracked paint films due to vibration during transit. The obvious way to avoid this problem is to send in a temperature controlled truck, but of course other things like time management need to be factored in too. In the case of shipment by air, measures must be taken to ensure that the paint coating doesn’t vibrate during transit. Using a rigid backing board will sufficiently dampen transit vibrations.
Physical Considerations of Art
How a painting is assembled is vital in determining the potential procedur es of transportation.
A canvas can be transported either stretched or unstretched and so, it’s important to take into account the consequences of the two. A rolled canvas may ship more easily and cost effectively, but when it arrives it will need to be unrolled and re-stretched — both activities may damage the art. Rolled, the surface is apparently protected, yet in this condition, care must be taken to prevent the potential of this painting surface picking up fibers in the overlying canvas. If the stretched canvas is to be transferred, the back and surface must be guarded and the corners must have the ability to maintain an impact from managing. Additionally, if the job is hauled in cold weather, provisions must be made for reducing shock to the painting surface.
A panel painting or functions attached to stiff board will also want the corners and surface protected and though it’s significantly protected from vibration, it is going to need to potentially withstand different objects being piled on top of it.
The age of art is also of significance during moving.
While acrylics dry very fast, they could take much longer to completely cure. Film thickness, materials used and environmental factors determine the time necessary for paint films to heal. An uncured acrylic movie will be softer and more prone to blocking and ferrotyping, while an older, more fully treated piece will be less prone to damage through art packing and crating services.
The Effect of Paint Film Curing During Shipment
There are four stages involved in the drying of oil paint films. The first stage is a paint film retains its shape as it cures. If a partially treated painting is rolled up for transport and remains rolled while the piece cures, it is going to be very tricky to level out the canvas when unrolled. This rolled film will be more likely to crack because it is unrolled, particularly under lower temperatures. Folded paintings would suffer much more so.the first evaporation of water occurring at a linear rate, during which the paint stays wet and workable. The next phase begins as the oil solids in the piece become more compacted. In the third phase of drying, the acrylic polymer solids — more or less spherical in form — start deforming because of capillary action brought on by the flow of water into the surface, thus eliminating interstitial region and forming a constant, honeycomb like construction. At this time, the paint film feels dry to the touch. The final stage of drying involves the last evaporation of water and coalescing solvent, particle compaction, together with chain entanglement of the polymer solids, forming a continuous film. Critical properties like adhesion, hardness and hardness aren’t completed until the movie is totally cured. An acrylic piece is at its greatest risk during this curing process.If the art is sent before the paint was allowed to fully cure, many negative scenarios can happen. Since the paint film is still growing, it has the best possibility of sticking to anything and everything with which it comes in contact. Packing materials such as glassine and cardboard can get permanently secured to the paint surface. Two paintings facing and connected with each other can quickly become bonded together, probably resulting in the harm of both surfaces. Furthermore, a new paint film is more likely to attract dust and dirt particles which will possibly become permanently embedded in the paint film. Thick paint films can create cracks and crazes during extreme movement when curing. Cold temperatures can damage the film formation process and might even lead to early delamination. Temperatures under 49° F don’t allow for the correct alignment and deformation of the polymers.
Packing Artwork For Shipping
A brand new set of parameters is made whenever art is transported. The best shipping method for any acrylic painting is one where nothing is allowed to touch the surface of the artwork. It can’t be stressed enough that majority of damage in transport happens because something came in contact with the painting surface, causing one or more of these types of damage:
The transfer of touching from the packaging materials to the surface of the painting.
Sheen alteration in large spots.
Unwanted texture made on smooth surfaces, or the opposite.
Back and Forth Movement Across the Painting Surface Marring
Burnished matte surfaces
Physical loss of paint
Blocking/Materials sticking to the surface
Paper, plastic and other packaging items physically attaching to the painting surface.
Attempting removal can pull up paint or damage substrates.
Most likely permanent damage
This generally requires sharp effect to substrate or surface at temperatures below 45° F.
This may also happen when a painting, still drying, receives a gentle effects.
If you need your paintings to get the best opportunity for longevity, place each painting into its individual travel crate. This eliminates the chance for surface contact, promising a greater possibility that the art will arrive without disability. Careful planning and packing increases the chance that the support will also stay undamaged. Needless to say, this is also the most expensive way of packaging and transportation, and true, artists must make important compromises in shipping. Nevertheless it must at least be a significant consideration before going to lower protective techniques.
Packing Cases For Art
For a packing case to be effective, it must meet these functions:
Confirm the painting, insulation and cushioning foams
Protect the contents from impact and puncture without serious distortion
Maintain a sealed environment
Protect against intrusion of moisture
Provide handles for lifting and moving
Survive a multi-venue tour without compromise of any of the above functions
Case Dimensions and Size Limitations
The loudness of the case depends upon the size and number of paintings to be packaged, depth of thermal insulation and thickness of cushioning materials utilized. The kind and volume of foam materials to be utilised in the packing case has to be determined before case construction. There are limits to the size case which may be accommodated by transportation vehicles. For measurement and weight requirements contact the community transportation service regarding asset management.
Most cases are still constructed from plywood, which has inherent advantages over aluminum and fiberglass. Plywood has a high strength-to-weight ratio, provides some insulation, some relative humidity flowing, and is relatively cheap.
If plywood is used as a construction material, the thickness of the plywood has a substantial influence on the puncture resistance of the surfaces of the case. Plywood thicknesses between 3/8 inch and 1/2 inch are generally found on small-to-medium sized instances up to 72 inches. Plywood thicknesses around 3/4 inches are located in the larger instances.
Impact Resistance and Structural Rigidity
The construction methods of the situation, especially where materials are combined, have a substantial effect on the strength in addition to the rigidity of the situation. A case having corners and edges which are well joined can have more than ten times the strength and one-hundred times the rigidity of a case that has corners and borders which are poorly joined. It’s strongly recommended that the borders and corners be equally glued and screwed together.
