So, it's been a few months since I last posted. I've just been dealing with a lot of stuff. Broke up with my boyfriend, stressed with school... but what a perfect day to get back to posting!
Mother's Day. A day to appreciate all the moms out there. Being a mom is difficult. There are many times you might feel unappreciated. I am not a mom myself but I sure do appreciate my mom. I made my mom a nice brunch today after I got home from church. Show your mom you care.
Sunday, May 13, 2012
Friday, January 13, 2012
Fun Treasury on Etsy
Looking for some cute new items to buy? Not only can you find something cute to buy, but you can also find some very nice ladies to chat with and get in a few laughs.
Purchase from this BNR treasury:
**OPEN** WILD'S BNR - ROUND 3 - SALES THIS ROUND 1 - TOTAL SALES 33!!
Purchase from this BNR treasury:
**OPEN** WILD'S BNR - ROUND 3 - SALES THIS ROUND 1 - TOTAL SALES 33!!
Thursday, January 12, 2012
How To Crochet
I've always wanted to crochet but never had anyone to show me. Luckily, nowadays, there's the thing called the Internet and Google. I tend to Google search everything, more than I should. So, I decided to Google how to crochet. And this is what I found:
Yarn: Pick a bright colored, worsted weight yarn. Worsted weight is the most commonly used yarn for crocheting. You want to choose a brightly colored yarn, instead of a dark color, because it will be easier to see your stitches.
These are the two basic supplies every beginner needs. As you get more practice, you will find use for rulers, longer hooks, and markers. Keep a pair of scissors handy too!
Row 1:
Row 2:
Row 1:
Row 1:
1. Chain 12 stitches (loosely). Yarn over, and insert hook into fourth chain from the hook. Yarn over again, and pull yarn through the chain. You will now have 3 loops on your hook.
2. Yarn over and pull through the first 2 loops on the hook. There will be 2 loops remaining.
3. Yarn over again, and pull through the remaining 2 loops on the hook. You have now completed your first double crochet.
4. Yarn over and insert hook into next chain. Yarn over again, and pull through chain. You should have 3 loops on your hook.
5. Yarn over, and pull through the first 2 loops on hook.
6. Yarn over again, pulling it through the remaining 2 loops on hook. You have completed another double crochet.
7. Repeat steps 4-6 until you reach the end of the row. By the end, you should have 10 stitches.
Row 2:
Row 1:
Bring the loose end through the last loop on the hook. Tighten it. This creates a knot, keeping the ends from unraveling. Weave yarn end into stitches.
This is called finish off, fasten off, or end off.
Gather Your Supplies
Crochet Hook: I suggest a size H/5.00 mm for beginners. It will be easier for you to use until you get the hang of crocheting. I prefer wooden hooks because they feel smoother, but aluminum work great as well.Yarn: Pick a bright colored, worsted weight yarn. Worsted weight is the most commonly used yarn for crocheting. You want to choose a brightly colored yarn, instead of a dark color, because it will be easier to see your stitches.
These are the two basic supplies every beginner needs. As you get more practice, you will find use for rulers, longer hooks, and markers. Keep a pair of scissors handy too!
How to Make a Chain
Every crochet project and pattern begins with a foundation chain. You will find that the stitches of a foundation chain look like a row of V's. To make a foundation chain, you need to start by making a slip knot (see video Hook, Yarn, & Slip Knot).- Put your hook through the slip knot, holding the hook in your right hand and the yarn and slip knot in your left hand. Bring the yarn over the hook (you want the yarn to come towards you) from back to front.
- Pull the yarn through the slip knot with the hook. This will give you two stitches in your foundation chain.
- Repeat until have a chain with 11 stitches. (Practice until you have a smooth, loose chain to work with.
How to Single Crochet
The single crochet stitch is the shortest stitch in height. It is also one of the most common stitches you will use in crocheting.Row 1:
- With the last chain still on your hook, insert the hook into the back ridge of the second chain from hook (the ridge is the piece of yarn under the V-shape).
- Bring the yarn over the hook, like you did while making the chain, and pull it through the ridge. You will now have two loops on your hook.
- Bring the yarn over the hook again, and pull it through the two loops. You have just completed one single crochet.
- Insert hook into the next ridge, and yarn over. Pull the yarn through the ridge.
- Yarn over again, then pull it through the two loops. You have made another single crochet.
- Repeat steps 4 and 5 until you reach the end of the row. By the end, you should have 10 single crochets (count the Vs to make sure).
Row 2:
- Before you turn your work to start row 2, you need to chain one. This chain is called a turning chain.
- Turn your work around, pulling the row you just completed towards you. The hook will now be at the beginning of the work again.
- Insert the hook under the two top loops of the single crochet closest to your hook. Yarn over, and draw the new loop through. You will now have two loops on your hook.
- Yarn over again, and draw it through the two loops on your hook. You have now made a single crochet on your second row.
- Continue across the row until you reach the end. Count the Vs to make sure you have 10 single crochets.
- Make a few more rows for practice, until you feel comfortable to move on.
Half Double Crochet
The half double crochet is taller than the single crochet, but shorter than the double crochet.Row 1:
- Chain 11 stitches (loosely). Yarn over and insert hook into third chain from hook. Yarn over again, and pull yarn through the chain. You will now have 3 loops on your hook.
- Yarn over, and pull through all 3 loops on the hook. You have just completed one half double crochet.
- Yarn over and insert hook into next chain. Yarn over again, and pull through chain. You should have 3 loops on your hook.
- Yarn over, and pull through all 3 loops on hook. You have now made another half double crochet.
- Repeat steps 3 & 4 until you reach the end of the row. By the end, you should have 10 stitches.
- Before you turn your work, you need to make a turning chain. Chain 2 and turn your work (the 2 chains will count as the first half double crochet on row 2).
- Insert the hook under the two top loops of the half double crochet from the previous row, work a half double crochet.
- Half double crochet in each half double crochet across the row, until you reach the end of the row. You should have 10 stitches by the end.
- Again, practice by completing a few more rows, until you feel comfortable to move on.
Double Crochet
The double crochet is another popular stitch, and one of my favorites. It has one more step to it that the half double crochet, so take a while to practice it and get the hang of it.Row 1:
1. Chain 12 stitches (loosely). Yarn over, and insert hook into fourth chain from the hook. Yarn over again, and pull yarn through the chain. You will now have 3 loops on your hook.
2. Yarn over and pull through the first 2 loops on the hook. There will be 2 loops remaining.
3. Yarn over again, and pull through the remaining 2 loops on the hook. You have now completed your first double crochet.
4. Yarn over and insert hook into next chain. Yarn over again, and pull through chain. You should have 3 loops on your hook.
5. Yarn over, and pull through the first 2 loops on hook.
6. Yarn over again, pulling it through the remaining 2 loops on hook. You have completed another double crochet.
7. Repeat steps 4-6 until you reach the end of the row. By the end, you should have 10 stitches.
Row 2:
- Before turning your work, chain 3 as the turning chain. These 3 chains will count as the first double crochet in the new row.
- Turn your work. Double crochet into both top loops of the next double crochet from the previous row.
- Continue across the row. By the end, you should have 10 double crochets (counting the turning chain).
- Repeat the rows until you feel comfortable enough to move on.
Treble Crochet
The treble crochet is the tallest of these four stitches. It is also called triple crochet (you begin the stitch with 3 loops on the hook).Row 1:
- Chain 13 stitches (loosely). Yarn over twice, and insert hook into fifth chain from the hook. Yarn over again, and pull yarn through the chain. You will now have 4 loops on your hook.
- Yarn over and pull through the first 2 loops on the hook. There will be 3 loops remaining.
- Yarn over again, and pull through the next 2 loops on the hook. There will be 2 loops remaining on the hook.
- Yarn over, and pull through the remaining 2 loops on the hook. You have now made your first treble crochet.
- Yarn over twice, and insert hook into next chain. Yarn over again, and pull through chain. You should have 4 loops on your hook.
