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@beechhousemedia
M.As latest blog is live!
Beechhouse Media
The latest insider #Art & #Technology #News http://ow.ly/2btYtG #FineArtAmerica #Zazzle #2Dartbot #Twitter #Selfies #Russia
Three new artworks added!
How unlike me to create two blog posts in one day!
I have spent the entire morning preparing the files, writing those dreaded descriptors and creating swathes of meta data. A familiar ritual to those who create for print on demand. A ritual that to me, is way harder than updating the blog.
I have also been reviewing some apps that I either use, or have previously used to create some digital magic on the iPad. So it has once again been a busy morning. I am so excited about my latest three pieces, I was excited to work on them, and they have taken me what seems like forever to complete.
First up is Body Heat. This took me around 15 hours to complete, not including the creation of the meta data. I created this piece using Sketch Club on the iPad, and then did a little tinkering using Procreate. It's available from http://10-mark-taylor.artistwebsites.com/ and http://Zazzle.com/beechhouse although it usually takes 24 hours to appear on the Zazzle store. Also worth noting that all of my work is available through any Zazzle domain (Zazzle.co.uk/beechhouse).
Next up is Liberty Sky. This piece was as always with any of my work, created on the iPad. I used a varied mix of apps to produce this work. Sketch Club, Procreate, and my favourite, iDraw. Again it's available from Fine Art America, http://10-mark-taylor.artistwebsites.com/ and Zazzle.
And my final piece of the day is FLAG. This was created over a period of around 15 hours, using Art Rage, and Procreate. I'm particularly proud of FLAG, although I'm not American, America is my favourite place. Period.
FLAG is available from any of the Zazzle stores, Fine Art America and http://10-mark-taylor.artistwebsites.com/
I'm now off to watch some Netflix, and I'm hoping at some point that I will be able to have some "me" time on the PS4. Yes, I'm a gaming geek, it's a distraction from everything else that goes on in that thing called real life!
Copyright M.A - Beechhouse Media
The Art of Painting a Garden Fence
Stepping Stones -Cannock Chase. UK
This week I took a week away from my usual day job. My usual day job being nothing to do with art, and in fact couldn't be further away, although some of the issues I get asked to resolve, do require some seriously creative thinking. I do enjoy the day job, but I am waiting for the time when I am able to take up my two current hobbies, art and blogging on a more permanent basis.
I have managed to update this blog periodically, but time off is a rare thing, and the day to day running of that thing called a home demands that on occassion I o have to do those normal things. This week weatherwise was reasonable for April in the UK. We even had temperatures of 20 degrees, and that meant one thing. It was time to paint the garden fence
130 feet of garden fence to be precise. Now, I love painting, but generally the extent I paint is limited to either a canvas or an iPad screen. Painting a fence I can tell you, is an entirely different art form all together. Firstly, you're always painting with one colour. Well, that's not true. I ended up painting with two colours, because despite the fact that I had painted 27 feet of fence already, the wife decided that the colour was awful and it needed to be done again, but this time in a colour that was more to her taste. I.e. about one shade darker
With new fence paint, and I'm not entirely sure this is actually what it's called, I proceeded to paint over the 27 feet of fence I had just one hour before already painted. The real issue was that certain parts of the fence get far more sun than the other parts. That means that there is no way of telling what the colour is finally going to look like until all fence panels were uniformly dry. Thankfully the second coat of paint seemed to do the job of making the wife happy. Just nother 103 feet to go. The wood drank the paint like it was dying of thirst in the Gobi Desert. The real issue for me was that at least 50 feet of fence was hiding behing some prickly bushes. By the time I had finished, ou couldn't see the cuts on my arms, because I had managed to get far more paint on me, than on the fence. Once washed off, my injuries became apparent. It was like I had been slashed by the bride of Chuckie.
The pain was immense. I give fair warning to anyone climbing over the fence to retrieve their ball. Firstly, the ball will be flat. Nothing can survive the evil spikes on whatever those plants are called. Secondly, you will be torn to pieces. A better bet would be to dive into a coil of razor wire. Far less risk of injury, although I wouldn't advise doing that either.
