I received an email the other day asking about what to consider when being a life model, and what sort of tips I could pass on. I wrote the gentleman back, and was very honest and open and direct about the expectations of what a person can expect when they become a life drawing model. I have very high standards for life models because I value them that much. A good life model is an invaluable resource. Anyway here is my response:

Dear XXX, Thank you for your email.

I do run some model training here in Kelowna. Currently, I do not have any sessions set up until the new year, likely in Jan or early Feb. For your info as well, a friend of mine who has modelled for me for about five years now may be setting up some regular model training sessions. I don’t know what her costs are yet, but let me know of your interest.

I am going to be a little harsh in this email. Please note that this is not directed at you but simply a statement of how it is – at least from my eyes – and I have gone through a great number of training sessions and have handled many many questions over the years. I am going to include the most common ones for you. Again, this is just information for you to consider, so that you know what the scoop is, and what the expectations are, okay?

To get you started – please visit our drawing society webpage – http://www.livessence.com and click on the link for Model Information. There are some videos you can watch done with the drawing group and a few of our current models. Lower left hand side.

I suggest you sign up for Model Mayhem – http://www.modelmayhem.com, and as well, consider doing a general websearch for “life drawing models”, as there is a ton of information out there. Another thing I would have you do is to look at artists either in the library or on the web, who’s work focuses on the human form. Consider why they do what they do, what is it they are looking to express in their work, what is it that you see.

I would also be interested in why you want to be a life model. If it is to get an artist rendering of you, I would suggest you go the commission route rather than putting in the time to be a life model. It is my time you are using as well as the time of about five other artists in your training. For commissions, take a look around at the members of Livessence or other artists in the community find someone’s technique/voice that you like. Lots of photographers in the Okanagan area work with the human form too. This may be more satisfying for you and Model Mayhem would be a good starting point. If I train you, I expect you to model on a regular basis, if that is not your intention, please do the commission instead.

When you model for us, we pay you hourly. You sign a waiver giving up all rights to any artistic images produced during your modelling session, and what happens to them afterwards. You do not automatically receive artworks based on you and we do not appreciate it when models ask for them. Some artists are generous and offer works as gifts, and that is what they are – but please do not ask for them for free, as it indicates a lack of respect for the artist’s ability and the work itself.

If you are concerned about erections, I suggest you pose in front of friends or even family, and remember that there is absolutely nothing sexual about being a model, we artists can be quite clinical. We don’t speak (usually) during a session, our interest is in our artwork, not you personally, and during drawing, you could be a piece of fruit for all of our interest. Think of it this way, we are taking down your information with as much sexual or sensual feelings as we would your driver’s license. Sorry to be harsh, but that is the way it is. During breaks or before or after class, we are happy to get to know you as a person, but during sessions, we are focused on the art and the expression of that art.

Simple rules of modeling: Be reliable, be on time, no gum chewing, drinking or eating, adjust until you are comfortable in the beginning then hold the pose, be aware of your form, if you need a break say so as we don’t like to see our models faint. Don’t be a superhero and think you can hold a pose when it is obviously physically impossible. No hitting on or flirting with the artists. Ask artists if they have something they are working on. Remember to change attitude (ie who you are facing) each time – if person A has a back next they get a front, or side etc. Bring a kimono or housecoat to sit upon. No leaving the room wandering around unless you are fully dressed. If there is a break, put your kimono on, as there is a very clearly defined time when you are posing and when you are not.

Regarding poses, anything you would find in a nudey magazine is not interesting – we aren’t looking for the “come hither”. For photographers, it may be, depending on their own artistic goals, but for us, it is not.

Some of these are the realities of being a life model – it is best you know this up front. But having said that, there is more to being a model than just being nude or posing. You will discover this as you go along and gain experience.

Hope that helps, and I wish you all the best.
Julia

I do a lot of shows in Kelowna and the surrounding area, some as an artist, some as curator/coordinator, some as both.

Two of the major ones that I have put out Calls to Artists are The Okanagan Erotic Art Show, and Evergreen Art Gallery (formerly Gallerie Diamante). Clicking on either of these two links will open a new window. If you have pop-up enabled, then each of the websites is itsname.com – so www.okanaganeroticartshow.com.

The calls themselves for each of these show are Okanagan wide – which means that it covers an area from Salmon Arm to Osoyoos – about a four to five hour drive – or about 500 km lengthwise. We are lucky in the Okanagan to have such a rich cache of artists.

