If you ask 10 artists about commissioned artwork you will likely receive several variants on how art commissions should be handled. It appears that there is no 'cookie-cut' solution as to how commissions should be handled in general. Each art commission is unique... because each client is unique. Thus, each commission involves unique factors /problems that must be worked around. That said, there are common factors that should be considered. These common factors can serve as a foundation for how you choose to handle the commission process. [...]

Don't forget that the Studio Hop is a community event. It may attract people from all walks of life – and incomes. Thus, you may want to think about offering affordable art. For example, you may want to consider creating an affordable series of quick drawings, monoprints, or small paintings on various surface if your 'regular' artwork tends to be priced in the thousands. You might be surprised by how much profit can be made by offering works priced between $5 and $20 at events like this. I know an artist from Jacksonville, Illinois who walked away with over $500 in hand after offering affordable / quickly created small works during a local event! [...]

These words resonate with me. Now, I will admit, I have had my fair share of excuses. And who knows what opportunities I have missed because of them. But, I have also seen the other side – and I try to stay on this other side. I know of the opportunities that will arise by not making excuses. [...]

This ruling won't serve the majority of artists. After all, most artists don't rely heavily on direct appropriation in the first place. In other words, I would argue that the majority of artists don't work from images they find online or elsewhere. This ruling serves a small percentage of artists... in some cases supporting their market while hampering YOUR market. I will go as far as to suggest that court rulings like this are a direct attack on self-representing artists. Pointblank, this decision is a major defeat for the majority of artists working today. [...]

So, some of you may have painted for many years. You have taken workshops in the past. You might even teach them now. But if you have reached a plateau or you simply want to understand art at a higher level, then consider attending another workshop. [...]

The Der Blaue Reiter (The Blue Rider) and Die Brücke (The Bridge) were both known for handing out make-shift booklets about their artwork -- including detailed information about their philosophy as artists. They used the booklets to promote themselves, their art movement, and other causes. This early form of artist self-publishing can still be useful today. Furthermore, it can be accomplished with little expense involved depending on how it is done. [...]

He said very few people are willing or able to put that kind of training into effect. And most of us—being ordinary, hopeful, not-quite-as-disciplined-as-we’d-like-to-think, won’t do it. We’ll “wish” it away—“I think they’re getting better!” “I know it will get better!” But wishing and hoping doesn’t create profound change. We put our feelings on top of the doggie situation. This keeps us from seeing the real problem clearly. It keeps us from acting appropriately. [...]

To recap, mastery of greens only comes through careful observation and practice. Avoidance is not the answer. You may not paint a summer landscape which is nearly entirely green. But you will still need to understand green to paint a winter scene which seems devoid of green, a portrait of a woman wearing white, or a still life with teapots and eggs. You need not be a master to paint greens convincingly. [...]

How close you stay to (perceived) reality and how much you deviate and create something entirely new is completely up to you. But don’t be so tied to a literal depiction that you fail to see the possibilities of improving upon the design you see in nature. [...]

Lack of recognition -- be it in the form of failing to win an art prize OR failing to sell a piece -- is not a reason to 'give up' as an artist. It is not a valid reason for tossing your passion aside. Lack of recognition is a common struggle faced by artists and other creative individuals. Point-blank, my artist friend is not the first artist to face these struggles... nor will he be the last. He needs to stop whining. He needs to toughen up... and get back to work. He won't receive pity from me... only pressure. [...]

We all have a personal definition for what art is. I, for one, feel that art is anything made with art in mind. I feel that the intention of creating art should be present during the creation of the piece. In other words, something is art if the creator of the piece intended it to be art from the get-go. I know that some readers will agree with my position -- while others will challenge it. These are arguments that are recycled year after year, decade after decade, century after century... it will continue. [...]

If you 'run away' from your art practice during tough times... reflect on the reason why. Take a deep look. Write your thoughts down. After doing so -- decide how to improve upon those weaknesses. Find ways to alleviate the struggle you feel when faced with specific art world related situations. You may not be able to eliminate every angle of doubt ... that said, you may -- by means of self-reflection -- be able to bolster some inner grit. A little grit can go a long way (just ask Jack White). [...]

I would suggest that the current direction in graffiti art -- at least the institutionally critiqued version -- can be described as a selfish act. It is a thirst for fame and fortune, rather than a tool for facilitating real change... it is a market ploy rather than a tool for exposing social struggles -- a chunk of culture reduced to a mere gimmick. I refuse to defend that. I won't. [...]

The projects that are the focus of this article, and my resolve, are the projects that have been set aside for awhile. Some have collected quite a bit of dust. Some were set aside as other things took priority. Some of these projects were set aside because I was stuck and didn’t quite know what the next step should be. Others remain unfinished because of fear. Still others have been hindered by overwhelm. You get the picture. There are many reasons why projects get set aside. [...]

But actually, I don't make New Year's resolutions, preferring to 1) not set myself up for failure and 2) stay flexible enough throughout the year to start and make changes as they're needed. Throughout 2012, I found plenty to keep me busy, changewise, and the concepts I began to explore and continue to explore are ones that take a lifetime to learn and absorb. [...]

I, for one, think it is clear why having a thick skin should be a quality desired by artists -- that goes 10 fold for artists who focus on art marketing. [...]