Provisions for Lifting
For instances light enough to be raised by a couple of individuals, handholds should be provided on the circumstance. For cases requiring mechanical methods of lifting, like forklifts, blocks (skids) ought to be provided that enable the forklift tines to slip beneath the instance.
Case Stability and Topple Resistance
Large packing cases containing one painting can be narrow and high. This can make them more unstable and likely to topple even though slightly jarred. Provisions should be made to prevent such mishaps.
Vibration and Shock Protection For Canvas Paintings
It’s a good idea to attach backboards to the opposite of all paintings to decrease the potential of damage due to puncture, vibration and shock. A rigid backing board will enclose an air cavity behind the painting. For that reason, the painting’s tendency to vibrate is decreased because of the stiffening effect of air trapped between the backboard and the reverse of the painting canvas.
A flexible backboard may have limited efficacy. Relatively stiff materials are best for backboards, or procuring the middle of a flexible backboard into the cross braces on larger works.
Large stretchers normally have crossbars. Several little pieces of the backboard material ought to be cut and attached to every open rectangle bordered by crossbars and outer stretcher members, if at all possible.
Backboard with Foam
During handling and transportation, slack canvases on big paintings can hit the crossbars of the stretchers. This can be prevented by attaching pieces of foam into the backboard.
The foam should be quite near the rear of the canvas without actually touching it.
A low-density polyester urethane foam works well as it’s soft and relatively lightweight. Polyester urethane foams aren’t chemically stable and shouldn’t be left behind the painting for lengthy periods. Several factors influence the speed of the foam’s deterioration, which makes it impossible to gauge how long the foam can remain behind the painting.
The foam can be attached to the backboard with double-stick tape or hot glue. The foam must be securely attached to make sure that there’s not any possibility of it pulling away from the backboard and coming in direct contact with the canvas.
The backboard should be secured to the stretcher with screws.
Stretcher lining is a process developed by Peter Booth in the Tate Gallery for reducing the vibration of a canvas painting. It involves attaching into the opposite of the first stretcher a fresh piece of cloth, rather a thin but exceptionally stiff fabric like polyester sailcloth. The painting isn’t in any way disturbed. The procedure shouldn’t be confused with the procedure conservators predict “lining,” that is a process where the original canvas is stuck to a different fabric to be able to fortify it.With the cloth in position, there is less chance of crossbar-related cracks growing through effect, as a continuous surface, in place of the crossbar borders, would be reached. A further advantage was demonstrated in vibration tests demonstrating a marked decrease in canvas displacement in response to low-frequency vibration.
Method of Attaching the Stretcher Lining:
Cut a piece of fabric approximately the same size as the painting.
Temporarily attach it to the back of the stretcher with a few staples.
Cut out curved parts of the fabric to permit space for the crossbar(s) and wedges (stretcher keys).
Remove the principles to free the substance which ought to be folded and inserted between the canvas and crossbar(s).
When the cloth is unfolded and properly positioned, attach cloth along the borders to the back surface of the stretcher.
Stretch the fabric when attaching it.
Museums often use a delivery collar to secure their paintings as they understand the importance of investment in art more than regular couriers. The wooden collar adds rigidity to the structure and a backing board can be connected to the back of the collar. The collar should project beyond the surface of the painting so a rigid cover of foam core can be attached to the surrounding collar without touching the surface of the painting. The whole bundle of collar, backboard, and face cover can then be wrapped in plastic without fear of harm to the painting surface.
If gentle packaging is preferred, then it ought to be restricted to local moves with an added asset tracking system to ensure efficient moving of the artwork. The National Gallery of Art urges a wooden collar or journey frame ought to be attached to the reverse of the painting or frame for security. Nothing must touch the surface of the painting. Any materials used to wrap it ought to be held above the surface and made from non-abrasive materials. Foam should be used around the painting to Provide temperature insulation and shock protection.One trend in art transportation that must be acknowledged is the increasing use of soft packing, as the price of the related shipment of paintings raises. Soft packing is typical for graphic functions such as drawings and prints and the practice has spread from commercial artists and galleries to museums. Soft packaging is the replacement of plywood sided cases, with one using foam or cardboard sides.No work of art ought to be soft packaged unless the institution is willing to risk major harm. Also, while there’s extensive knowledge in packaging that is soft, there has been little scientific study into how the very best protection can be provided at minimal price.
Naturally, there will be times when rolling up a painting is the only way to transport work, but the following tips can help minimize risks:
Allow sufficient time for the paint film to totally cure.
Put an interleaf of polyethylene plastic no less than 4 ml thick on the surface of the canvas prior to rolling. It needs to be cleaned of release agents, dust and other contaminants. Don’t use bubble wrap, plastic wrap or thin plastics for this purpose, since they will probably ferrotype the painting surface.
Roll and unroll paintings at room temperature. Rolling while cold might lead to cracking, particularly in thick paint films.
Roll relatively loosely to decrease the probability of ferrotyping or adhesion.
Roll with the paint film facing outward. Rolling with the paint film facing inward increases tension by causing compression of the paint film.
Once packaged, tape firmly, but not too closely.
Roll up the canvas as equally as possible.
Use a cardboard center six inches or higher. Tighter rolling raises the compression of the movie.
Place the rolled canvas into a larger tube. Use additional packing material to guarantee that the inner tube fits snugly in the bigger tube.
Whenever possible, the tube should be kept upright to decrease weight on any particular side. This is quite significant for large canvases.
Don’t store paintings wrapped up for long periods of time. Unroll the painting as soon as reasonably possible.
Sonotubes® are a product used by a number of artists who roll their art for transportation. Sonotubes® are available at www.sonoco.com.