- Yarn over, and pull through the first 2 loops on hook.
- Yarn over again, pulling it through the next 2 loops on hook.
- Yarn over, and pull through the remaining 2 loops on hook. You have completed another double crochet.
- Repeat steps 5-8 until you reach the end of the row. By the end, you should have 10 stitches.
- Chain 4 (turning chain counts as first treble crochet), and turn your work.
- Treble crochet in the next treble crochet from previous row.
- Continue across to the end of the row. You should end up with 10 treble crochets.
- Complete a few more rows until you feel comfortable with this stitch.
Finish Off
To finish off your project, cut the yarn at the end of your last row. You will want to leave about 4 inches of yarn at the end.Bring the loose end through the last loop on the hook. Tighten it. This creates a knot, keeping the ends from unraveling. Weave yarn end into stitches.
This is called finish off, fasten off, or end off.
Wednesday, January 11, 2012
Featured Etsian: Raishelle Laney
I started scrapbooking about 12 years ago, which led to crocheting 10 years ago... At first I just made blankets for my kids and family, but I needed to expand because I was getting bored! So, I started a website, but it didn't do very well, and then I found Etsy! I have 4 daughters that inspire me with their styles, colors, and ideas. I have 1 son that makes it fun to camoflauge stuff, and boy things. My husband works in an underground gold mine, and he is really supportive of my hobbies ( and he gives me great feedback, sometimes reality checks as well haha) He is my best friend and biggest fan. I don't work outside of the home, I just do my Esty stuff, and run around ragged with 5 kids lol. I love making hats, but my new favorite thing is the headbands, they are so much fun! I just ordered a bunch of stuff for Valentine's Day and Easter so I can't wait to get to work making fun accessories! My favorite listing has to be the baby girl hat "There's no place like home, Toto" It's the softest blue, with red sparkly ribbons... I t would make a great photo prop and I am surprised no one has snagged it up yet!
To see more lovely items visit Comfy Couture
Tuesday, January 10, 2012
Featured Etsian: Stephanie
I have always been creative. When I was younger it was dance and painting. Then a health problem came up and I found making jewelry very therapeutic. I will never be able to wear all of the things that my mind creates so I thought I would share my love of color and unique composition.
The inspiration comes from the beads themselves. Some have sat here for monthes and not been touched and all of a sudden they need to be made and thats all there is to it. Today being such a day, saw a bag of glass pearls that I've had forever and suddenly they had a destination. I know it sounds strange but as a creative person I hope you understand. They are the last 5 pieces listed.
When a piece is difficult to put together I know that isnt supposed to be.
Anyway, I spent about 25 yrs working in restaurants from the ground up, now this is my full time occupation (pre-occupation is a better word) I do craft shows in season and here on Etsy.
Necklaces, esp. longer ones for larger size women. Being a large girl myself I had a hard time finding pieces that fit right and didnt look like a choker, thats where the'' voluptuous woman '' section of my shop came from. I worried about offending people but we know we're big, might as well buy what fits.
This piece is currently my favorite
not sure why.
For more beautiful items, visit: Silver Lining Kreation
Monday, January 9, 2012
Photography
I can never seem to get enough of looking at photos. Photography is such an interesting field to me. A lot of people think it's so easy to do photography but it's really not. You need to have good colors, good composition, and knowledge of which lenses and cameras are best.
Sunday, January 1, 2012
More About Pricing Art
In order to price your art realistically, you must understand and respect how the art business works and how collectors shop and buy. You must step back and objectively evaluate the significance and quality of your art in relation to all other art. You must also objectively assess your art world accomplishments and determine how they position you in relation to all other artists. These are difficult tasks and not necessarily pleasant, but they're absolutely essential to achieving the goals of making a go of it as an artist and of selling art.
Understanding common mistakes that artists make when setting prices is the first step in this process. Perhaps the most significant error is the tendency to focus too much attention on only that segment of the art world that pertains to you and too little attention on the rest, or even worse, dismissing the rest as irrelevant. If you let this happen, your asking prices may make sense to you and to your inner circle, but make little sense to the overall art community. The more aware you are of the big picture, of what other artists are creating, how it's being priced and marketed, and who's buying what for how much and why, the better prepared you are to price your art sensibly.
Many artists make the mistake of equating dollar values with psychological factors like how emotionally attached they are to their art or how much angst they experience during the creative process. They place special meanings and, therefore, special asking prices on certain pieces of their work that may make sense to them inwardly, but have little or no relation to the selling prices of the rest of their art or to art prices in general. Dealers and collectors see these prices as inconsistent or excessively high.
Avoid this pitfall by keeping any art off the market that you feel exceptionally close to or involved with. Keep it in your own personal collection. Any insights, enlightenments, sufferings, or inner pain you experience while creating art are your own business. Don't bill collectors for it. People in all professions have intense emotional experiences just like you, but you rarely see the prices of milk, plumbing, clothes, or other goods or services fluctuate wildly as a result.
The opposite of placing excessively high prices on works of art with high levels of personal meaning or emotional attachment is placing excessively low prices on works of art that lack those qualities. Experienced collectors who bargain hunt for art love when artists under-price art based on feelings rather than on more objective factors such as those that will be discussed below. Consistency in pricing is a cornerstone of successful selling.
Artists sometimes confuse subjective opinion with objective judgment when comparing the quality of their art to that of other artists. At the same time, they may also ignore outside factors that influence those artists' prices like who they show with, what their reputations are, how long they've been active, or how collectible they are. Once again, unrealistically high asking prices are often the result.
If you think your art is as good as that of Picasso or Matisse, for example, do you price it into the millions of dollars? Of course not. Your art may indeed by as good as that of a well-known or even famous artist who sells for lots of money, but many other factors must also compare favorably before your selling prices can approach those of that artist. Your personal opinion about how good your art is has little to do with that artist's prices or why collectors pay them. If it did, any artist could sell any work of art for any price at any time.
And don't make the mistake of thinking that your art is so unique that nothing else compares to it. All art is unique. Every artist is unique. Uniqueness, however, has never been and never will be the sole criterion for setting prices at any particular level.
Collectors rarely see themselves as having only one choice when selecting art, no matter how "unique" that art happens to be. Not only are they cost-conscious, but they almost always compare work from artist to artist and gallery to gallery before they buy. The more comparing they do, the better they get at collecting, assessing quality, determining fairness in selling prices, and getting the best bangs for their bucks. This is what good collecting is all about and what you're up against when it comes to pricing your art.
So how do you price sensibly and realistically? At the most fundamental level, you must be able to make a fact-based case for what your art is worth. You certainly know how to explain what it means from a personal standpoint, but if a collector asks, can you explain it equally well from a financial standpoint? Convincing people that your art is worth what it's priced and is therefore OK to own is an essential part of completing sales. This is especially true when buyers are on the fence, not familiar with your work, or just starting out as collectors.
In the world of selling, all reputable and established art galleries are fully prepared to explain their asking prices to anyone who asks. This is how the business end works. Dealers know that collectors are concerned about how they spend their money and, as a result, they have plenty of ammunition on hand when the focus of a presentation turns from art to dollars.
The best way to justify your asking prices is to do exactly what the galleries do. Present documentation that you've been selling art consistently for dollar amounts comparable to what you're now charging. The more records you have of recent sales through dealers, galleries and agents or directly to collectors from your studio, the better. These records, of course, should be relevant to the situation at hand. In other words, if you've sold three paintings to your rich uncle for $3000 a piece, but have never sold to a collector for more than $500, quote prices in the hundreds to collectors, not the thousands. You might also think about giving your uncle a price break while you're at it.
When you don't have a record of consistent sales in a particular price range or sales have been erratic and you're not sure how much to charge, setting your prices the way that real estate agents do is one of your better options. They base home prices on "comparables" or what similar houses in the same neighborhoods sell for. In your case, this means basing prices on how much other artists charge who live in your geographical area, work in similar mediums, sell through similar venues, create similar art, and whose accomplishments, experience, and quality of work are comparable to your own.
