Balancing our time as independent artists can be a tough thing. In a perfect world we would all be in a position to hire an assistant to work conventions for us. The reality is only a small percentage of artists can do this. Until we reach that point we have to navigate the convention scene and find time to create artwork. I’ve seen some things work for one artist and totally different things work for another - so let’s talk about the pros and cons of a few different convention strategies.
I’m always looking for ways to improve my studio. I find it’s easy to build up lots of clutter on my cutting table, and then I end up having to clear a bunch of stuff off so I can use it. I finally realized that most of the clutter was tools that I used regularly so I started looking for a way to organize everything. With a lot of Amazon searching I discovered this guy…
I was recently a guest on One Fantastic Week and briefly spoke about Floating. We later decided that it deserved its own article for those of you who want to try it for yourself. Although increased creativity is touted as a benefit of Floating, I see few artists writing about how or why that is. After giving my lecture about Floating for Light Grey Art Lab’s Iceland Residency, I discovered there’s a lot of interest among artists in this community and I wanted to help other creatives get the most out of their experiments in the tank, and to continue my own explorations.
I often hear from artists that they want to make personal work, but people don’t buy it. Fan art has an advantage built in that original work does not, an emotional connection. When a customer sees their favorite character it makes it very easy for them to feel connected to the art and that connection gives them a reason to purchase. The good news is there are many other ways we can make an emotional connection in our art.