Marking Containers and Unpacking Instructions
If the painting will be opened by someone besides the sender, an envelope with explicit directions for unpacking and repacking should be recorded to the outside of the container. The taped envelope should read, “To prevent damage, read before unpacking,” or something similar. These directions become invaluable if there’s a dispute about any damage occurring during transport, unpacking or repacking following an exhibit. Make certain to advocate that all packaging materials be stored together with the crate(s). Do not assume that the individual who unpacks are the exact same person to repack the art. If the painting has been sent to a different country, it’s critical that documentation in languages of these countries be used, in order that an unwary inspector doesn’t open a container without appropriate precautions.
It’s you. That’s not just lots of responsibility, but a good deal of learning that must go on to work out how to make it run smoothly!
Then there is pricing.
Oh pricing — among the most difficult and scary elements of being any type of photographer.
Are you doing it correctly? Getting paid what you are really worth?
Are you choosing prices which will make your company fail?
It can get simpler, and fortunately there are tools out there to try to help you sort it out, but it is still scary and overwhelming, and the cause of many ulcers.
3. Mega Levels of Work
As soon as you realize precisely how many bits go into running a business, it is not surprising that wedding photography is plenty of work.
Think about taking the wedding photos themselves and then add on all of the true business stuff, like branding, marketing, paperwork, pricing, accounting, and you will begin to see why wedding photographers do not get a bunch of sleep.
There is a dangerous myth that floats around indicating that they simply need to work 1 day of their week, and they make a great deal of cash.
But really they generally work a regular 5 day week, have meetings and involvement shoots in the evenings, and then shoot weddings on Saturdays. Yeah, mega amounts of work.
With all that work comes the challenge of equilibrium.
Weddings can quite easily take over your entire life.
In just about all areas of the world weddings are seasonal.
It becomes chilly in the winter or too hot in the summertime, so during those months you will end up with barely any work.
No surprise that makes it hard to pay the bills!
You can either attempt to create enough at the wedding season for yourself through the remainder of the year, or figure out ways to keep earning money once the weddings stop. It’s a significant challenge.
6. Building a Good Living
Straight up, no sugar, it’s difficult to generate a good living as a wedding photographer.
You want to adapt to an ever-changing market, and work out how to stick out from the crowd.
You will need to resolve the issue of seasonality, and set costs smartly to turn a profit.
You will need to keep your prices low but your client experience world class.
It’s simple enough to earn money at wedding photography; there is always somebody willing to pay $1,000 for the shoot and documents. But making a fantastic living is a wholly different story.
7. Handling The Responsibility
Weddings do not include do-overs or reshoots.
You get just one chance to catch the walk down the aisle, the first kiss, or the bouquet toss.
You do not just have to be technically proficient enough to be certain you can nail those essential shots, but in addition, you need to have the ability to deal with that type of pressure and think creatively to capture the expressions of the wedding party while ensuring the interior style is featured appropriately in the shot!
This certainly gets easier the more you take, together with plenty of prep, but you shouldn’t ever lose that understanding that you are shooting a once-in-a-lifetime event.
It’s plenty of responsibility.
8. Mentally & Physically Exhausting Shoots
Weddings are often at least 8 hours of shooting, commonly jump to 14, and can get mad at 21 hours.
This time requires quite much continual physical and mental exertion, as you’re following the wedding couple around, documenting their adventures.
Scarfing granola bars and chugging energy drinks can help you get through the day, but then there’s the much discussed “wedding hangover” afterwards.
Sunday is crucial for just recovering!
The long hours also do a number on your back and shoulders from carrying so much equipment around, and if you are not careful it is easy to get dehydrated.
You get to deal with all this while having to stay positive and cheery at each moment!
9. Pleasing A Wide Assortment of People
Your close proximity to the bride and groom throughout the entire day brings you into contact with all the important people (bridal party, parents, planners, officiants, etc.).
A number of them are people you actually have to take photos of, so you need to direct them too.
Many have a vested interest in both the way the day goes, and how the photos turn out. So you have the challenge of satisfying them all!
It is definitely possible, but requires a lot of work, understanding, flexibility and most importantly, patience.
As an artistic designer, you have the capacity to create an exceptionally distinctive business cards, which recipients will hold onto for months (or even years!) Needless to say, most cards seem so much alike, and it’s easy to get stuck in a creative rut. You will want to break out of the box, and that’s why we have made this step-by-step guide that will help you design the perfect card.
It’s ideal to begin with a little research so that you know what to place on the company card. Speak with your client about their targets and complete a creative brief. After that, collect templates or actual business cards to use for inspiration–you will find loads of internet design galleries, like Behance–and analyze each one. Which concepts may help you meet your design objectives? Which ones won’t?
Choose contact information
As soon as you’ve got a basic idea, place it aside. You want to finalize the card message–beginning with contact info. Choosing the ideal information can be a real challenge because people connect in so many ways; numbers, emails, and websites are a few good contacts to add.
Pick the material
You have heard the expression, “The medium is the message.” How you present your customer’s information is every bit as important as the information itself. To stand out, you might want to go for something more unconventional than cheap, flimsy paper.
One possible drawback with unconventional materials is that you drop plenty of practicality and professionalism, while classic newspaper is more reassuring and anticipated. If your client would like to stick with a conventional paper card, suggest they invest in sturdy paper–involving 14-point and 24-point– their card will not look cheap or tear easily.
Recycled paper is a superb way to reinforce an eco friendly customer’s message. But even if they are not “green,” this alternative is still worth mentioning. Folks throw out over 9 billion business cards each year, and printing on recycled paper helps reduce this waste. It will not just help your customer’s image; it will help the planet.
Paper could be textured through embossing or a exceptional inventory, but imagine how amazed someone is to be given a business card made from quilted leather, wood, or even sandpaper. It seems weird, but feel creates a completely different experience. Engaging more than one sense makes the card and its owner–easier to recall. This card could then even be considered as your very own business stationary!