If you're just starting out and have not sold very much, pricing your work based on time, labor, and cost of materials is often the best way to go. Set yourself a sensible hourly wage, add the cost of materials, and make that your asking price. If materials cost $50 and you take 20 hours to make the art at $15 per hour, then you price it at $350. Don't forget the comparables, though. You still want your final asking prices to be in line with what other artists with similar credentials to yours are charging for their work.
Whenever you set prices by comparison, compare to what sells, not to what doesn't. Supposing your "comparable" artist has a show with prices ranging from $2000-$25,000. Suppose it closes with only pieces in the $2000-4000 range selling. This result tells you that collectors balk at paying anything more than $4000 and can be interpreted as their verdict on the artist's high-end prices. You, consequently, would be advised to price your art from $2000-4000 and forget going much higher.
A similar situation can occur if you compare your prices to those of artists who primarily sell limited edition prints of their work. They price their art to sell their prints, not their originals. The more expensive the originals, the more they tend to elevate the collectibility of the prints in the eyes of collectors and stimulate sales.
Dealers use the expensive cost of the originals not to sell them, but rather to justify the print prices being as high as they are while at the same time, portraying those prices as bargains. "The original costs $100,000, but you can have the signed limited edition for only $600." It's just basic marketing, folks. Selling prints is what this tactic is all about and not selling originals. The prints, meanwhile, have nothing to do with the originals other than being photographic reproductions in one form or another and the idea of equating the two is absurd-- but don't get me started on that one.
No matter how you set your prices, be competitive. As distasteful and capitalistic as this may sound, you're in competition with other artists. Every time a collector buys a piece of art from you, that's one less piece that they're going to buy from someone else. Naturally, you want to maximize the number of pieces that collectors buy from you.
The best way to stay in the hunt is to make sure that you're always charging the same or even a little less than what you determine to be the "going rate" in any given selling circumstance. For example, if you're in a group show or exhibition, enter a piece that's priced competitively with those of the other artists. You don't want to have the most expensive piece in the show; you don't want the first impression that collectors have of your work to be sticker shock. You want it to stand out for art reasons, not money reasons.
Another issue that artists often wrestle with is when to raise prices. The best time is when you're experiencing a consistent degree of success and have established a proven track record of sales that's lasted for at least six months to a year and preferably longer. You should also be selling at least half of everything that you produce within a six month time period. As long as sales continue to be good and demand remains high, price increases of 10-25% per year are in order. As with any other price-setting circumstances, be able to justify all increases with facts. Never raise prices based on whimsy, personal feelings, or because you feel that they've remained the same for long enough.
Remember that today's collectors are more sophisticated than ever. The idea of falling in love with one piece of art and having to have it at any cost fell by the wayside years ago. Collectors now research and compare before they buy. The only ones who don't are new to the game. Just in case you get lucky and find one who's a little naive, by the way, resist the temptation to take advantage and overcharge. You risk the possibility of turning them off to continued collecting. We all know that we need all the art collectors we can get.
Lastly, have something for everyone. Offer art in all price ranges. People who like your work, but can't afford the big stuff should at least have the opportunity to come away with something. These are your biggest fans, your collector base, the people who will stand by you throughout your career. Do whatever you can to provide them with art. That's the best way to maximize your exposure, create good will, get yourself out there, jump start your sales, and become known and respected in the arts community.
Understanding common mistakes that artists make when setting prices is the first step in this process. Perhaps the most significant error is the tendency to focus too much attention on only that segment of the art world that pertains to you and too little attention on the rest, or even worse, dismissing the rest as irrelevant. If you let this happen, your asking prices may make sense to you and to your inner circle, but make little sense to the overall art community. The more aware you are of the big picture, of what other artists are creating, how it's being priced and marketed, and who's buying what for how much and why, the better prepared you are to price your art sensibly.
Many artists make the mistake of equating dollar values with psychological factors like how emotionally attached they are to their art or how much angst they experience during the creative process. They place special meanings and, therefore, special asking prices on certain pieces of their work that may make sense to them inwardly, but have little or no relation to the selling prices of the rest of their art or to art prices in general. Dealers and collectors see these prices as inconsistent or excessively high.
Avoid this pitfall by keeping any art off the market that you feel exceptionally close to or involved with. Keep it in your own personal collection. Any insights, enlightenments, sufferings, or inner pain you experience while creating art are your own business. Don't bill collectors for it. People in all professions have intense emotional experiences just like you, but you rarely see the prices of milk, plumbing, clothes, or other goods or services fluctuate wildly as a result.
The opposite of placing excessively high prices on works of art with high levels of personal meaning or emotional attachment is placing excessively low prices on works of art that lack those qualities. Experienced collectors who bargain hunt for art love when artists under-price art based on feelings rather than on more objective factors such as those that will be discussed below. Consistency in pricing is a cornerstone of successful selling.
Artists sometimes confuse subjective opinion with objective judgment when comparing the quality of their art to that of other artists. At the same time, they may also ignore outside factors that influence those artists' prices like who they show with, what their reputations are, how long they've been active, or how collectible they are. Once again, unrealistically high asking prices are often the result.
If you think your art is as good as that of Picasso or Matisse, for example, do you price it into the millions of dollars? Of course not. Your art may indeed by as good as that of a well-known or even famous artist who sells for lots of money, but many other factors must also compare favorably before your selling prices can approach those of that artist. Your personal opinion about how good your art is has little to do with that artist's prices or why collectors pay them. If it did, any artist could sell any work of art for any price at any time.
And don't make the mistake of thinking that your art is so unique that nothing else compares to it. All art is unique. Every artist is unique. Uniqueness, however, has never been and never will be the sole criterion for setting prices at any particular level.
Collectors rarely see themselves as having only one choice when selecting art, no matter how "unique" that art happens to be. Not only are they cost-conscious, but they almost always compare work from artist to artist and gallery to gallery before they buy. The more comparing they do, the better they get at collecting, assessing quality, determining fairness in selling prices, and getting the best bangs for their bucks. This is what good collecting is all about and what you're up against when it comes to pricing your art.
So how do you price sensibly and realistically? At the most fundamental level, you must be able to make a fact-based case for what your art is worth. You certainly know how to explain what it means from a personal standpoint, but if a collector asks, can you explain it equally well from a financial standpoint? Convincing people that your art is worth what it's priced and is therefore OK to own is an essential part of completing sales. This is especially true when buyers are on the fence, not familiar with your work, or just starting out as collectors.
In the world of selling, all reputable and established art galleries are fully prepared to explain their asking prices to anyone who asks. This is how the business end works. Dealers know that collectors are concerned about how they spend their money and, as a result, they have plenty of ammunition on hand when the focus of a presentation turns from art to dollars.
The best way to justify your asking prices is to do exactly what the galleries do. Present documentation that you've been selling art consistently for dollar amounts comparable to what you're now charging. The more records you have of recent sales through dealers, galleries and agents or directly to collectors from your studio, the better. These records, of course, should be relevant to the situation at hand. In other words, if you've sold three paintings to your rich uncle for $3000 a piece, but have never sold to a collector for more than $500, quote prices in the hundreds to collectors, not the thousands. You might also think about giving your uncle a price break while you're at it.
When you don't have a record of consistent sales in a particular price range or sales have been erratic and you're not sure how much to charge, setting your prices the way that real estate agents do is one of your better options. They base home prices on "comparables" or what similar houses in the same neighborhoods sell for. In your case, this means basing prices on how much other artists charge who live in your geographical area, work in similar mediums, sell through similar venues, create similar art, and whose accomplishments, experience, and quality of work are comparable to your own.
If you're just starting out and have not sold very much, pricing your work based on time, labor, and cost of materials is often the best way to go. Set yourself a sensible hourly wage, add the cost of materials, and make that your asking price. If materials cost $50 and you take 20 hours to make the art at $15 per hour, then you price it at $350. Don't forget the comparables, though. You still want your final asking prices to be in line with what other artists with similar credentials to yours are charging for their work.
