Mantofa Articles Directory

For the past two decades, Victor Lysakov’s modern expressionistic art could only be found at international exhibitions, in private collections or inside his own painting studio in Moscow, Russia. The renowned artist holds a vault containing hundreds of masterpieces. For the first time ever, 40 of these prolific pieces have been released to the American public.

For art enthusiasts living in or traveling to California, a side trip to the first exclusive Lysakov gallery in Pacific Grove is a worthwhile detour. For those outside California, never fear - your local fine art gallery may soon display Lysakov’s art on their walls. A distinct group of hand-selected galleries nationwide have been offered the Lysakov Distributor opportunity; your neighborhood gallery might be one of them.

Named one of “The Best European Artists,” Lysakov has participated in several prestigious exhibitions and auctions in Russia, Poland, Germany, Sweden, Austria, France and Italy. Using oil or acrylic on canvas, Lysakov prefers brilliant, unmistakable hues - his color palette is very distinct. Each painting is its own unique creation and exudes a certain depth. New or seasoned, trusting or suspicious, frightened or fearless, the artist challenges you to grow bored with his paintings.

The local mayor, savvy art collectors and local design firms have unanimously agreed that Lysakov’s art rivals paintings found in upscale metropolitan art galleries in San Francisco and New York. In what the company considers a groundbreaking revolution in modern art, Lysakov’s work is not entirely subjective. A captivating story accompanies each image, giving the viewer riveting insight on the artist’s muse.

At first glance, the modern expressionistic work of Victor Lysakov might invoke an unexpected reaction - curiosity, mystery and even fear. But after closer inspection, the eccentric becomes extraordinary and the weird, wonderful. Lysakov challenges the viewer to conquer their fear - paintings should not be scary. “They merely depict life,” he says. “Sometimes the scariest things in life are the most trivial ones.”

He began experimenting first with watercolor, but now paints almost exclusively with oil or acrylic on canvas. Though never classically trained, Lysakov studied Rembrandt’s and Bryullov’s techniques. A self-taught artist, he read books incessantly, and spent hours upon hours in museums.

Born in Siberia in 1952, Lysakov discovered his artistic talent at a young age. “It was when I was six years old that I realized, for the first time, that the most natural and the most fitting way for me to carry on a conversation with the world was through the visual language.”

In early adulthood, Lysakov veered off the creative path and focused on a more traditional education - engineering. In 1975, he earned his MS in Physical Chemistry from Moscow State Institute of Steel and Alloys. In the decade following, he established a successful career in various military machine building plants. At one time, he was even accountable for over 700 employees under his command. In 1984, he attained his Ph. D. in Technical Sciences from Lomonosov State Institute of Fine Chemical Technology in Moscow.

Lysakov’s paintings range in image size from a humble 14×14 to a majestic 58×50. All are offered at an extremely low edition size of 395 Signed and Numbered (S/N) and 30 Artist Proofs (A/P) giclee canvas prints.

Giclee (pronounced zhee-clay) is a French term roughly meaning “spray or squirt” which refers to the digital printing process. During printing, millions of microscopic droplets of ink per second are applied to the print media. A giclee is a high-end fine art print often recognized as the next best thing to owning the original.

Artists at all levels and in a wide variety of media are creating prints using giclee technology. Buyers, attracted by the high quality and dynamic reproduction of giclees, have triggered a giclee explosion; while the fine art print market increases by about three percent annually, the giclee market is growing at more than 60 percent annually. In a $2.8 billion print market dominated by lithographs and serigraphs, giclees now total $160 million annually - and growing. According to CAP Ventures, digital fine art is expected to reach a retail value of $600 million by 2007.

Lysakov Art Company, Inc. is located at 305 Forest Avenue in charming Pacific Grove, California, in the heart of one of the nation’s art capitals: the Monterey Peninsula. On-site, the 4000 square foot facility houses the corporate offices, publishing headquarters and the first-ever exclusive Victor Lysakov Gallery.

Heather Neal is the VP of Sales and Marketing for Lysakov Art Company, Inc., the exclusive publisher for renowned Russian artist Victor Lysakov. For more information please visit: http://www.lysakovartcompany.com.

“Any work that aspires, however humbly, to the condition of art should carry its justification in every line.” - Joseph Conrad

When you finally decide on a course of action, all the usual psychological blocks are bound to occur. Where shall I begin? Have I a right to make a choice, based on any sensible guides? Is a piece of ceramics a work of art? Is a piece of Tiffany glass? Is a rug designed by Matisse? Should I buy a painting… a print… a drawing?