Choose an imprint method
To a large extent, the sort of material you choose will dictate your imprint choices; you would not wish to print non-edible ink onto a piece of beef jerky, of course. Unusual mediums such as metal can only be imprinted in one way, but printing on paper opens up you to many diverse options, which range from vibrant ink into shiny, metallic foil. If printing near Melbourne, melbourne city print has everything to print your perfect business card.
With this procedure, your card is stamped with slick, smooth transparency in your choice of colour. Both metallic and non-metallic foils can be found, so you don’t necessarily have to use shiny silver or gold; you may go with a sleek matte red, rather.
Your layout is physically raised (embossed) or recessed (debossed) to the company card’s stock. This technique is commonly used in conjunction with other methods; for instance, an embossed foil effect indicates elegance and class. Take care when embossing text; when the words are too small or if you do not use ink or foil to accentuate them, they won’t be readable.
Colour is extremely important to your design, especially considering that individuals keep vibrant business cards ten times more than ordinary black-and-white ones. The best colors for company cards are black backgrounds or pops of red because they stand out the most. Having said that, the colors that catch the most attention will not always match your customer’s needs.
Prep for printing
Contrary to popular belief, a thriving print run isn’t only the printer’s duty. As a designer, you have the capability to make the process much smoother. Communicate with the printer when you are going to print out your business stationary or business cards, and prepare the company card art for optimal printing–particularly when designing for yourself or for inexperienced customers. For a reliable printing company in Melbourne, Dinkums printing melbourne has all your needs to print off successful business cards and stationary.
Bleeds, boundaries and secure areas
Small inconsistencies can happen when goods are die cut after they have been printed. It is not noticeable in most situations, but it sticks out like a sore thumb on a little solution, where one wrong cut may ruin a complete design. Safeguard your layout by adding at least a 3mm bleed area. To be safe, make sure all components are inside a “safe place”–usually 5mm from the edge of the card, and will prevent the use of boundaries, which are most likely to be lopped off unevenly.
One final thought
Among the best parts of your job as a designer is that you could stone people’s expectations. Rather than the same old boring designs, you can make an entirely unconventional business card that individuals might want to hold onto for ages. That kind of card isn’t only an investment in the company it represents. It isn’t only an expansion of the cardholder’s character. A really phenomenal business card is one which begins a conversation, and keeps it moving.
To be able to go over this question we must first have a definition of “art” itself. The definition of art is mainly personal will vary between individuals to a degree to be certain. There is some consensus though. “Art” includes a deliberate action that is supposed to evoke an emotional or sensual reaction, or supposed to convey a message from the founder. It is a medium in which individuals can express themselves, and may truly be anything in any way. The variables defining “art” exist more in the motives for doing something than the actual concrete outcome of such an action. This is because the motivation of the artist is what will ultimately determine the effectiveness of the work’s effects on others.
That being said, I would need to argue that there is a possibility of “art” in any area, which needs human creativity. When you look at a prestige car, or any car for that matter, you want to understand that every little bit of it had been made by people, everything from the headlights and the entire body of the vehicle, to leather car seats, the dash, and even every tiny screw and bolt holding the car together. There is a blank canvass in each and every facet of a vehicle, but as I mentioned before “artwork” is rooted in the inspiration of the founder, so I would definitely look at every car a work of “art”.
Many conventional styles of “art” have taken to the topic of automobiles. Finding the proportions and details of the vehicle, design, nature, and landscape just right in addition to the design of the painting itself and the colours used to make it are all big elements, which make this painting his work of “art”. On the next level there’s the car, a Ferrari 250 GTO, which is a complete masterpiece unto itself in every aspect of visual design and palaces, the perceptible symphony that its V12 creates under control, and ultimately the experience and senses it provides anyone who gets behind the wheel to drive it. There is also much “art” from the design of the steel bull bars to the natural beauty in the painting but my focus is on automotive artwork here so I will not digress.
Many cars are “art” all in their own though. Designers often use natural contours as inspiration for their own designs. Some of the prettiest cars are motivated by “the curves of a voluptuous woman” and can catch some of that alluring charm. It can be well argued that the feminine form is the foundation for much of what is considered “art”, so it is reasonable that automobile designers would follow that trend. Irrespective of the inspiration, many cars out there were created with somebody’s passion and imagination, and several of them make quite a statement when beheld from the eyes.
Aside from design how a car sounds is just another kind of an art form inside an automobile. The sound of a well breathing, fine tuned engine will send shivers down your back and shake you in an aural bliss, which will leave you craving for more. The most unique element of this “art of a vehicle is the effect a excellent car can have on the motorist. I call this aspect a cars “lively feel”, but in plain terms it is the way a car feels when you push it and how makes you feel in return. Some cars just fill the motorist with delight, some help you unwind, and a few just put a smile on your face. If a car makes the driver feel great whatsoever then something was done right when it had been made. There’s a good deal of really nerdy technical gibberish in “the way” engineers produce the energetic feel of a vehicle, but in the long run it only matters that it is there for many people.
Finally when a car was completed and hits the street, it becomes one complete entity composed of everything that went into it, down to every aspect — even the tjm hilux bullbar. In the best cars, the complete entity is art. Now this may be achieved by all of the bits being made as artwork by their founders and adding up to a complete, but the majority of the time genuinely great cars are seen as the whole from the start and are made out of the complete thing in mind and less pieces to be inserted. Many such cars are said to “have a soul” by their founders and many who encounter them since there comes a certain degree in which a vehicle can feel alive to the motorist, not unlike a horse really. Artful cars are all about the symbiosis of man and machine, and not only about basic transportation. So when considering a car think of its function as a machine, and if it is more than just art.
Are you considering to open an art exhibition, or to have a one off art show in your local area to showcase your work? Here is a checklist things you need to think about when throwing your very own art show. If you take some time to prepare up front your display will probably come across as slick, well organised and professional, which then gives prospective buyers confidence in buying your artworks.