Whenever you set prices by comparison, compare to what sells, not to what doesn't. Supposing your "comparable" artist has a show with prices ranging from $2000-$25,000. Suppose it closes with only pieces in the $2000-4000 range selling. This result tells you that collectors balk at paying anything more than $4000 and can be interpreted as their verdict on the artist's high-end prices. You, consequently, would be advised to price your art from $2000-4000 and forget going much higher.
A similar situation can occur if you compare your prices to those of artists who primarily sell limited edition prints of their work. They price their art to sell their prints, not their originals. The more expensive the originals, the more they tend to elevate the collectibility of the prints in the eyes of collectors and stimulate sales.
Dealers use the expensive cost of the originals not to sell them, but rather to justify the print prices being as high as they are while at the same time, portraying those prices as bargains. "The original costs $100,000, but you can have the signed limited edition for only $600." It's just basic marketing, folks. Selling prints is what this tactic is all about and not selling originals. The prints, meanwhile, have nothing to do with the originals other than being photographic reproductions in one form or another and the idea of equating the two is absurd-- but don't get me started on that one.
No matter how you set your prices, be competitive. As distasteful and capitalistic as this may sound, you're in competition with other artists. Every time a collector buys a piece of art from you, that's one less piece that they're going to buy from someone else. Naturally, you want to maximize the number of pieces that collectors buy from you.
The best way to stay in the hunt is to make sure that you're always charging the same or even a little less than what you determine to be the "going rate" in any given selling circumstance. For example, if you're in a group show or exhibition, enter a piece that's priced competitively with those of the other artists. You don't want to have the most expensive piece in the show; you don't want the first impression that collectors have of your work to be sticker shock. You want it to stand out for art reasons, not money reasons.
Another issue that artists often wrestle with is when to raise prices. The best time is when you're experiencing a consistent degree of success and have established a proven track record of sales that's lasted for at least six months to a year and preferably longer. You should also be selling at least half of everything that you produce within a six month time period. As long as sales continue to be good and demand remains high, price increases of 10-25% per year are in order. As with any other price-setting circumstances, be able to justify all increases with facts. Never raise prices based on whimsy, personal feelings, or because you feel that they've remained the same for long enough.
Remember that today's collectors are more sophisticated than ever. The idea of falling in love with one piece of art and having to have it at any cost fell by the wayside years ago. Collectors now research and compare before they buy. The only ones who don't are new to the game. Just in case you get lucky and find one who's a little naive, by the way, resist the temptation to take advantage and overcharge. You risk the possibility of turning them off to continued collecting. We all know that we need all the art collectors we can get.
Lastly, have something for everyone. Offer art in all price ranges. People who like your work, but can't afford the big stuff should at least have the opportunity to come away with something. These are your biggest fans, your collector base, the people who will stand by you throughout your career. Do whatever you can to provide them with art. That's the best way to maximize your exposure, create good will, get yourself out there, jump start your sales, and become known and respected in the arts community.
How to Price Your Art
A main goal of sensible art pricing is that similar works of art have similar selling prices. You, the artist, decide what those similarities are based on criteria you choose. Those criteria become the measures by which you assess and ultimately price your art. Remember at all stages in this process that those criteria should be explainable to anyone with questions about your art, especially potential buyers.
A good first step in determining your criteria is to select one or more works of art that you consider typical of your current output and that display an average range of your skills. These would be pieces that you consider neither exceptional nor inferior in any way. If you work in more than one medium or style, select at least one piece that is representative of each.
Describe these works, in writing and in detail, in terms of basic physical characteristics as well as in terms of variables unique to your art. Basic physical characteristics include size, subject matter, color, complexity, weight, detail, cost of materials, time necessary to create, and so on. Variables unique to your art might include the number of dogs in the composition, theme, texture, frequency of use of the color orange, direction of the brush strokes, date produced, or degree of abstraction.
Avoid using subjective criteria to describe your art such as what it means to you, what its message is, how it makes you feel, and so on. Subjective qualities are important from intellectual and/or emotional standpoints, but not necessarily in terms of pricing as they can vary widely from one viewer to the next. No one, however, can dispute a work of art's size or subject matter. If, over time, you find that some of your art imparts similar feelings or messages to wide audiences, you may eventually be able to quantify those feelings or messages as price points.
Once you've completed your written descriptions, your next task is to set a base price for your chosen typical work or works of art. A good analogy to a base price in the art world is a base price in the car world, or the price of a car with no extras (this may sound crass, but it's how the overwhelming majority of art gets priced). A basic car model with no extras costs a certain dollar amount; models with "extras" cost more. How much more depends on the amount and quality of their extras.
Artists with gallery experience and consistent sales histories should already have base prices that typical works of their art regularly sell for. If you don't have a track record of sales, your base price should approximate what artists in your locale with comparable experience and sales records charge for similar works of art. Keep in mind that even though your art is unique, experienced art people like dealers, advanced collectors, consultants and agents make price comparisons from artist to artist all the time. Being able to evaluate your art from a detached standpoint by comparing it to that of other artists in your area is necessary in order for your price structure to make sense in the marketplace.
Once you've set your base price, use it as the norm to price the rest of your art in relation to that base, in terms of "extras" or lack thereof. "Extras," according to your descriptive criteria, are those characteristics that make certain works of art more significant, in your judgment, than others. If, for example, your typical work of art measures 20 by 30 inches and you base-price it at $1000, and you consider one measuring 40 by 50 inches to be more significant, you might price it at $3000. Similarly, you might price one measuring 8 by 12 inches at $400 because you consider it to be less significant, all else being equal. "Extras" that indicate price increases beyond the base are characteristics like more complex compositions, larger sizes, more intricate details, higher levels of technical difficulty, greater production times, and more expensive materials.
If certain works of art hold special meaning for you or represent critical moments in your life or career, but are not drastically different from your other art in terms of physical criteria, best procedure is to keep them off the market because the tendency is to overprice them. Isolated extreme prices may not make sense to viewers, and can even skew an artist's entire price structure in an unrealistic direction. If you can make a case to the art world as to why isolated works of art should be priced well beyond similar looking pieces, and the art world agrees with you, then fine. If not, save emotion- or attachment-based pricing for when you become famous and have greater latitude in how you present your art to the public.
As previously mentioned, your price structure should make sense to people who have questions about your art, such as why this piece costs more or that one costs less. Be able to explain how and why you set your base price, and how and why you set other prices higher or lower in relation to that base. Having a price structure that people who know art can understand is essential in order to move art from your studio to for-sale settings and ultimately to private or institutional buyers.
Once you've set your selling prices, don't change them without a reason. Any deviation in price, particularly in the upward direction, has to be justified. In other words, don't raise or lower your prices just because you feel like it. People generally shy away from art that costs a certain amount one week and a different amount the next; they prefer constancy in art prices.
And now for a few hypotheticals:
Suppose your price structure turns out to be too high-- people who like your art enough to ask how much it costs aren't buying. This means that you have to lower your prices, but by how much? Re-pricing somewhat below what comparable art by artists in your area sells for is a good starting point, but rather than arbitrarily cut prices either across the board or on a piece-by-piece basis, conduct an informal survey first.
Ask those most interested in your art how much they think it should sell for. Whenever you get the chance, also ask dealers, experienced collectors, consultants, fellow artists, and agents what they think. Put together as much of a consensus opinion as possible, and then reduce prices accordingly. Your goal is to generate sales with the new lower structure, so make sure reductions are in line with or even slightly greater than consensus opinion. You want to avoid having to reduce prices again, but you don't want to make your art so inexpensive that people won't take it seriously.
Suppose your art becomes popular with the public and sales are brisk. When demand reaches a point where a good percentage of your art, at least a third, sells within several months of its appearance on the market, think about raising your prices. A price increase is also in order when demand for your art regularly outstrips demand for art by your contemporaries.