After 11 hours, the fence was done. I'm not sure if I had more paint on me than the fence did, but hey, at least the wife was happy. I contemplated taking my arms to the accident and emergency department. They had swollen up considerably after I got out of the shower. In the end, I decided to leave it overnight and see how they were in the morning. I also didn't want to explain how these serious injuries were obtained, for fear of being ridiculed.
Yesterday morning, I woke up and not only were the cuts more visible, I had pain in my legs that I couldn't begin to explain to you. Clearly, my legs are not used to performing such a range of movement. I couldn't get out of bed without producing sounds even I didn't know I could produce. Worse was to come. I had promised to take the Daughter for a walk in the local forest.
Cannock Chase is an area of outstanding natural beauty. It is popular with dog walkers and people who buy the latest Berghaus jackets, usually reserved for climbing the highest peaks of Tibet. I have lived in the area for years, and rarely do I venture into the Chase. There is no doubt that it is beautiful, an artists dream, and there is lots of history to the area.
900 years ago, the Chase wasn't used for settlements, the soil was too sandy to grow any crops, and the oak forests were used primarily for hunting. In 1290, the Royal hunting rights were passed from the King to the Bishops of Lichfield. Lichfield is around 8 miles away and is itself a beautiful city, albeit a city you can walk across in around 15 minutes.
In the 16th Century, the forests were mainly cut down for charcoal burning for use in the local iron industry. After this the Chase became quite bare. During World War I, there were two training camps on the Chase. During World War II, an RAF training camp was built. There is also a German Military Cemetry, and lots of walks and trails that take you through other areas of interest.
One of these areas of interest is the Stepping Stones of Cannock Chase. This is the place myself and the daughter were headed for. Despite living close to the area, I must say that I'm not forever walking the Chase, and am less aware than the many tourists that visit of some of the more popular spots. They always say ask a local for advice, really though you don't want to ask me.
I had printed off a map of the area, and it looked like the Stepping Stones were around a gentle 15 minute stroll away. After around 10 minutes I needed some confirmation that we were close, so I asked a dog walker where we would need to head in order to find them. With a wry smile he suggested that they were just beyond that steep hill, then take a left, then a right and then another left. Bearing in mind that the 10 minute walk from the car was already making my legs scream in pain.
Just over an hour of getting lost, climbing hills, climbing over fallen trees, we eventually made it to the Stepping Stones. I had intended at this point to continue on to the Seven Springs, but a fence post marker indicated that it was a mile further on. My legs sent an immediate message to my brain to tell it not to be so stupid. At that point we headed back to the car, getting completely lost on the way back. The entire journey took us just under three and a half hours.
That's not a great deal of time for a walk, except that my arms were swollen, and my legs were about to burst into flames, such was the pain. My advice to you if you want to do this walk, make sure you have legs that are not burning before you set out, and also take plenty of water and a map. One thing I have learned is that it is really easy to get lost on Cannock Chase, and there is no Starbucks at the end of the trail. There is also no mobile phone signal once you are deep into the woods. Had it have been cold, I think I too would have took a Berghaus.
I did manage to take a few shots of the area, but I hadn't took a camera and needed up using the iPhone. The photos aren't the greatest, and next time I go I will be more prepared and take the camera, and a rucksack with a flask of coffee.
So, as to the rest of the week, I have managed to have a look at what's going on online in the art world. I even managed to finish a couple of new pieces of art off, and although exhausted from the trauma of the last two days, I also managed to complete a couple more pieces which I will post on Fine Art America and Zazzle at some point today or tomorrow.
On April 22nd, Christie's New York will be offering An Inquiring Mind. An American collection of Japanese and Korean art,Metin a selection of 130 works from private and public collections. The sale has prices estimated to be between $1500 and $600,000 includes works of antiquity, screens, paintings, ceramics, prints, and sculptures.
Leading the sale will be a pair of recently discovered screens attributed to Hasegawa Tohaku, who is one of the most influential artists from the Momoyama period.