Getting your art ready for the series
– Photograph your artwork, you have to remember that once it gets bought then you may never see it again!
– Frame your art if required. Allow a lot of time for your image framer to perform a high quality job.
– Try to make sure that your artworks in a good condition for hanging.
– Make sure your own artworks are wrapped safely and are ready for transport. Buy some bubble wrap to protect your beautiful are pieces, although not buy modest rolls from your office provider, or you may pay too much.
– Organize a truck, hatchback or station wagon to transport your functions so nothing gets damaged.
– Inviting different local companies to sponsor your own exhibition may help with costs.
– Contain them prominently in your exhibition catalog.
– Be sure you mention that the patrons clearly for every prize draw they host.
– You might even have the ability to find sponsorship for catering.
– Organize a thank you bag for every exhibition attendee containing sponsor leaflets, any freebies along with your business card.
– Organize a photographer
– Organize a movie camera operator
– Contact media photographers and ask them to come along
Hanging your display
– Quantify the exhibition space and plan how you’ll hang you artworks.
– Does the space need to have a theme or decorating in some way to give it extra pizazz?
– Make sure you have appropriate hanging equipment acceptable for the space you’ll be displaying in. You might need to research the space closely to work out how you’ll hang the works if it is not a gallery with integrated rails.
– Try leaning them against the wall right underneath where you’ll be hanging them, so that you can get a feel for the design and your hanging supporters will find a clearer idea about what they’re doing.
To make your initial marks on the art world you do not require a commercial gallery. With a little bit of imagination nearly any space could be turned into a place worthy of an art celebrity (that’s you!)
– Produce a ‘running order’ for the series, which details the timing of events on the coming night. Distribute it to everybody involved in the show.
– Invite a VIP individual to start the show for you.
– Short your VIP with things they may like to mention.
– Appoint an MC that will present both the VIP, yourself and any other addresses or exhibition events.
– People are going to want to hear from one of the terrific artist!
– Announce any prize draws at least two times throughout the evening.
– What are your show opening and closing times. Decide up front how log the display will go for.
This is not your normal wine tasting experience. In a little room with ten other enthusiastic drinkers it is early day; rain drums on the skylight, surrounding piano wafts through hidden speakers. In one hand we are all holding a glass of red, from the Yarra Valley. Thus far, so ordinary — except that in our flip side we are all holding a stick of charcoal.
Artist Andrzej Nowicki is our instructor today. A minute ago, he had been asking us to utilize our charcoal to draw the still life he has arranged in the center of the studio, to take into consideration the marks we are making, about the spaces between the lines as well as the blocks of light and colour. Now he is telling us about the history of the Yarra Valley wineries as we sip out of our glasses.
Welcome to the Grey Eye Society, a wine and art course that Nowicki runs at the attic space of Melbourne’s Foolscap Studio. Nowicki clarifies Grey Eye as “a drinking club with a drawing problem”, an opportunity for individuals to research or reconnect with the joy of drawing while learning something about wine — and, of course, fulfilling other like-minded spirits over a glass of something yummy.
It is an appealing concept that has attracted all kinds. Pupils this evening array from an IT professional looking to try something different and a theater designer eager to enhance her drawing skills to an emergency services worker and her mum who’s never drawn before. Nowicki grew up in South Africa, where a motivational teacher instilled the belief that drawing was something everybody can do and could change how you thought about the world. He also cites influential US art instructor Betty Edwards, author of Drawing on the Right Side of the Brain, as an inspiration.
Nowicki indicates that learning about wine in this casual, relaxing environment also gives people confidence about what they are tasting and drinking, in precisely the exact same manner that drawing gives individuals confidence in the way they see things and respond to the world around them. Art and wine classes like the Grey Eye Society have been popping up across Australia. In November last year, Hillary Wall and her husband BJ, recently arrived from the US, opened Cork & Chroma, a “paint and sip” studio in South Brisbane, where folks gather over BYO bottles for communal painting sessions. Again, the concept was embraced warmly: the Walls now run five sessions per week in their studio and can take up to 32 painters in each class.
“People love the idea that it is not a formal art class,” Hillary Wall says. “There is an artist available to provide directions if people want, but mostly it is a social setting: the music’s playing, everybody grabs a drink. They have such a fantastic time.”
Finding art and wine courses
THE Grey Eye Society’s next round of courses begins on Wednesday, May 14, and runs until June 11. Featured wine areas will include Heathcote, the Barossa and Tasmania. Courses run from 6.30pm to 8.30pm. Price — covering all wine and art materials within the five weeks — is $280.
AIMED more in the fun events marketplace in relation to the budding artist or oenophile, Cocktails and Canvas runs hot paint and sip sessions in Moonee Ponds. Cost is usually about $40. Art materials are provided; beverages can be bought.
CORK & Chroma’s “paint and sip” sessions operate five evenings a week at a studio in South Brisbane. Each session explores a different type of painting and, while all art materials are supplied, it is BYO wine. Cost is usually $50 a session.
This past year, The Oak Barrel wine store in Elizabeth Street in the CBD conducted an event where tasters attempted a couple of wines and, with the advice of two guest artists, painted abstract images of what they were tasting. The event is scheduled to run again sometime in June or July. Price is $20.
IN Glebe, the Friend in Hand pub runs three-hour social life-drawing courses every Monday from 6.30pm, with pupils encouraged to partake of the institution’s liquid refreshments. Price is $15. BYO art materials.
Make sure your folio is presented to its best possible quality with these six extremely beneficial portfolio craft sites, chosen by us.
If you’re an artist or designer, the World Wide Web is a vital place to display your work through web page content, offering a wider-ranging audience from prospective clients to friends to spouses to work with. Your portfolio represents you and your job so it has to be just right, and readily accessible by everybody.
Thankfully, there is no need to bang out — or gradually, stutteringly trudge out — lines of code anymore. The below websites make it simple. Though if you are a coding whizz who wishes to dive deep in computer-speak, there is loads of websites for you too.