As you become better and better known, a brand name, so to speak, your art begins to merit premium pricing, or pricing beyond that of your contemporaries. Exactly how much that premium is depends on the significance of your accomplishments (shows, awards, news coverage, etc.) and the constant or, better yet, expanding interest in your art. Depending on how well known you get, continue to price according to what "the competition" charges, but who that competition is will likely evolve from local artists to regional artists, and possibly even to national or international artists. As you advance in your career, always be aware of what circle of artists you are perceived as belonging to and how much they charge for their art.
Suppose that with the passage of time or as tastes in art change, that one type of your art finds favor with collectors while demand for your other art remains modest. Raise the prices of this in-demand art above that of your other art, and price earlier examples higher than those you're currently making. For example, if collectors come to like your abstracts much more than your landscapes, raise prices on all past, present and future abstracts, with prices for your earliest abstracts (those in the styles that receive the most attention) being raised the most.
Raising prices for the earliest examples of your most desirable art is somewhat similar to pricing antiques and collectibles-- the first edition of a famous book costs more than later editions, early Barbie dolls cost more those produced today, and so on. The significance of your "first" or "earliest" art only becomes apparent as you progress in your career. You have no idea how the public will respond to different styles of art when you first create or show them or what their legacy might one day be, but as that legacy becomes clear, price increases are in order.
Continuing with this line of reasoning, suppose, from a historical standpoint, a particular type of your art becomes significant beyond you as an artist-- in other words, as part of a movement or school of art. For example, let's say you painted large abstracts in the late 1950's. Prices for these abstracts will have to be raised, not necessarily according to how your own career has played out, but rather according to how abstract paintings from the late 1950's have been embraced by collectors. Prices for these abstracts may far outstrip prices for all other art you've created, regardless of the significance that you personally place on those abstracts, just because you painted them in a particular style at a particular point in time.
No matter how old you are or how long you've been making art, know that art prices fluctuate over time as a result of a variety of factors. Set your initial price structure according to characteristics of your art and of your local or regional art market, but be ready to revise those prices at any time (assuming adequate justification). The more you're aware of market forces in general and how people respond to your art in particular, the better prepared you are to maintain sensible selling prices and maximize your sales.
Friday, December 30, 2011
What Exactly is Graphic Design?
Suppose you want to announce or sell something, amuse or persuade someone, explain a complicated system or demonstrate a process. In other words, you have a message you want to communicate. How do you “send” it? You could tell people one by one or broadcast by radio or loudspeaker. That's verbal communication. But if you use any visual medium at all-if you make a poster; type a letter; create a business logo, a magazine ad, or an album cover; even make a computer printout-you are using a form of visual communication called graphic design.
Graphic designers work with drawn, painted, photographed, or computer-generated images (pictures), but they also design the letterforms that make up various typefaces found in movie credits and TV ads; in books, magazines, and menus; and even on computer screens. Designers create, choose, and organize these elements-typography, images, and the so-called “white space” around them-to communicate a message. Graphic design is a part of your daily life. From humble things like gum wrappers to huge things like billboards to the T-shirt you're wearing, graphic design informs, persuades, organizes, stimulates, locates, identifies, attracts attention and provides pleasure.
Graphic design is a creative process that combines art and technology to communicate ideas. The designer works with a variety of communication tools in order to convey a message from a client to a particular audience. The main tools are image and typography.
Image-based design
Designers develop images to represent the ideas their clients want to communicate. Images can be incredibly powerful and compelling tools of communication, conveying not only information but also moods and emotions. People respond to images instinctively based on their personalities, associations, and previous experience. For example, you know that a chili pepper is hot, and this knowledge in combination with the image creates a visual pun.
In the case of image-based design, the images must carry the entire message; there are few if any words to help. These images may be photographic, painted, drawn, or graphically rendered in many different ways. Image-based design is employed when the designer determines that, in a particular case, a picture is indeed worth a thousand words.
Type-based design
In some cases, designers rely on words to convey a message, but they use words differently from the ways writers do. To designers, what the words look like is as important as their meaning. The visual forms, whether typography (communication designed by means of the printed word) or handmade lettering, perform many communication functions. They can arrest your attention on a poster, identify the product name on a package or a truck, and present running text as the typography in a book does. Designers are experts at presenting information in a visual form in print or on film, packaging, or signs.
When you look at an “ordinary” printed page of running text, what is involved in designing such a seemingly simple page? Think about what you would do if you were asked to redesign the page. Would you change the typeface or type size? Would you divide the text into two narrower columns? What about the margins and the spacing between the paragraphs and lines? Would you indent the paragraphs or begin them with decorative lettering? What other kinds of treatment might you give the page number? Would you change the boldface terms, perhaps using italic or underlining? What other changes might you consider, and how would they affect the way the reader reacts to the content? Designers evaluate the message and the audience for type-based design in order to make these kinds of decisions.
Image and type
Designers often combine images and typography to communicate a client's message to an audience. They explore the creative possibilities presented by words (typography) and images (photography, illustration, and fine art). It is up to the designer not only to find or create appropriate letterforms and images but also to establish the best balance between them.
Designers are the link between the client and the audience. On the one hand, a client is often too close to the message to understand various ways in which it can be presented. The audience, on the other hand, is often too broad to have any direct impact on how a communication is presented. What's more, it is usually difficult to make the audience a part of the creative process. Unlike client and audience, graphic designers learn how to construct a message and how to present it successfully. They work with the client to understand the content and the purpose of the message. They often collaborate with market researchers and other specialists to understand the nature of the audience. Once a design concept is chosen, the designers work with illustrators and photographers as well as with typesetters and printers or other production specialists to create the final design product.
Symbols, logos and logotypes
Symbols and logos are special, highly condensed information forms or identifiers. Symbols are abstract representation of a particular idea or identity. The CBS “eye” and the active “television” are symbolic forms, which we learn to recognize as representing a particular concept or company. Logotypes are corporate identifications based on a special typographical word treatment. Some identifiers are hybrid, or combinations of symbol and logotype. In order to create these identifiers, the designer must have a clear vision of the corporation or idea to be represented and of the audience to which the message is directed.
Graphic designers work with drawn, painted, photographed, or computer-generated images (pictures), but they also design the letterforms that make up various typefaces found in movie credits and TV ads; in books, magazines, and menus; and even on computer screens. Designers create, choose, and organize these elements-typography, images, and the so-called “white space” around them-to communicate a message. Graphic design is a part of your daily life. From humble things like gum wrappers to huge things like billboards to the T-shirt you're wearing, graphic design informs, persuades, organizes, stimulates, locates, identifies, attracts attention and provides pleasure.
Graphic design is a creative process that combines art and technology to communicate ideas. The designer works with a variety of communication tools in order to convey a message from a client to a particular audience. The main tools are image and typography.
Image-based design
Designers develop images to represent the ideas their clients want to communicate. Images can be incredibly powerful and compelling tools of communication, conveying not only information but also moods and emotions. People respond to images instinctively based on their personalities, associations, and previous experience. For example, you know that a chili pepper is hot, and this knowledge in combination with the image creates a visual pun.
In the case of image-based design, the images must carry the entire message; there are few if any words to help. These images may be photographic, painted, drawn, or graphically rendered in many different ways. Image-based design is employed when the designer determines that, in a particular case, a picture is indeed worth a thousand words.
Type-based design
In some cases, designers rely on words to convey a message, but they use words differently from the ways writers do. To designers, what the words look like is as important as their meaning. The visual forms, whether typography (communication designed by means of the printed word) or handmade lettering, perform many communication functions. They can arrest your attention on a poster, identify the product name on a package or a truck, and present running text as the typography in a book does. Designers are experts at presenting information in a visual form in print or on film, packaging, or signs.