Calls always include:

• Images (high res usually is requested)
• Art information (for labels, such as title, medium, size and price)
• Artist Statements – (usually a one liner, or else 100-250 words)
• Biography (short – about 100-250 words)
• Timeline (deadline for call, when to drop off work, when to pick up work etc)

When I receive the information, out of every ten artists who answer, at least six of the packages are incomplete. The reasons they are incomplete follows:

Images of the Artwork

Images are one of the most complicated things for an artist to do it seems. The problem stems from not understanding your camera. Usually, with a camera, you point it at the object, and you click the button. Seems easy enough right? Well it is, once you get your camera set up! So instead of phoning me to ask me how to take a picture or to complain that you don’t know how to take a picture (no, I am not doing it for you!) learn how to do it!

Go to the camera shop where you bought your camera, whether London Drugs, Future Shop, Walmart etc. Tell them what you are doing – what size you need (largest), what light you are using, and ask them to set the camera up for you (ensure it is cmyk). Alternatively, you could read the manual, a highly recommended and effective way to spend your time.  (If you want to know more about the differences between cmyk (print) and rgb (web) please click here.)

After the camera is set up, the most important thing is to make sure it looks good in your little window, point and shoot. Ensure your hand or the camera is supported on something solid and you won’t get any fuzzies.

Size of file

The size of your file can be changed in the “tools” or “image” section of your imaging software. In Photoshop it is under “Image/image size”. In other programs, look for something similar.

For Print
Large files are required for print. By having a large file for print means that if the image is suitable for printing.

It fulfills these requirements:
a. it is 300 pixels resolution
b. it is 1500 pixels wide minimum
c. is cmyk

For Web
Small files are required for the web. By having a small file for the web means that it can be viewed on the web with minimal disruption (ie wait time) to the webpage visitor.

It fulfills these requirements:
a. it is 72 pixels resolution
b. it is 500 pixels wide
c. is rgb.

Type of file image
Some people are proponents of certain file types for printing and web. Quite frankly, if the curator or gallery manager needs a tiff file or a different file, they can change it over from your 300 pixel print jpg file. Don’t worry about that – just keep it simple unless you know what you are doing. Save it in jpg format. When you are completely comfortable with that and have the inclination to explore, by all means, explore and have fun. After you have take the picture, pull it in to an image editing software (preview on the mac and paint on windows), and crop it down so ony the artwork is visible (without any frames or mattes), and save it to your cd or your harddrive.

Make sure you know where you saved it.
The system I have set up on my computer is like this:

webpage
>scans

• >2003
• >2004
• >2005
• >2006 you get the idea

or you could also do something like

Documents
>shows

• >artimages (ie in here you would have your large original images and your cropped images)
• >artistdocs (ie in here you would store your short bio, long bio, short cv, long cv, pics of you)

How to label the artwork image file

Many different galleries and calls to artists have different requirements. Me, I like it really simple. lastname#web or lastname#print. So a large file for print can be used in anything printed: invitations, media releases, etc.

My image filename would look like this: trops1web.jpg or trops1print.jpg. No capitals.

Your image filename ie #1 or #2 etc, should correspond to the label information you have submitted. Please whatever you do, do not name your image the name of the artwork. Keep it simple: your name, the artwork # and if it is for web and print. When I am scanning for images to use, I need to know right away if it is print or web friendly, and to be able to access it quickly and efficiently. You save ME a lot of time by doing this.

Artwork Information

On a separate sheet or even within the email you send, label the artwork with the number which will correspond to the image, your name, the medium, the size and the price.

Unless specifically told otherwise, the size should always indicate height first.

For an artwork image trops1print.jpg or trops1web.jpg (it’s the same artwork but two images, so only one label is required.)

ie
1. Rising Waters
Julia Trops
Oil on Canvas
20″x16″
$750

Artist Statements

This is one I get asked about a lot. I am not an expert, I just know what I personally like and appreciate. I am not a fan of artist statements that require a PhD to read but if that is your aesthetic then by all means…. maybe you should take up writing instead of art? Just a thought. Anyway – you don’t know who your audience will be and likely they will read (or try to read) your artist statement. By keeping it simple, you are keeping it inclusive to all levels of understanding. But it is your choice.

When submitting to shows, you will require one of two types of an artist statement, well, perhaps even both: a short one sentence no more than 30 words, and one long, no more than 250 words. The short one can easily go by the artwork, if the curator wishes, or it can be published in the newspaper as part of a quote or it can be on the web. Long artist statements go in catalogs (if there is room) or on the promotional materials around the gallery if it is a solo or small group show.

Try to avoid putting three sentences in one, separated by commas, okay? Just do a straightforward honest one liner.