We notice annually when it is graduate season, just how easy it is to overlook job or recognition opportunities when you’ve got no website to follow up with after a chat. So a well presented online portfolio is crucial.
Whether your portfolio-hosting website is an expansive social networking site or a more exclusive setting, it ought to be just as stylish as your job to draw in the attention you deserve.
Following the latest upgrade of portfolio builder Cargo, we rounded up the best portfolio websites for artists and designers to showcase their work.
Behance Guru has made way for Adobe Portfolio, a platform where you can efficiently build a fully responsive website to showcase your creative work.
Adobe is built for simplicity. If you’re trying to create a complicated, highly personalised custom web design, this is not it. However, it does its assigned tasks nicely. Your website will automatically be optimized for any device, and you can use your own domain name, in addition to access to Lightroom photos and photography grids.
Plus, using the pricier version, you have the whole selection of Adobe creative programs — from Photoshop to Illustrator. In the end, there are advantages to signing up with giant corporates.
Adobe Portfolio is free with Creative Cloud, together with access to the complete Typekit font library.
Wix is innovative and evolving, and we seen many new grads this year choosing it to get their own portfolios online.
Wix has recently brought out Wix Code, which gives complete creative and developmental control over to the person or business.
Wix Code offers an integrated database and support for SEO, chance to customise data without having HTML or CSS — with the notion that attention can be spent in design templates and development rather.
Non-developers can benefit from databases, data bound UI components and end user custom forms and input controls with a simple drag-and-drop method.
Wix is free, but premium programs provide more bandwidth, storage, no ads and much more. Although it caters to anyone who wishes to construct a web design (which is pretty much everybody), it retains designers in mind as a target market.
Although Wix provides a free service with 500 MB storage to play with, there are a range of premium choices.
In its early phases, it created portfolio websites for production companies like Absolute Academy and Post, and has since brought tens of thousands of jobs by designers, illustrators, studios and filmmakers.
With Fabrik you can select from over 9000 possible design combinations across different topics (and you can change them as frequently as you wish without affecting your job). The themes are tailored to different careers, so topics for designers by way of instance will differ to illustrators. These each have eight distinct one-click colour swatch alternatives that will help you begin.
Weebly was set up by three college friends who wanted to make it easier to display and promote their work online. Today their site has various features which make it a top choice for building a slick portfolio.
The SEO functionalities mean improved visibility and rankings while the in-built marketing tools make it a popular option for ecommerce and template customers alike. The platform provides an easy-to-use drag and drop feature and unlimited storage, depending upon your package.
Squarespace is famous for its beautiful templates which will help to get you started using a more professional aesthetic to Behance or Adobe Portfolio.
As well as giving you the resources to create a site, with Squarespace you can monitor your audience and develop your social media after.
Along with the responsive purpose built mobile websites, sleek templates, the collection of free Typekit fonts and a curated set of Google fonts mean that there’s an enormous choice of fonts. Find out more about its features.
Squarespace offers both a private plan and a more expensive version for companies. Even though it’s slightly pricier than its rivals, it is geared more towards experts and is incredibly polished.
Designed especially for creatives, Portfoliobox is nicely set up for galleries, blogs, e-commerce, gorgeous profiles and much more. It’s not difficult to navigate for those focusing on the visuals, and contains some truly beautiful portfolios to prove it.
Create and edit any type of articles with no coding required, and a free domain name is included. Design your own templates and design and include free web hosting. Portfoliobox has no general theme that limits your layout — create as many Pages of any kind as you require.
Japanese Fashion designer Kenzo Takada commanded the world’s attention in 1970 when he started his namesake brand’s Paris boutique on Galerie Vivienne. Decked out with eclectic patterns that eschewed popular trends, Takada’s kimono-inspired garments and designer women’s sneakers and accessories captured the essence of a multicultural world–and cemented his legacy in the fashion world for decades to come.
Fast forward to 2017, Takada, who resigned from Kenzo in 1999, has kept busy by pursuing fine arts and contemporary interior design. His most recent design endeavour could be his most impactful yet. Roche Bobois commissioned Takada to redesign the brand’s iconic Mah Jong couch, originally made by Hans Hopfer in 1971. Using jacquard cloth from his Nogaku Collection, Takada re-imagined the piece in three distinctive colour schemes that signify morning (asa), day (hiru), and night (yoru). Additionally, he made a line of display furniture featuring modern-leaning cushions, clay earthenware, side tables, and hand-tufted rugs. The end result is a cohesive group of interior furnishings which blends perfectly Takada’s experience in detail and pattern with Roche Bobois’s distinctive silhouettes.
We sat down with the designer, who divulged details about his upbringing in Japan, his daring journey into fashion, and his current endeavours in the design sphere.
Where did you grow up and how did it affect your work?
Before I established Kenzo in 1970, I had to create an identity. I had been working for a few companies already, but no longer wanted to follow fashion trends. I travelled back to Japan and purchased some traditional textiles which I mixed together in a French fashion that the market hadn’t yet seen. Not only did this cause a stir in Vogue at the moment, but the experience helped inform much of my future work.
How did the collaboration with Roche Bobois come about?
Kenzo Takada: We first spoke about Mah Jong two decades back. I revealed to Roche Bobois three colour ideas and they were immediately on board. The whole concept for Mah Jong is inspired by vintage kimonos and traditional patterns from Japanese Noh theatre. It felt very natural. The mixing of patterns and colour is quite close to the way I work in fashion. The most important thing is to be compatible.
Tell us about the collaborative procedure.
Kenzo Takada: Six Months after we began, I visited Roche Bobois’s factory in Italy to see how it turned out for myself. It was overwhelming to choose the direction for the style and pattern choices. By viewing the cutting and stitching of cloth, my thoughts began to become clearer. The whole project only came together six months ago. There has been a whole lot of back and forth to perfect the various patterns.