When you look at an “ordinary” printed page of running text, what is involved in designing such a seemingly simple page? Think about what you would do if you were asked to redesign the page. Would you change the typeface or type size? Would you divide the text into two narrower columns? What about the margins and the spacing between the paragraphs and lines? Would you indent the paragraphs or begin them with decorative lettering? What other kinds of treatment might you give the page number? Would you change the boldface terms, perhaps using italic or underlining? What other changes might you consider, and how would they affect the way the reader reacts to the content? Designers evaluate the message and the audience for type-based design in order to make these kinds of decisions.
Image and type
Designers often combine images and typography to communicate a client's message to an audience. They explore the creative possibilities presented by words (typography) and images (photography, illustration, and fine art). It is up to the designer not only to find or create appropriate letterforms and images but also to establish the best balance between them.
Designers are the link between the client and the audience. On the one hand, a client is often too close to the message to understand various ways in which it can be presented. The audience, on the other hand, is often too broad to have any direct impact on how a communication is presented. What's more, it is usually difficult to make the audience a part of the creative process. Unlike client and audience, graphic designers learn how to construct a message and how to present it successfully. They work with the client to understand the content and the purpose of the message. They often collaborate with market researchers and other specialists to understand the nature of the audience. Once a design concept is chosen, the designers work with illustrators and photographers as well as with typesetters and printers or other production specialists to create the final design product.
Symbols, logos and logotypes
Symbols and logos are special, highly condensed information forms or identifiers. Symbols are abstract representation of a particular idea or identity. The CBS “eye” and the active “television” are symbolic forms, which we learn to recognize as representing a particular concept or company. Logotypes are corporate identifications based on a special typographical word treatment. Some identifiers are hybrid, or combinations of symbol and logotype. In order to create these identifiers, the designer must have a clear vision of the corporation or idea to be represented and of the audience to which the message is directed.
Thursday, December 29, 2011
Ad Spot
If anybody would like an ad spot on my blog it is $30 for 6 months or $18 for 3 months. Just email me at rtomb@moore.edu.
Featured Etsian: Country Connection
I own Treasure Seekers a family owned and operated multi-vendor market. I have a booth within that I sell primitive and country items in. I also own Treasure Seekers Estate Sale Professionals. I make plasctic canvas items, soap and knitted items. I also play with photography. My daughter, Brooke, wants to be a professional photographer. I will also be selling her photography.
Join my frequent buyers club!!! Buy from me 10 times and you will receive a promo code for a special discount on your 11th purchase!
Find Country Connection on facebook at
http://www.facebook.com/pages/Country-Connection-on-Etsy/201125239970104
How long have you been creating?
I have been creating about 10 years.
What inspired your works?
My ispiration comes from things I see at craft shows and now here on Etsy.
Which of your pieces is your favorite?
So far, this Eternity Scarf is my favorite www.etsy.com/listing/87934369/eternity-scarf
What would you call your style?
Modern
Did you ever feel like giving up?
Several times
Join my frequent buyers club!!! Buy from me 10 times and you will receive a promo code for a special discount on your 11th purchase!
Find Country Connection on facebook at
http://www.facebook.com/pages/Country-Connection-on-Etsy/201125239970104
How long have you been creating?
I have been creating about 10 years.
What inspired your works?
My ispiration comes from things I see at craft shows and now here on Etsy.
Which of your pieces is your favorite?
So far, this Eternity Scarf is my favorite www.etsy.com/listing/87934369/eternity-scarf
What would you call your style?
Modern
Did you ever feel like giving up?
Several times
To see more items from her shop visit: Country Connection
Wednesday, December 28, 2011
Etsy Blog Party
Hello everyone!!!
I thought it's time to know all the blogging Etsians out there better so I am hosting a link party!
All you have to do is follow these steps:
1. Have a blog.
2. Link your latest Etsy item in the Linky tool below
3. Make a post about this with a link back to my blog so you can promote yourself and help promote the others.
4. Leave a comment with your blog post so we can come visit you.
5. Display this badge:
6. Share some love to the other participants by visiting their shop and blogs.
:) Let's party!
I thought it's time to know all the blogging Etsians out there better so I am hosting a link party!
All you have to do is follow these steps:
1. Have a blog.
2. Link your latest Etsy item in the Linky tool below
3. Make a post about this with a link back to my blog so you can promote yourself and help promote the others.
4. Leave a comment with your blog post so we can come visit you.
5. Display this badge:
:) Let's party!
My latest item:
Click here for the original post
Tuesday, December 27, 2011
Featured Etsian: David Irwin
About
Once I retired it became a passion of mine to be productive in that same retirement. A background in wood working led to making all kinds of wood products. I finally settled on making these fine wooden locks and intarsia. They are made from various hardwoods including Rosewood, Ash, Walnut and many others. The contrasting clear white pine shackle and core accent the various hardwoods. All of my items are hand crafted in the USA.
To see more from his shop visit: ClassicWoodTreasures
Wednesday, December 21, 2011
Sunday, December 18, 2011
Tuesday, December 13, 2011
More Than Just a Logo
“I want to build a brand for my business…all I need is a logo.” This is the common misconception running in the minds of many clients who are looking to brand their business. They misconstrue a brand for a mere symbol, logo or a trademark used on a signboard outside the company gate. However the reality is otherwise…the logo designing is just a minor part of entire branding process. A brand is what separates large corporate giants from their small scale competitors.
The biggest dilemma that graphic designers face nowadays is clients with acute brand knowledge. Sometimes a graphic designer creates a logo design for a client that fails to establish its business presence in market. The client throws all the blame of failure on the faulty logo design. However, in reality, it was not the logo that fell short and the brand that failed.
Picture this…you have never heard of McDonald’s before (just assume for a moment). You are unaware of the corporation and what it has to offer to you. Now imagine… if you pass by a ‘Golden arches’ logo in an ad or a billboard, would you be amazed by it?…Certainly… not I presume? Now coming back to reality, since famous brands like McDonalds has actively communicated their logo and established its connection with the company, which is why you have a strong awareness about it. That strong perception created in the minds of customers is the brand that has been established.
Brand is not a mark, it leaves a mark
This is the biggest fallacy of branding made by many business owners and entrepreneurs. Brand is not just a mark or a symbol that you put on your company sign board. On the contrary, a brand LEAVES a mark on your customer that is eternal and everlasting.
If you think that you can make a brand by designing a logo, then I’m afraid you’re mistaken. Brand is not a tangible thing that can be built hypothetically. A brand encompasses whatever its customers think about it. In short, you can build a logo, but it is customers who build a brand. Big Ten logo redesign is a living example of this. The company decided on their logo, but in the end it was the Big Ten fans that decided the fate of the brand.
Another major distinction between a logo and a brand is their focus span. Logos illustrates what a company stands for, what it has to offer and what is its purpose of existence. In contrast, a brand has strategic focus. It depicts a vision of the firm as to what the brand will be and what it promises to its customers in the future.
The biggest dilemma that graphic designers face nowadays is clients with acute brand knowledge. Sometimes a graphic designer creates a logo design for a client that fails to establish its business presence in market. The client throws all the blame of failure on the faulty logo design. However, in reality, it was not the logo that fell short and the brand that failed.
Picture this…you have never heard of McDonald’s before (just assume for a moment). You are unaware of the corporation and what it has to offer to you. Now imagine… if you pass by a ‘Golden arches’ logo in an ad or a billboard, would you be amazed by it?…Certainly… not I presume? Now coming back to reality, since famous brands like McDonalds has actively communicated their logo and established its connection with the company, which is why you have a strong awareness about it. That strong perception created in the minds of customers is the brand that has been established.