There is no crystal-clear answer. As I have tried to indicate in foregoing chapters, you are dealing with your own personal reactions, as well as with certain rules and laws which are vague, at best.

One of the first muddles that need clarifying is the sharp line often drawn to set off arts from crafts. I cannot see why these two should be so summarily opposed to each other. How can anybody decide at first blush that a man who has a sense of form, an eye for color, and a definite quest for the beautiful is producing only a vessel - if he spins a lovely pot on his wheel, applies glowing glazes, and fires his work to produce a handsome jar glowing with a jewel-like finish? Yet there are critics and collectors who would dismiss the man’s work with a snobbish shrug that it is a fine example of the potter’s craft… but as a work of art there is no room for it.

Why, I ask, this strange, if fine, distinction? Is it because the jar is intended for functional use and the higherbrows believe such a pragmatic approach precludes it from joining the upper world of “fine arts”?

Let us go back almost 3,000 years to a Greek potter in his workshop as he formed a vessel for oil or wine. The term “vase” is now applied to most of the early Greek ceramic pieces; but their original purpose was functional… for everyday use. On such vases we see indications of an entirely new way of looking at things by the artist. He was no longer hidebound by the old style he had inherited from earlier Egyptian forms. Yet there was still the same regard for a sharp outline and exact symmetry. So vases from this period are not only valuable for their beauty of color, dimension, and proportion; they are esteemed for their obvious role in shaping a new course for the artist to follow as he broke the shackles of a hardened past. Yet it is clear that the objects as originally created had a humble purpose indeed. Such intent has not lessened their artistic validity or value.

Let us go even farther back into history. Museums which own objects from the Sumerian period display them proudly. In the University of Pennsylvania Museum there is a gold cup used by Queen Shu-Bad of Mesopotamia. It has a graceful form, a delicate gold color, and intricate decorative fluting. Obviously it was designed to provide the queen with a drinking vessel. Is it therefore less beautiful than it would have been had it lacked practical purpose?

The same will naturally apply to the pottery tomb figures of the Ming dynasty in China… to T’ang glazed pottery… to the heroic bronze cats and baboons of the Egyptians. Recently I saw a cover design for the bulletin of the Museum of Fine Arts in Boston, showing a drawing of an Incan Empire Poncho, made about 1500. It was an almost pure design… with cubes of black and white. At the top was a reverse triangle of deep brown. I have seen many paintings of the abstract school which could have hung side by side with this poncho reproduction.

So I say: judge by the results and forget the notion that one can always erect a false fence to separate the beautiful from the functional. If the object is beautiful to you, then it is worthy of your collector’s eye and instincts. This attitude can open up many new fields to you - for example, the folk arts.

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When Albrecht Durer died in 1528 he left some 80 paintings, over 100 etchings, about 200 wood carvings and 800 drawings behind as his cultural legacy. His artwork has deep stories and hidden inner meanings of which many have only been theorized on. Below are some of his works and the theories on the meaning behind them.

Knight, Death and the Devil (also known as The Rider):

An engraving carved in 1513 by Durer, Knight, Death and the Devil, also known as The Rider, represents an allegory on Christian salvation. Unflustered either by Death who is standing in front of him with his hour-glass, or by the Devil behind him, an armored knight is riding along a narrow defile, accompanied by his loyal hound. This represents the steady route of the faithful, through all of life’s injustice, to God who is symbolized by the castle in the background. The dog symbolizes faith, and the lizard religious zeal. The horse and rider, like other preliminary studies made by Durer, are derived from the canon of proportions drawn up by Leonardo da Vinci.

The Knight and the Landsknecht (Soldier Servant):

This woodcut was created in about 1497. It has been suggested by Friedlander (universally recognized as the greatest expert on Dutch and German paintings) that the subject is Saul on the way to Damascus to pursue the Christians who had fled Jerusalem.

Three Peasants in Conversation (Marketplace Peasants):

This scene has been connected by a number of commentators to the peasant uprisings of the period. It should be remembered, however, that Durer’s wife Agnes sold her husband’s woodcuts and engravings in a stall in the market square of Nurenberg , as well as at the fairs in other cities. Peasants were ever-present at these events, as vendors as well as buyers. The sword which the pheasant uses for a cane is similarly used as a satirical accessory in Martin Schongauer’s engraving, Pheasant Family Going to to Market.

This engraving is related to the Sol Justitiae and to the Rustic Couple in technique, especially in the horizontal shading devoid of crosshatching.

The original plate was sold to Prince Dolgorouky, a Russian collector, in 1852. Its present wherabouts is not known. An impression of this engraving is on display at the Museum of Fine Arts in Boston.