After producing the couch, we decided to branch out and design accessories–loose cushions, ceramics, and rugs–which draw the collection together. The original plan was just to have one colour. I introduced a manly colour and a couple of feminine colours, but we could not decide on just one, so we made all three. They were quite open to using three unique colours.
Your Designs merge adventures in both France and Japan. How can those translate to Mah Jong?
Kenzo Takada: I closely follow French style and trends, but the one thing I understand better is Japanese heritage. This is evident in Mah Jong.
After you retired from Kenzo in 1999, what drove your foray into art and design?
Kenzo Takada: Both On the professional and personal side, I have always been drawn to both museum art and design. Kenzo even branched out into lines of home accessories and products. I noticed that I have been buying a growing number of design objects and home products, also.
What is the most exciting intersection of style and style?
Kenzo Takada: They share the same inspiration and objective; the realized dream.
What’s your hottest interiors pet peeve?
Kenzo Takada: I love harmony. Interiors should be joyful and tasteful. Anything too contemporary risks missing the mark, I’d love to see more of a mixture of contemporary and classic in a way that is harmonious.
Pencil, pen, or pc?
Kenzo Takada: Pencil. When I get motivated, I really like to sketch. Working by hand brings more depth and awareness to the product that you’re working on.
A Secret source you are willing to share?
Kenzo Takada: Revisiting ancient Japanese materials and traditional craftsmanship.
And there you have it, our meeting with the mind behind the Kenzo brand.
Analia Saban started mining and subverting the materials of art history while she was in grad school at the University of California at Los Angeles. Born in Buenos Aires to a professional family – her father was an accountant and her mother, a librarian – she says her childhood was disrupted by the bombing of the Israeli Embassy there in 1992, just around the corner from the school. She was 11.
She said it marked her for certain. In her words, it was a real explosion, with the ground vibration and windows shattering and then chunks of the classroom ceiling falling. She didn’t get hurt but a great deal of her friends had blood on them. She said she believes a whole lot of her job has to do with destruction but also repairing things, or attempting to weave things – or keep things – together.
1 odd effect: After her college reopened, it built a first-rate video laboratory. She explained that the Japanese Embassy felt so bad for our faculty that they donated this unbelievable video equipment from Sony. As the laboratory’s sole apprentice, she learned basic editing and composition skills that she has used since. Some of her friends took their creative sphere from these technical skills into managed software testing and ICT risk mitigation.
Analia went on to study film and video art at Loyola University in New Orleans for her bachelor’s degree. Then, for her master’s, she enrolled at the house for art outcasts called the “new genres” program at U.C.L.A., studying with the ever-provocative Paul McCarthy and Mr. Baldessari, who remains a friend, mentor and supply of witty titles. (He also came up with “Threadbare” for her new trompe l’oeil series at Sprüth Magers, which looks uncannily like canvas)
Yet she said she felt directionless for most of the period. “I was lost for a moment. It was 2005 and it was a really substantial point in the industry.” She was surprised by the number of vendors that were coming to their studios looking at paintings and incorporating it into everything from hanging them in fitness club lounge areas to replicating them into the designs of business IT support solutions – it appeared painting was all that mattered.”
She asked herself: How can a painting be valued up to $90 million? What’s a painting anyway?
She gathered over 100 paintings from unusual sources, thrift shops, fellow students’ work, Chinese painting factories that created Picasso and Van Gogh knockoffs. Then she proceeded to unravel each canvas to its pigment-dotted threads, then rolling them together into one, thigh-high ball.
There was something quite liberating to her about it, to realize that painting doesn’t need to be this precious item hanging on the wall – that it is only a piece of fabric, material from everyday life, like the thread that people wear.
Shown in her graduating exhibition, “The Painting Ball (48 Abstract, 42 Landscapes, 23 Still Lifes, 11 Portraits, 2 Spiritual, 1 Nude),” helped secure her first gallery show in Los Angeles and then one with Sprüth Magers in Munich in 2007.
And her interest in pigments resulted in a residency at the Getty Research Institute in 2015 to 2016, once the scholarly theme was artwork and materials. Her idea was: Can I use conservation tools to create art rather than conserve art? She ended up experimenting with ancient pigment sources like azurite minerals and cochineal insects, sources of rich blues and red hues. In 1 function from the Berlin show, she slyly mixes bugs into encaustic paint together with the red powder made from grinding them inviting viewers to see her procedure.
In 2014, the artist started working on her “Draped Marble” string, inventing a way to bend a marble slab over a sawhorse as you may hang a beach towel over a chair. She used a sledgehammer to make a crease from the marble slab, lined with fiberglass mesh under to keep the fragments from falling apart. (The Folded Concrete sculptures took much more force, requiring a small-scale bubble or slab crane for hire to bend the concrete.)
Claudia Schmuckli, who arranged the Blaffer exhibition, calls her selection of marble, contrasted with the glue laminated engineered timber exterior of her studio, “extremely loaded,” referring to its development from the temples of ancient Greece to ubiquitous kitchen countertops now. She doesn’t believe her work is intended as an overt critique of consumer society or the role of women within it, but that it definitely reflects an awareness of how art was absorbed by the ornamental, domestic arena.
Ms. Saban said her interior decorating work had been inspired by the masterly drapery carved in marble by classical and Renaissance sculptors, citing the folds of the Virgin Mary’s robe billowing in her toes in Michelangelo’s Pietà at Rome. The artist was struck by the extraordinary hard work and skill evident in changing stone to what looks like fabric – turning the tough into the elastic, the tough to the polished, the powerful to the delicate.
“I love the way these artists were insisting on the impossible,” she said.
Analia Saban’s studio, which she took over from John Baldessari eight decades back, is still packed with remnants in the early, heady, low-rent days when conceptual art began in Los Angeles. Boxes of correspondence and records left behind by Mr. Baldessari, a pioneer of the motion, are pointed out.