A name for this file could be something like trops_artiststatement_long.rtf or trops_as_long.txt. Save it as a rich text file or text file in order to be easily transportable across platforms (mac or pc) and programs (word etc). By saving it in an .rtf or .txt file means it is also easily copied in to webpages without much hassle. Other programs such as word etc tend to add little codings that can screw up a format on a webpage and cause havoc to the webmaster, so, keep it simple.

Artist Biographies

I have already written a primer on artist biographies, you can find it here. A few quick notes: an artist biography is not the same as a cv. A cv is something where you say what you have done. A biography is where you have come from. A cv is in point form of your accomplishments and involvements. A biography is a story about you. Yes a biography can include things from your cv, but it is a story.

Two types of bios could be asked for – a long one and a short one. Please, whatever you do, don’t write a book. Think 300 – 500 words for a long biography. For more information, visit the link above.

Title your file name the same manner you did for the artist statement.

Timeline

And last but definitely not the least of which is the timeline.

The timeline is a schedule that I set out as coordinator which will dictate when I do things. I broadcast this loud and clear in the Call to Artists, and I say where you can find it on the web. If you are in the habit of not having your materials in on time and requesting extensions, please do not enter, but alternatively, you could consider counseling for lack of self-discipline or a disregard for other people’s time. A really good webpage to get you started back on the road to mental health is here.

Respect the deadlines.

If I tell you where the timeline is placed (usually on the web, and I even supply the web address!) then bookmark this page and go back to it if you have forgotten dates. Please do not write me three or four times in a month, and call me on the phone to find out when the deadlines are, I will think you are a flake. If you have trouble with calendars, or don’t have a calendar, sign up for google mail, and get their calendar. It is fabulous and will even email you reminders if you want!

Conclusion

Remember I am an artist too. I know how tough it is to do some of these things, but if you get them done, think of how easy every other call will be! If you want me, as curator or coordinator, to respect your professionalism, then please respect the Calls to Artist requirements. It isn’t rocket science, and with some careful planning in the beginning, entering a Call is a snap.

Good luck!

And when is it about the artist, the locality, the artwork, or the economy?

Hard questions.

I Just Have a Big Mouth

In the last six months or so, I have had so many people come up to me (mostly other artists) and say what a terrific job I am doing in marketing. Marketing?! What marketing? I just have a big mouth, that’s all.

If I am doing something, I say so. If I am involved with other groups, I say so. If I am involved in your group, it is because I believe in it, and/or I am proud of it. I wouldn’t be hanging out with you if you didn’t have something positive to offer the community. I wouldn’t be hanging out with you if I didn’t have something positive to offer YOU! These days it seems it is really hard to get people involved in outside artist activities… So be happy that anyone is involved in your project, whether it is me, or Joe the Plummer! Be happy that I’m blabbing (or blogging) about it! You should be too, why aren’t you?

Some people have done their blasting of their work through the charities, and their donations. Very commendable, but when do you draw the line and say, “okay you guys, you’re bleeding me dry?” Some people have done their blasting of their work through galleries, or through exhibitions, or through their activities or their organizations they belong to (ie Rotary, Red Hats or __Fill_in_the_Blank__). That is great! What you are doing is utilizing the greatest asset that we have at our disposal, that of cooperation and community!

Is it marketing? Sure. Any time you open your mouth to say what you are doing, you are marketing. For example, even when I am not marketing my art, if I am doing a unrelated activity, I am still marketing my art, because I am known as an artist. The art is seldom separated from the artist, how can it be, really, when you think about it. The art is a reflection of what is inside of you, you are a walking advertisement for your work. So walk tall!

Three Main Groups of Artists

The way I see it is that you have three main groups of artists.

1. The first group are hobbyists, and they put on an artshow to hopefully make a few sales, show people what they’ve done, have a good time. It’s a pleasure based activity, not one that is really grounded in personal achievement and ambition.
2. The second group are what I call commercial artists, usually full time but not in all cases, who create a specific type of work for a specific type of clientele. Still pleasurable, painstaking, but these artists are in love with what they do, and shows that they have are very targeted towards the needs of these clientele, very much a niche market.
3. The third group of artists are those who are full time artists, but again not in all cases, who create work just because they love to create and are always on the look out for new ways in to their ideas. These artists look at their artworks like they are diamonds, with many facets of expression and interpretation. These artists love to have shows so they can interact with the public and share their discoveries. The artworks do sell, but not usually right away – in my cases, I’ve had works sit for about six years before anyone saw the same potential and excitement that I did.
4. There is another group of artists who show in artist run centres who rely on art marketing by the galleries, and rarely sell, so for that reason, I am not going to include much about them here. Having said that though, there are many artists who combine two or three of these “categories”, simply because they can, and they have that ability.