Peasant Couple Dancing (also known as Dancing Peasants):

There are different views and theories on what Durer intended by this image.

Koehler describes this print succinctly as follows: For individuality and for the happy expression of a transient mood in face as well as pose, these Dancing Pheasants are quite as much without rivals in Durer’s oeuvre as knight, Death, and Devil.

Wolfflin comments that in spite of the elephantine stamping of their feet, the impression and the form are magnificent. The pheasants are not shown sneeringly as earlier, but as a character study.

Tietze finds that the group fills the picture area in a magnificent manner and, in spite of the massiveness, a feeling of their being swept off their feet is conveyed.

But Panofsky, in contrast, commented that it is a spectacle of statuesque heaviness and immobility; unambitious in content.

Evelyn Whitaker writes articles for German Toasting Glasses http://www.german-toasting-glasses.com which specializes in custom engraved wedding gifts from Germany.

Drawing has been around for centuries. In fact, wonderfully vital drawings and paintings by primitive peoples have been discovered, which proves that many thousands of years ago the art of drawing was there, innate, in mankind. Everyone can draw, for it is an inherent human trait far more natural than writing.

Unfortunately most people lose this power as they grow older, or rather it is overlaid by more complicated mental processes. It needs only the desire to reawaken it and the courage to proceed and rapidly the power to express what one sees, in drawing and in paint, comes back again.

So take courage and go ahead.

The first thing to get is a sketchbook: not too big a one but a handy pocket size that you can carry about at all times. You can of course buy a children’s drawing book for a few cents, but this has a flimsy cover and has to be folded or rolled to carry, and that spoils the page, so a sketchbook with thinnish cartridge paper and a good stout cover is the best investment in the end. See that the paper is not too thick or too rough in surface. Nothing harder than a 3B pencil is much use. Get a black Conte crayon or black chalk pencil with the wood round it, for this is the kind of pencil that will give you most satisfaction in sketching. Of course you will need a razor blade or sharp penknife because the breaking of points is a very frequent occurrence. Do not sharpen the pencil to a fine point - just a blunted point.

Now you have your sketchbook and your pencil, what are you going to look for? What are you going to start on? Don’t start straightaway on a landscape. Just focus your attention on a few simple things that are before you in the room you are in. Something the shape of which attracts your interest, say a decanter, or a wine glass, or a vase of flowers. Draw a definite shape on the blank page of the sketchbook with a firm, thick line - say a rough oblong. Count this as your picture space: into this defined shape you are going to put your drawing.

Then begin with the part of the selected object that interests you most. Perhaps it is the bulge of the decanter - boldly draw the curve of the right-hand side and then look across and draw the corresponding curve of the other side; then go upward to the lip and the stopper, drawing first one side and then the other; then look at the base, the dark curve where the decanter rests upon the sideboard. You now have the shape of the object - then relate this to the glass that is near it; notice the size of the glass in relation to the decanter and repeat the process, taking into account where the two objects are placed in your oblong space.

Continuing to practice these techniques will help you get a grasp for the way drawing should feel and ultimately look.

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Although watercolor painting is many centuries old, its application as we know it today is fairly recent. Used in the past by the Egyptians on papyrus and by the Chinese on silk, it gradually evolved to become an important medium on paper. Its original use on paper was to elaborate upon line drawings with monochromatic washes. Color followed, with the line still used for drawing and modeling of form.

It was not until Winslow Homer appeared that watercolor became a medium to be handled directly on the spot in a broad manner. While these early watercolors were used as a means of study from nature for subsequent oils, they came to have all the power contained in the heavier oil medium. Watercolor continues to be a medium that lends itself readily to painting on the spot, and working directly from nature is the most vital part of learning to handle it, aside from the original intention of studying the various aspects of nature. It is only alter a long period of outdoor study that a reasonably convincing watercolor can be made in the studio.

If you have worked in oils, you will find the knowledge you have acquired in painting with this heavier medium very helpful in doing watercolors. Experience in drawing and composition, and the training of your eye to see color, will all stand you in good stead. Now all you have to do is master the technique of handling watercolor!

To acquire this technique requires much practice. When working in oils you could finally arrive at the desired effect by much mixing of color, scraping the canvas for a fresh start, and making changes by the application of an opaque color over a previously painted area. Now you must work more directly. The beauty of watercolor lies in its fresh, transparent effect, and the approach must often be one in which the value, color, and drawing are accomplished in a single operation. However, while this is the ultimate effect you may want to achieve, a subject can be painted by separating these important ingredients into progressive stages.