Brand is not a mark, it leaves a mark
Another major distinction between a logo and a brand is their focus span. Logos illustrates what a company stands for, what it has to offer and what is its purpose of existence. In contrast, a brand has strategic focus. It depicts a vision of the firm as to what the brand will be and what it promises to its customers in the future.
| A logo design is a visual representation of any company or business. It vividly projects the mesas age of the company’s existence in the industry. A brand goes one step further in protecting the image of the firm. Whatever you establish through your logo design is protected by your brand. The gap logo fiasco is a perfect example in this case. The company decided on a redesigned logo but failed badly in front of their customers. However, their longstanding brand power protected them from severe damage. |
| To wrap it up in a nutshell, logos lay the foundation of a brand but are not entirely sufficient to establish their presence. Brand marketing does not simply end on a logo design. They must be thoroughly communicated and inculcated in order to be recognized. |
5 Things Graphic Designers Can Learn From Computer Hackers!
| I know what most of you might be thinking…what in the world can a respectable graphic designer learn from a notorious hacker? But hold you horses everyone, don’t jump to conclusions just yet. Let me explain the purpose of my topic. I’m not implying that you go rogue and turn into a design outlaw. What I wish to establish is that “You can learn from anyone…even your enemy.” We all are familiar with hackers and their work. A hacker is someone who thinks unconventionally and works with curiosity and ambition. He is someone who perceives rules as barriers to innovation. A hacker is a person who tests the freedom and limitation of systems to satisfy his curiosity. Now we don’t need to emulate the notorious actions of hackers, but we can surely learn from their positive points. Here are 5 things that graphic designers learn from hackers: |
1. Think Outside the Box: |
| The first thing that graphic designers can learn from hackers is to think out-of-the-box. Hackers are people who wish to make a name by achieving the impossible. They desire accomplishing those feats that no one has ever achieved. In order to make that happen, they think out of the box and develop new tricks and techniques to tackle any barriers coming in their way. For them, creativity has no limits. Similarly, graphic designers should also come up with out-of-the-box solutions for their graphic design problems. |
2. Break the Rules: |
| Now don’t get me wrong here, I don’t mean that graphic designers should go around breaking signals and others laws of the society. What I mean is that you should not blindly follow the conventions and trends prevalent in the graphic design industry. This doesn’t mean that graphic designers can go around stealing others work. On the contrary, it means that you don’t bound yourself with design trends and should strive for uniqueness. This reminds me of the theme of the movie Men of Honor…“History is made by those who break the rules.” |
3. Curiosity to Explore: |
| There is one thing that you will find constant among every hacker…the curiosity to explore. It is this curiosity that drives them to explore the loopholes of the system and exploit them to their requirements. Arnold Edinborough once said, “Curiosity is the very basis of education and if you tell me that curiosity killed the cat, I say only the cat died nobly.” Graphic designers should also learn to be curious and inquisitive in nature. They should learn to explore every areas and realms of graphic designing in order to keep themselves up-to-date. |
4. "Never Say Die" Attitude: |
| As I mentioned earlier, hackers have a “never say die” attitude. No matter how strict the security controls are used, they will always find a way in. Hackers are constantly updating themselves with the latest security features searching for loopholes and walkthroughs. This similar approach should also be adopted by graphic designers in their field as well. They should also keep themselves well apprised of the latest events in the graphic design and stay updated with the latest software and techniques. |
5. Desire for Information: |
| We have learnt from Julian Assange, owner of WikiLeaks.com and one of the people to revolutionize internet, that hackers also desire information. After the advent of WikiLeaks, a large vacuum of information has been filled, courtesy the hackers who wanted to expose the ‘real information’ to the world. For graphic designers, the desire for information is essential as well. Some graphic designers avoid obtaining information from their clients regarding the project. In the end, the client shows his dissatisfaction with the work. Hence, information collection is critical to the success of any venture. |
22 Great Examples of Street Art
One of the most controversial forms of artwork is street graffiti. It has been prevalent since centuries and has matured and refined over the years. It was used by the Romans as a sign of protest and criticism against their rulers. Street graffiti is still a common way of expressing political and satirical remarks on the walls of both public and private property. But conversely, it is also considered as a devious and notorious form of art as it exploits and harasses public and private possessions.
As graphic designers, graffiti is always an inspiration point as it helps in learning new and innovative ways of expressing feelings and emotions in the form of art. This technique of artwork has swiftly crept into the field of design including logo design as well. Today, I have collected a fresh compilation of 22 street graffiti artworks that will leave you amazed. I personally enjoyed each and every one of them thoroughly and hope that you will also like them.
As graphic designers, graffiti is always an inspiration point as it helps in learning new and innovative ways of expressing feelings and emotions in the form of art. This technique of artwork has swiftly crept into the field of design including logo design as well. Today, I have collected a fresh compilation of 22 street graffiti artworks that will leave you amazed. I personally enjoyed each and every one of them thoroughly and hope that you will also like them.
Featured Etsian: Mary Rose
Not that long ago I discovered etsy, the most artsy friendly e-platform of grand dimension! I found items I loved and ideas that inspired me. After a few months, I found myself wishing to be part of this community. I thought of what I had to offer; bought materials and stringed away; picked a name; took photos; went online and asked more experienced etsians for advice; until finally I re-did the whole thing! Being on etsy has been a new and thrilling experience and one am happy to share!
►Who's behind the scenes and where the name comes from
I'm most inspired by colour, movement and the sweet & salty traits of striking personalities! I have experienced life in quite a few different towns (from Lisbon to Florence, Warsaw, Amsterdam and New York) BUT (or maybe because of that) I've also come to love the distinct beauty of nature.
I'm fascinated by the colours of trees and animals, as well as by the incommensurable services provided by nature. The honesty that nature portrays is what I wish to bring to my jewelry pieces -- I want to substitute the industrial careless and repetition for organic, more original, elements, while still embracing all the great things brought on by human development.
I have a sweet spot for everything FOLK, whilst understanding society and the rules needed to promote progress. Such are the reasons which have led me to thecityfolklore ♥.
► Supplying with conscience
I work primarily and preferably with recycled materials and buy from fair trade partners. I'm aware of my responsibility to ensure social and environmental practices across the value chain. Even though most of the supplies are eco-friendly and buy from socially responsible partners, I have not yet managed to find everything needed from reliable sources. However, I promise to keep searching and improving.
►Your feedback matters
I'm determined and motivated to help you find what you're looking for. I believe I have rather original items that fairly represent my folksy yet urban influenced spirit!
If there is something specific you need and cannot find, PLEASE DO NOT HESITATE TO CONTACT ME and I'll do my best to match your needs.
1. A little about yourself
Hello, friendly folks! My name is Mary Rose (a Portuguese sort of version to be precise) and am 20 going on 30 years-old. I live in Lisbon, Portugal, where I was born and raised. I graduated in Political Science and have a Masters in Global Governance from a dutch University.
When my friends think of me, this is what comes to mind: my wholehearted opinions which I stand by to extremes and which I debate ‘til am left with no voice (others might call that being stubbornness but keep in mind am portraying my friends’ view); my dedication to everything family related; and, last but certainly not least, my will to travel and the never ending curiosity for anything out of the ordinary – I’ve been lucky enough to live abroad in quite a few places: Florence (Erasmus), New York (interning at the UN), Warsaw (interning at a Portuguese company) and Amsterdam (studying).
At the moment I’m back to Lisbon, but I reckon I have not yet seen the last of my travels! I like Lisbon and I love being around family and friends, but I can’t help felling drawn to new experiences and challenges. I’m working full time at a non-profit and I’m perfectly happy with my job so I’m not looking for a change at this particular time. However, one can never predict what’s ahead and I can definitely think of a few cities I would never dare to say no to!
You should also know about me that I’m that type of person with a million ideas per second but very rarely persistent enough to get things done. I’ve had tons of hobbies throughout my life and a few of them lasted more than a couple months! Dancing is probably the one that has lasted longer. And now beading, of course!
2. What do you create?
I make jewelry using mostly recycled glass beads from Africa (mostly Ghana). I found these beautiful beads while looking for African fabrics and I rapidly developed a passion for using them in jewelry. I would also very much like to experiment with African fabrics (they have such beautiful colors & unique patterns) but haven’t had the time yet.
I make necklaces (entirely of beads as well as using metal chain and suede), bracelets and earrings.
As I don’t make the beads myself, I try to make the pieces as unique as possible and to introduce my own style which is very folksy and hippie. My creations are also very colorful, which is something I find hugely important!