Buying from an Art Gallery vs Buying from the Artist

Let’s talk about the locality – where the shows are. Are they in a town who supports artists, and who buy a lot of art? Or are they in a town whose residents go to art shows, but rarely buy anything. Are the art shows in a gallery or with other artists? The benefit of being in a gallery is you have the apparent blessing of an establishment stating “this artwork is worthy of purchase.” Am I supportive of galleries? Absolutely. My work is in galleries, why wouldn’t I be supportive of them? Galleries take the guess work out of an art purchase. Galleries have already done the homework in terms of the artist, the artwork and the potential future. In my case, the galleries I am in are in a different place than I am, and I know that my reputation is a strong one, strong enough to carry to be where they are – and I know they sell my work because I receive a nice cheque every now and then. But, having said that, I believe it is a wise and daring client who would be more interested in purchasing the artwork from the artist – these clients have the time to do their own homework, and while they may purchase from a gallery from time to time, they enjoy the pleasure of hunting out new blood. These are the types of clients that I like, as they are explorers themselves. They aren’t afraid to go off the beaten path of the regular gallery route to discover a hidden nugget – they are cultural hikers.

The Economy

The economy has been really tough in the past year and a half on those of us who pay our bills from the results of artwork sales. I mean, really tough. Talk about going in to a black hole of nothingness. So what do you do? Do you complain and sit back and say, it’s the economy…? or do you adapt? For me, I adapt, and I make sure other people consider adapting too – for example: if big works aren’t selling, make small ones. If paints cost a lot of money, learn to use another medium that doesn’t cost a lot. You are creative!! Explore, be inventive, go beyond the apparent barriers, and you will surprise yourself. Make noise – eventually it will turn into song.

Does Artwork Really Sell Online?

Yes, it does. There is no other way to say it. I remember back in 2004 when I was looking for a way to get my work out of Kelowna, and I started to sell on ebay. Sure ebay wasn’t the regular route, but it has never been my path to go the regular route. I was doing very well – my first piece was $900 30×40 oil painting to a fabulous woman in Ontario, and it only increased from there. I remember going to a marketing course “Are you Export Ready”, put on by the Alternator Gallery, the local artist run centre, in 2004 or 2005. I was told at that time I was not export ready, even though I had already sold more than a few thousand in the few months that I was online. I attended the course to learn about exports and regulation, and learned enough to find the rest of the way myself. Anyway, I digress. There was a discussion about where to put artworks for sale, and someone at the back said “you can always sell on ebay!” Everyone laughed as if it was a big joke. I was very hurt by that, as these were people I admired and respected. It is now 2009, and I have five years of online sales, a huge number on my email list and I could not ask for any better clients. These are people who really connected with my work and appreciated it. What more can I ask for?

The point that I am trying to make is that don’t dismiss the oddball ventures. Be courageous. Don’t follow the crowd. Gallery owners troll ebay, because it is a nice snapshot of what is going on in the world. As a result of my sales and exposure on ebay, I was able to move over to Ruby Lane in 2007, which is where I am now. With my start on ebay,  which includes over 700 artworks sold literally around the world, in the past five years, being published in a book about life drawing by University instructor Harold Stone, picked up by a gallery in Hong Kong, and met some tremendously savvy business people in Tom King’s The Business Group, (also on ebay, gold and platinum Power sellers) people whose business is selling online – millions of dollars a year. How better for me to learn than to be with outstanding people? And I am proud to say that I have been able to help them too.

None of this would have happened if I listened and was intimidated by the people I respected and admired, and allowed their behaviour to modify mine. What I did consider was why I respected and admired them, I guarantee you that this has become less.

The Artwork

If you do some artwork and don’t tell anyone about it, that’s all fine as well. Some artwork is very personal. There are a lot of works I have done that no one knows about because quite frankly, I don’t think they’d “get it”. I don’t even “get it” at least not yet, maybe in a few years things will become clear as to why etc. That’s usually how it works, hindsight and all that.

The Last Word

All I can say is that 80 percent of marketing is being strong enough to stand up and say something out loud to many people who may or may not be listening. It doesn’t really matter if they are listening, it matters that you are standing up and saying it.  People are going to remember your name because they either:

• really love your artwork, or
• really hate it, or
• can’t believe that you are telling others about it, or
• because they can’t believe you’re such an unrealistic dreamer.

All of the above are completely acceptable, because they are going to remember your name.