The paper upon which you work is also a vital factor in imparting luminosity to a watercolor painting, because the whiteness of the paper showing through the transparent color aids in establishing a brilliant effect.

The novice has a tendency to work with too small a brush on an equally small surface. I advise you to work with as large a brush as possible and to do your early work on a half sheet rather than a quarter sheet. This will help to prevent a niggling or timid approach; the larger brushes and working size will force you to work more broadly. Later, when you have acquired more technical facility, you can work on any size.

Though preliminary drawing is always stressed, as you progress you will undoubtedly want to try other methods, possibly painting a subject directly with color or combining watercolor with other media. You will find that watercolor is an excellent medium for experimentation.

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Experience has taught us that certain combinations of colors, whether in nature or art, affect the eye and mind agreeably, while others give offense. We call the former “harmonies,” the latter “discords.”

Just as numerous attempts have been made to discover the laws of light and of color vision, and to invent practical systems of color measurement and notation, great effort has been expended in trying to ferret out the reasons why some combinations of color are pleasing and others are not, and to devise laws to insure harmonious color employment. We have finally learned, however, that even if it were possible to grasp all such reasons, workable laws guaranteeing immunity against chromatic discord still could not be devised.

In view of the contrary claims of some writers, we offer the following arguments to substantiate our statement.

First, as we have demonstrated, colors change in effect according to their environment, each hue being modified by those adjacent to it. Color harmony is not merely a matter of selection, therefore, but also of arrangement a fact not nearly as commonly recognized as it should be. A color scheme extremely pleasing to the average person can become, in rearrangement, positively disturbing. Arrangement obviously cannot be controlled wholly by rule at least in representational paintings.

Area, like arrangement, influences color appearances, as we have seen. Harmonious schemes can often be made discordant, or at least uninteresting, simply by increasing or decreasing certain color areas. Of course, the reverse is also true. It is easy to see that a small spot of vivid red, which delightfully reinforces, through contrast, a large area of bright green, might, if sufficiently expanded, rival the green, causing a disturbing division of interest. But there are no arbitrary rules to be followed with regard to area and color harmony.

Nor are there definite laws governing the use of such phenomena when alternating bands of complementary colors were viewed from a certain distance. Yet effects such as this are capable of making some schemes disagreeable and others pleasing or telling.

Texture, although not a quality of color, is another influence that can seldom be ignored. In architecture and decoration, for example, materials harmonious in color often show textural inconsistency or discord. A mere coating of varnish, changing dull woodwork to shiny, can be enough to upset a scheme completely. Even in painting pictures, textural harmony is almost as important as color harmony the two are closely wedded yet there are no clear cut laws.

Color fitness or suitability must also be considered, as must that ever present matter of personal taste. After all, who is to say which colors harmonize and which do not? We have all seen that changing fashions can have a considerable effect on the average person`s ideas of what colors are or are not attractive and suitable for particular purposes, especially in relation to women`s clothing and interior decoration. There are also, as we are all aware, attitudes toward particular colors and color combinations that stem from temperament, national traditions, climate, environment and other unpredictable factors.

This should be enough to warn the student against the exaggerated statements of writers who claim or imply that their methods or systems of obtaining color harmony are infallible or universally applicable. Printed laws and clever devices designed to reveal color schemes can certainly be of help, but only in a very limited way.

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If you are looking for a new hobby or are a nautical enthusiast, you may consider making model sailboats. But how do you get started on such an endeavor? Following are things to keep in mind while you research this past time.

Unlike most hobbies, ship model making requires few expensive tools. Almost every household, no matter how small, harbors the beginnings of a fine model maker`s tool kit. The rest can be made, improvised and bought as the work progresses.

Most important of all tools to the maker of ship models is his knife. It may be anything from an inexpensive pocketknife to a high grade wood carver`s tool. Price and handle style are unimportant as long as its blade is sharp and strong and comfortable in your hand.

Now that you have the tools, you are ready to get started. When you have obtained the plans for your ship model, your first job will be to construct the hull.

If your model is to be a replica of the original, its hull, above all things, must be carefully shaped according to the accurate hull lines given in the drawings. To do this in the quickest and easiest way, you must follow some standard method of procedure.

Simplest of all standard methods of model hull construction is the “bread and butter method of lifts. This particular method gets its name from the fact that lifts of wood, cut approximately to the various horizontal sections of the hull, are placed one on top of the other and glued together. When first assembled, the side of a glued up “bread and butter hull resembles a series of narrow steps.

Once the “bread and butter lifts of your hull have been assembled, you are ready for the roughing and final shaping. However, do not pass over the cutting of your lifts lightly. The more accurate you are in cutting them to the exact lines of your plans, the easier it will be to get the finished effect that is necessary if your model hull is to look real.