You might be thinking... crazy is a strong word. However, when I spend too much time online, I get stupid - I can't remember diddly; I've been forgetful and have missed deadlines. (I never used to miss deadlines)! My brain can only take in so much stimuli before it starts shutting down. I get zoned in on my computer or Ipad screen and my life and responsibilities begin to slide by, while I live in a dream world by viewing what everyone else is doing. In the end, I've got to stop looking at what y'all are doing all day so I can return to my life. [...]

“If you don’t shoot for the stars, you will never even reach the moon” is a saying that I said over and over again to my students. What’s the worst that can happen if I fail in my attempt to make a great painting when trying something new? Nothing... I just throw the painting away. But before I do, I need to evaluate it to figure out what is wrong. Do I figure that out right away? No! Some of these failures stay with me quite a while until I can finally figure out what is wrong. Have I wasted time when I created paintings that I consider a failure? No, not if I have tried to learn from them. [...]

Place your energy into that more successful art work. You will discover, that the more you work at being creative each day, the more creative ideas come to mind. [...]

The things we focus on get bigger and more important in our lives, as if they gain energy from the attention we give them. Those are the things we think about. The things we fix. The things we worry about. The things we improve. I ask again, what are you focusing on? [...]

I have heard it from the mouths of teachers, on Facebook posts, and from working artists. They preach the ultimate goal of an artist is to create brilliant work and the act of promoting it comes second. And to compare yourself to the popularity of others is shallow and demeans your own work. I could not disagree with this idea any more. [...]

Will we paint better if we imagine ourselves as great? [...]

Neither musicians nor athletes perform without a lot of practice. In most cases more time is spent practicing than performing. Yet, many visual artists think that once they reach the professional level, they no longer need practice. Many have the false idea that they can perform each time they enter their studio to create. [...]

I often wonder if the negative image of 'The Artist' can be reversed. Can this image be deconstructed? What say you? [...]

Changing the way the public views 'The Artist' is no easy task. After all, the classic character of the unruly, bohemian inspired artist infiltrates all aspects of our society. [...]

It is like changing your palette. My subject is my sheet music. How I choose to play the song, with what instrument, how loud or soft is up to me. So my recommendation, if you haven't done so, is to try painting something twice - making a few small changes: palette knife vs brushes, board vs. canvas, total palette change. You will be amazed at the difference! [...]

An artist I spoke with put it this way, "I don't think people should complain about politics if they don't vote. I feel the same way about the art market. Don't complain about people not buying art if you have never bought a work of art yourself." Harsh words... but she does have a point. [...]

“But what if…I fail?” This is your fear talking. Let me turn it around, “But what if…you succeed?” Is it worth the gamble? Is it worth the sacrifice? Is it worth the discipline? [...]

If we apply this advice to making art and to running an art business, we will see that many things can be done to enhance our chances of success while actually building on the dealt hand. Each of us is different. We have different experiences, different understanding, and different intellectual and creative impulses. Depending on our motivation, we can learn new and useful things for improving our artistic skills, our business skills, and our people skills. [...]

You really do only have 2 options. You can have the discipline to pursue your art – which requires sacrifices, or you can look back years later and wish that you had. You will have regret or disappointment in the dream you never dared pursue. [...]

The biggest mistake is to fear failure so much that you do nothing. Remember, the tortoise only makes progress by sticking its neck out. Do the same and make more mistakes. Don’t think of them as failures. View them as results, as feedback, opportunities to learn and improve. [...]

Being a slave to your reference hinders creativity. Slavishly regurgitating what you see is not creating. It does not show me anything more than your ability to copy. I want to see your voice. I want to see your thoughts and ideas. I want to see your creativity. [...]

You don't need reality TV OR a virtual farm -- art is (or should be) your reality. Live it. [...]

Running an art business and climbing a snowcapped mountain have more things in common than we think: they both take time, energy, perseverance, strength, determination, self-will, fortitude, and resolve, and the only way we reach our goals is to keep at it, one step after the next. [...]

Would you be willing to dedicate five months to changing your life? [...]

If you are reading this, you are already on the internet and it is full of instruction and example. Make this year the one that changes you from someone who claims to be an artist into someone who IS an artist. Create boldly. Fail fabulously if you must, but at least say to yourself that you DID something to fulfill your destiny and create. [...]

There comes a time where it just seems too hard to do another show, to face another windy rainstorm at an art festival. Too hard to master yet another social medium in order to promote our work; to approach yet another gallery that will probably say no; to apply for yet another exhibition. At some point, it just seems easier to settle for what we know will work; to stick with the techniques we’ve already mastered; to answer every challenge with a heart-heavy “I tried that once and it didn’t work.” What if all it took were twenty seconds of insane courage? [...]

Passion doesn’t replace skill. And skill doesn’t replace passion. Both are necessary …for a deeply moving performance such as this. [...]

While you may take great pains to incorporate a message in your work, people will interpret what you’re saying in your visual art based upon their own world view. [...]

We are often in the habit of glancing very quickly back and forth between viewing the subject and looking at our canvas. This enables us to judge how closely we captured what we see, but it hinders our ability to strengthen our memory. It also hinders our ability to filter the unnecessary out. We become dependent and as a result are more apt to simply replicate the scene rather than create an interpretation of the scene. [...]