Also in New York, Christie's will announce the auction of one of Lucian Freud’s most famous and iconic paintings, Benefits of Supervisor Resting which is an oil on canvas, painted in 1994. It is estimated to fetch between $30m and $50m. It will be the highlight of Christie's Post-War and Contemporary sale on May 13th. My guess is that the work will hit the higher end of the estimate. There is a huge gap between $30m and $50m, so I'm going to say that it will probably hit around $44m, but I wouldn't be surprised if it went above the $50m price as well. If it goes for less, then someone has a bargain.
So what am I doing today? Aside from finishing off a few pieces that I am sure will one day be worth about $500, I can happily say that whatever else I do today will certainly not include walking or painting the fence.
Why not head over to my other site, http://10-mark-taylor.artistwebsites.com/ and take a look at some of my recent works. I also have an extended range available through Zazzle which can be found at http://Zazzle.com/beechhouse
Have a great weekend, and keep a look out for my new releases.
You can follow M.A on Facebook at, Facebook.com/beechhousemedia On Twitter @beechhouseart and on Pinterest @beechhousemedia
Copyright M.A - Beechhouse Media
Deaccessioning. Museum Cash Crisis
City by M.A
Available from http://10-mark-taylor.artistwebsites.com/ and http://Zazzle.com/beechhouse
I had a bit of a blog breakdown after writing Tuesday's post. I scoured on line for art news that I could add some of my, oh really, why? tone to, but aside from a few stories about the latest art heists which to be frank were from the retro period of the 70s, nothing much caught my eye. Except for the word "Deaccessioning".
Now that's a worrying word. What it basically means is that I've got some real competition on my hands to shift some of my art. "Deaccessioning", is what museums do when things get really tight. The art world is seeing huge leaps in sales, but remember that those large sales come from just 0.5% of the total market. Remember I wrote about this in my earlier post - http://www.beechhousemedia.co.uk/2015/04/art-is-on-up-but-only-if-it-priced-at.html
It seems that things in the world of fine art museums are woefully less economically vibrant. They have a dirty little secret, they're selling their art rather than saving it. This is concerning on a number of levels, firstly it takes away any possibility of the general public viewing the art, as it should be viewed in a climate controlled gallery. Secondly, I wonder who buys this work, and is it to actually help the museum, or is it to feed an ego that can only be maintained by having something that then becomes exclusive to them?
Don't get me wrong, I know a majority of art collectors who are collecting art above investment, do the right thing and look after the works. Some even allow the museum to keep the work on display. Others though are purely looking at the work as a transitional piece that will be sold and purchased, sold and purchased, just like stocks in the city. Supply and demand comes into this, and that's a whole story for another blog.
The problem has been fermenting for years. The Delaware Art Museum raised eyebrows in 2014 when they decided to carry out a "deaccessioning" exercise to make a dent in their $19.8m debt. The Association of Art Museum Directors applied sanctions, and gave the museum a good slap on the hand for treating art as disposable assets.
Deaccessioning isn't against the law. It is frowned upon. Usually this practice is seen when there is a forged piece within a collection, but ethical guidelines forbid museums from unloading their collections whenever times get a bit tight. Not sure I would have said $19.8m was a bit tight, more a bit dire. Could that situation have been handled differently? Possibly, but there is no real way of knowing, without knowing much more of the background.
You can read more over at the Smithsonian site and here is the link: http://www.smithsonianmag.com/smart-news/cash-strapped-museums-are-selling-their-art-180954886/#qjHBgi4Gkz5TDo79.99
How would you handle a museum cash crisis?
Copyright M.A - Beechhouse Media
Time!
Out of the Blue now available from:
http://10-mark-taylor.artistwebsites.com/
http://10-mark-taylor.fineartamerica.com/
http://www.zazzle.co.uk/beechhouse*
On Easter Sunday, my blog post looked at the insane prices that some works of art are fetching. I pondered on Monday "why is art expensive"
Well, the answer on the Interweb thing was different on every page I looked at. Mostly, the suggestion was that art is expensive because it has historical value, it's rare, and the artist usually has an interesting story. Although I have known for years that the price of art can shoot through the roof, if it's featured in a top class gallery, what I hadn't given much thought to was how sometimes the price is manufactured.