3. How do you get inspired?
I’m inspired by everything around me. I reckon if you pay enough attention you’ll find tons of worthy stuff around you. For what am creating for thecityfolklore, I’m most inspired by the beads themselves which are quite unique and very beautiful. Am also inspired by color and a folksy lifestyle (mostly music and books).
4. Seen any good movies lately?
Quite a few, yes. More recently, I was absolutely mesmerized by Drive, the movie from Nicolas Winding Refn with Ryan Gosling and Carey Mulligan. It’s a rather unusual film among what’s being released. It’s a simple storyline but a very complex take on human behavior. The actors’ interpretations are fantastic and the soundtrack is just perfect. I really recommend it!
5. Read any books lately?
I have, yes. Unfortunately, I don’t have the same time as I once did, but there’s also where to read up on some chapters. I’ve been reading a lot of classics later (re-reading Franny and Zooey for the hundred time, American Pastoral and such). Not quite sure what I could recommend from what’s been recently released.
6. What are your traditions for the holidays
Our holidays revolve mostly around family and food, as they do for most Portuguese families. I spend Christmas holidays running around Portugal in order to meet everyone. The 24th I spend with my mother’s family and the 25th with my father’s family, both at the respective grandparents’ houses with all the cousins, aunts etc.
On the 24th is served codfish for dinner. Not long after, around midnight for some and at one o’clock (after mass) for others, a big supper is served, with loads of sweets and turkey. At the same time, kids get their Christmas gifts, which they will usually find by their sock or shoe. Adults also exchange gifts among themselves.
The 25th is also traditionally celebrated both at lunch and dinner, around the table! For me, I usually head back to Lisbon, with my parents and sisters, right after lunch (which is not very elaborated as at that point everyone is pretty much racing to get somewhere else). We always meet with my father’s extended family for dinner and usually have turkey with chestnuts, rise and spinach. Gifts are exchanged afterwards.
With family and great food, can there be anyone who does not like the holidays?
For new years’ I don’t really make big plans. If I happen to be invited for a friend’s house for a long weekend or so, I might go ahead and do that. Otherwise, I’d rather stay at home by the fireplace with a nice glass of wine than make extravagant plans to go to an overpriced place with lousy loud music and bad drinks! Clearly, I don’t care much for New Year’s Eve, although I will certainly take up any opportunity to spend quality time with friends and family.
►Who's behind the scenes and where the name comes from
I'm most inspired by colour, movement and the sweet & salty traits of striking personalities! I have experienced life in quite a few different towns (from Lisbon to Florence, Warsaw, Amsterdam and New York) BUT (or maybe because of that) I've also come to love the distinct beauty of nature.
I'm fascinated by the colours of trees and animals, as well as by the incommensurable services provided by nature. The honesty that nature portrays is what I wish to bring to my jewelry pieces -- I want to substitute the industrial careless and repetition for organic, more original, elements, while still embracing all the great things brought on by human development.
I have a sweet spot for everything FOLK, whilst understanding society and the rules needed to promote progress. Such are the reasons which have led me to thecityfolklore ♥.
► Supplying with conscience
I work primarily and preferably with recycled materials and buy from fair trade partners. I'm aware of my responsibility to ensure social and environmental practices across the value chain. Even though most of the supplies are eco-friendly and buy from socially responsible partners, I have not yet managed to find everything needed from reliable sources. However, I promise to keep searching and improving.
►Your feedback matters
I'm determined and motivated to help you find what you're looking for. I believe I have rather original items that fairly represent my folksy yet urban influenced spirit!
If there is something specific you need and cannot find, PLEASE DO NOT HESITATE TO CONTACT ME and I'll do my best to match your needs.
To see more jewelry: www.etsy.com/shop/thecityfolklore
1. A little about yourself
Hello, friendly folks! My name is Mary Rose (a Portuguese sort of version to be precise) and am 20 going on 30 years-old. I live in Lisbon, Portugal, where I was born and raised. I graduated in Political Science and have a Masters in Global Governance from a dutch University.
When my friends think of me, this is what comes to mind: my wholehearted opinions which I stand by to extremes and which I debate ‘til am left with no voice (others might call that being stubbornness but keep in mind am portraying my friends’ view); my dedication to everything family related; and, last but certainly not least, my will to travel and the never ending curiosity for anything out of the ordinary – I’ve been lucky enough to live abroad in quite a few places: Florence (Erasmus), New York (interning at the UN), Warsaw (interning at a Portuguese company) and Amsterdam (studying).
At the moment I’m back to Lisbon, but I reckon I have not yet seen the last of my travels! I like Lisbon and I love being around family and friends, but I can’t help felling drawn to new experiences and challenges. I’m working full time at a non-profit and I’m perfectly happy with my job so I’m not looking for a change at this particular time. However, one can never predict what’s ahead and I can definitely think of a few cities I would never dare to say no to!
You should also know about me that I’m that type of person with a million ideas per second but very rarely persistent enough to get things done. I’ve had tons of hobbies throughout my life and a few of them lasted more than a couple months! Dancing is probably the one that has lasted longer. And now beading, of course!
2. What do you create?
I make jewelry using mostly recycled glass beads from Africa (mostly Ghana). I found these beautiful beads while looking for African fabrics and I rapidly developed a passion for using them in jewelry. I would also very much like to experiment with African fabrics (they have such beautiful colors & unique patterns) but haven’t had the time yet.
I make necklaces (entirely of beads as well as using metal chain and suede), bracelets and earrings.
As I don’t make the beads myself, I try to make the pieces as unique as possible and to introduce my own style which is very folksy and hippie. My creations are also very colorful, which is something I find hugely important!
3. How do you get inspired?
I’m inspired by everything around me. I reckon if you pay enough attention you’ll find tons of worthy stuff around you. For what am creating for thecityfolklore, I’m most inspired by the beads themselves which are quite unique and very beautiful. Am also inspired by color and a folksy lifestyle (mostly music and books).
4. Seen any good movies lately?
Quite a few, yes. More recently, I was absolutely mesmerized by Drive, the movie from Nicolas Winding Refn with Ryan Gosling and Carey Mulligan. It’s a rather unusual film among what’s being released. It’s a simple storyline but a very complex take on human behavior. The actors’ interpretations are fantastic and the soundtrack is just perfect. I really recommend it!
5. Read any books lately?
I have, yes. Unfortunately, I don’t have the same time as I once did, but there’s also where to read up on some chapters. I’ve been reading a lot of classics later (re-reading Franny and Zooey for the hundred time, American Pastoral and such). Not quite sure what I could recommend from what’s been recently released.
6. What are your traditions for the holidays
Our holidays revolve mostly around family and food, as they do for most Portuguese families. I spend Christmas holidays running around Portugal in order to meet everyone. The 24th I spend with my mother’s family and the 25th with my father’s family, both at the respective grandparents’ houses with all the cousins, aunts etc.
On the 24th is served codfish for dinner. Not long after, around midnight for some and at one o’clock (after mass) for others, a big supper is served, with loads of sweets and turkey. At the same time, kids get their Christmas gifts, which they will usually find by their sock or shoe. Adults also exchange gifts among themselves.
The 25th is also traditionally celebrated both at lunch and dinner, around the table! For me, I usually head back to Lisbon, with my parents and sisters, right after lunch (which is not very elaborated as at that point everyone is pretty much racing to get somewhere else). We always meet with my father’s extended family for dinner and usually have turkey with chestnuts, rise and spinach. Gifts are exchanged afterwards.
With family and great food, can there be anyone who does not like the holidays?
For new years’ I don’t really make big plans. If I happen to be invited for a friend’s house for a long weekend or so, I might go ahead and do that. Otherwise, I’d rather stay at home by the fireplace with a nice glass of wine than make extravagant plans to go to an overpriced place with lousy loud music and bad drinks! Clearly, I don’t care much for New Year’s Eve, although I will certainly take up any opportunity to spend quality time with friends and family.
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