On the dingy bathroom wall is a gift that he received from another central figure, Lawrence Weiner: a text piece which states in red, “the trace of an action past, i.e. a wet place.” In the rear remains a little darkroom constructed in 1971 by an earlier inhabitant, William Wegman, who also left a basketball hoop. “These guys never move out, they just leave,” Ms. Saban offered, smiling.
Then there’s the jagged crack running through the concrete floor, brought on by an earthquake. The crack shows up in early lifestyle photography and videos from Baldessari and Wegman. Now the crack has made its way to Ms. Saban’s work also. At the heart of “Folds and Faults,” her new show at Sprüth Magers gallery in Los Angeles, is a string of draped and folded concrete bits which involved bending a 1,000-pound slab of concrete in half with the help of small-scale drake low loaders and frannas and other powerful machinery without completely breaking it in two.
Originally she was thinking about the material, the way to make something which doesn’t bend to appear as flexible as paper. Ms. Saban, 36, explained her thought process in her lilting Argentine accent. Looking back though the architecture photography, she saw a link to earthquakes and the way that they cause city streets to buckle and a floor like that to crack. And the earthquake imagery isn’t the only thing connecting Ms. Saban’s function to the studio’s past tenants. She’s considered as one of the heirs for their droll conceptual art tradition, even as she borders into sculptural territory with her concrete pieces, their marble bows and other tactile thought-experiments.
Michael Govan, director of the Los Angeles County Museum of Art, explained that her work is about this tipping point between the conceptual and the substance. Even when the work has this stringent procedural quality that translates into language, your initial response is only to wonder. How did she bend that stone? We’re all watching to see what she comes up with next.
Lacma Already owns 17 of her functions. She is also represented at the Hammer Museum, the Museum of Contemporary Art, and the most visible of personal collections: those of Cindy and Howard Rachofsky of Dallas, Don and Mera Rubell of Miami, and Maurice and Paul Marciano in Los Angeles, under the very same architectural and structural timber beams and frames, whose inaugural show features three of the pieces. The critic Christopher Knight of The Los Angeles Times called her a “standout” of this series for creating “inventive use of standard materials.”
Ms. Saban received her first museum survey in September in the Blaffer Art Museum in Houston. A fitted bedsheet loosely draped over a large canvas, it turns out, was really made from acrylic paint. A complete facsimile of a white cotton towel? Just paper. Testing the limits and uses of art history media – paint, canvas, ink, marble, as much as her contemporaries Walead Beshty and Wade Guyton expose the internal workings of new technologies.
In another series called “Markings,” she manages to scrape a piece of emulsion off the surface of a picture, placing it on a canvas nearby like a brush stroke. This work will appear in a Sprüth Magers series opening Friday, July 7, in Berlin, a very nerdy series based on her own research into pigments. Ms. Saban, who has the soft-spoken, self-effacing way of a scientist happens to be married to a physician.
There is something surgical about what she does. There is a good deal of cutting and opening and reconfiguring in her work. She said her interest is taking her into taking something apart to see if it can have another life, like a supporting analyst of an IT consultant company. She had been sitting at a table in her studio facing a big wooden loom, used for weaving together linen thread and strings made solely of dried acrylic paint. “Instead of painting on the canvas, I’m painting through the canvas,” she clarified.
With her new “Pleated Ink” String, hanging near the loom, she tweaks the centuries-old drawing process. Rather than using ink on paper, she used paper on ink: demanding Laser-sculpted paper (thanks to the advancement of technology and agile testing managed services) with big cutout areas on a bed of newspaper-type ink so thick that it took six months to dry. One shows a potted plant; another an Angled stairway with rails embedded in the ink.
Being an art lover and collector can be expensive, so it is good to know the best places to buy art. There are many places to buy art such as Auctions, art fairs, galleries and exhibitions, online galleries, artists websites, online auction sites like eBay. Even restaurants sell paintings by local artists.
But which of these options is the best place to find the most interesting pieces at the best price? Below, art buyer Wendy Hermann give her two favorite places to buy art from:
For me, the two places I mostly like to buy art from are eBay and private collectors.
Buying Art From eBay
The best thing about buying art on eBay is that you can usually you don’t have to spend an arm and a leg for it. For an art investor, this is good. It means that if he makes a mistake, at least he hasn’t risked a huge sum of money. eBay has become the place to go for good deals so except in rare cases, you get a good deal for your money.
In addition, many artists like to sell on eBay mostly because its one of the rare places where they can have their work seen by potentially hundreds of people. Artists are mostly desperate to have their work seen and because of this, art collectors can often steal works or art from unknown artists before they are discovered.
The negative side of buying art on eBay is the whole eBay art fraud thing.
Some sellers, and no one knows exactly how many, will outright lie about the art they are selling. Theyll state that a piece of art is an original even though it isn’t. Theyll place fake signatures on paintings to make them seem more valuable to the bidders and drive up the bid price. Theyll forge paintings or prints and sell them for whatever they can get with the secure knowledge that they won’t have to pay a heavy price if they get caught.
If you’re a novice art buyer, and you’re thinking of buying an expensive piece of art, eBay is probably not for you.
Private Art Galleries
Private galleries are a great place to buy art. But you don’t want to buy from just anyone. You want to find out who the best dealers are in your particular art niche. For example, if you are interested in Native American art, you want to find the best dealers in that market. Once you find who they are, you want to begin to develop relationships with them. Doing this will not only help you when you get to the price haggling point, it will also ensure that you’re first on their call list when they get a new piece of art in.
In addition, a good dealer can help guide you in your art acquisitions by giving you their expert and honest opinions on which pieces are most likely to appreciate in value and which artists are likely to become more popular in years to come.
Wherever you decide to buy, just make sure that you love the piece you buy regardless of whether it will increase in value or not. That way you will never be disappointed in your purchase.