So here's what that all knowing Google had to say. Occasionally some lesser quality, less visually appealing art goes to auction, and sells for way more than it should. Continuing reading this, it appears that in some instances, bids in auctions are inflated in order to raise the price of art that has been produced by the same artist. Well, to be fair, this didn't come as a complete surprise. It's business at the end of the day, and I am sure many businesses have carried out this practice to some extent over the years.
What shocked me more though, is that I was shocked that this actually happens in art auctions. Those auctions I have been to have generally been populated by tweed jackets, and threadbare corduroys. One particular auction I visited last year was very poorly advertised, and when I sat through the bidding with around 18 people who had turned up, I was amazed at the prices some of the art was going for. Why was I surprised? Because none of the artists were well known, and to be honest, I wasn't taken with a lot of their works. One piece sold for £1100. It was a small 8 inch square painting by an artist that I had never heard of.
So I found some reference to the sharp practice of the art world. I pondered some more and found that some artists had broken down the costs of producing their work. The costs quickly mounted, $200 for paint and a canvas, $100 for transporting the work, and so on. Ultimately the price was broken down enough to show the artists profit. It worked out that this particular artist on selling a piece for $1850, had in fact made a total of $500, which equated to $25 per hour that he had spent working on it.
I pondered this and wondered what it actually costs me to produce a digital work. Not including the electricity, but including printer ink for testing effects on paper, various paper stock, time to promote on social media, uploading to print on demand sites, the actual costs are around £20 per piece of work. That's not including all of the software purchases I have to make and continue to update. If I added in those, then were nearly in the ball park of being totally unaffordable! But.. That also doesn't include my time. Can I put a value on that? If I'm not doing my day job, what value can I put on spare time? Maybe I should start to think how valuable my time is because I generally spend anything between 3 hours and 30 hours on a piece of work. Just because it's digital doesn't always make it quicker.
So here is my process of creating digital art, broken down into time.
Stage One. Come up with ideas, research any similar works on the Internet, local library etc. At least 2-3 hours.
Stage Two. Scribble some initial ideas, choose colour schemes. 2-3 hours
Stage Three. Create the base image and print out so that I can get a real feel for colour. 2 hours.
Stage Four. Create outlines, and add in blocks of colour and any first effects. 2 hours
Stage Five. Add in the details, refine colours, print out the work to date to see how it will look on paper. 2-3 hours depending on the size of the work, if it's a bitmap or vector etc.
Stage Six. Finalise detail, make amendments, print out and check to see how the final work will look. 2 hours.
Stage Seven. Save a master image in at least three formats, print out the final master. 1 hour.
So that is around 16 hours of work creating a new digital piece. But then we need to add in the other important things such as uploading to Print on Demand sites, writing descriptors and meta tags, which adds in another 90 minutes per piece.
Once all that's done, I then promote it on my social media channels. Twitter, Facebook, Stumble Upon, Pinterest, and do this for each Print on Demand site the work is uploaded to. This can take at least another hour.
So between 17 & 19 hours is the final time for something that is reasonably simple. I have been known to take 30+ hours on some pieces, albeit generally I do those pieces over many weeks, and do other pieces in between.
Add on to this approximately 12 hours per week working on my blog, and checking social media for whoever knows how long each day, it all kind of adds up to not much week left.
On the other hand, I can get an idea in my head, and know exactly what to do with it. In which case it might take me only around 5-6 hours to do all of the above. The piece at the top of the page, Out of the Blue was created in around 8 hours. It is still time though, and I often wonder if the payback is worth the effort. But then something sells and I get that buzzy feeling and think to myself, someone appreciates my work. They appreciate what went into it, or they didn't realise, but liked the work enough to make a purchase. I might have only made $5 on that one sale, but at that point it is nothing compared to the feeling that someone has finally discovered you!
How long do you spend creating a piece of art? Do you ever put a commercial value on your time when you are creating your art? Feel free to comment below!
Copyright M.A - Beechhouse Media
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