Of course, it all depends on how much time you want to spend making your model sailboats as to how much detail you add.

You can get down to the smallest detail if you have the patience to do so. You can leave your model as a non working piece of art or go all the way and make it a fully functioning model sailboat, complete with rigging and pulleys. It is your model sailboat and you should enjoy making it.

After you have finished construction on the model sailboat, you will want to decorate and finish it. In applying the decorations and finishing touches to a model, the craftsman should be guided by the type, nationality and period of the ship. If your plans do not give the exact coloring, look up a historical description of the vessel.

To obtain a weathered effect on the sails, they can be dipped in coffee or tea or they can be painted or sprayed with a thin stain or lacquer. On models of very old ships, some model makers feel that it gives the rigging a touch of realism to slit the mainsail and neatly “repair the damage with a needle and thread. Such forms of decoration must be subtle, however, or they will ruin the entire effect of the model.

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Are you thinking about getting a tattoo? With the rising popularity of tattoos in North America, chances are that at one time or another you have considered getting a tattoo. Before getting a tattoo, however, it is important to fully understand the process so you can assess the risks and make sure that you end up with a tattoo that you will be happy with for years to come.

What is a Tattoo?

You of course know what a tattoo is, that is why you want to get one. You may not be sure how a tattoo is created, however. Despite what it looks like, a tattoo is not drawn onto your skin. Instead, a tattoo is created by using an electric tattoo machine to inject pigments under your skin. The fact that you are having implements put under your skin means that getting a tattoo can be risky.

Making Sure Your Tattoo is Safe

You can be exposed to a number of health risks when getting a tattoo because the process involves breaking your skin. This leads to two possible problems: infectious diseases and allergic reactions.

The most significant risk in getting a tattoo is catching a blood-borne infection such as tetanus or hepatitis, or even HIV, in the worst situations. You run the risk of becoming infected if an instrument is used on you that had residue blood on it from a previous patron who carries a blood-borne infectious disease. While the potential of contracting a fatal disease just to get a tattoo may seem scary, in reality the risk of catching an infectious disease can be largely minimized in professional tattoo parlours. This is done primarily through the exclusive use of single-use tools. This means that blood will not be passed between patrons.

A less significant risk is that the trace metal elements in the tattoo pigments, particularly in red and green pigments, will cause an allergic reaction. While obviously not as serious as contracting a communicable disease, having an allergic reaction to the tattoo pigment can cause the skin around the tattoo to swell up and become itchy, and even to start to ooze fluids in more serious reactions. While allergic reactions are rare, if you have sensitive skin and are concerned about a potential reaction, have your tattoo artist to first do a spot test to ensure that you are not allergic to any particular pigment.

Finding a Good Tattoo Artisit

The most important step in finding a good tattoo artist is to look through their portfolio and make sure that their style and skill is up to your standards. You will have this tattoo for a while, so you need to be comfortable that your tattoo artist can create something you will be happy with. For a safety reasons, it is important to make sure that you only use tattoo artists that are fully licensed in your jurisdiction. Because they are licensed, they will likely have gone through a series of courses on the importance of cleanliness and hygiene. Do not, however, just rely on their license. Make sure that their studio is professional and clean. If they have a messy workspace, they will probably not be as concerned about cleanliness as they should be.

Are Tattoos Forever?

While tattoos will fade over time, this is a very drawn out process that cannot be relied on to quickly remove a tattoo. That means, in order to avoid embarrassment, make sure you only get a tattoo that you will be happy having for the rest of your life. Of course, in egregious situations, a laser treatment can be used to accelerate the natural fading process. This process, however, is not perfect, requires repeated visits to the technician, and in rare situations can even cause permanent scarring. Which is all to say that it is easier to make sure you will be happy with your tattoo before you get it.

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So you’ve always wondered what it would be like to be an artist and show and sell your work around the country at weekend art shows. Here are some tips that can increase your chances of succeeding.

1. Visit the Art Shows First -
You may not always have the luxury of visiting each and every art show before you apply for acceptance. After all, if you visit before applying, you’ll have to wait another year to participate (if you are accepted) and most of us are not that patient.

However, when you can visit the show first and talk to participating artists, you will get a feel for whether or not this is a show in which you wish to participate.

Be up front with the artists that you talk with and ask a few questions. Most will be happy to answer your questions if they sense your honesty and sincerity and you don’t distract them from those who visit their booth. After all, they are there to show and sell their work, not to act as your show researcher.

With their permission, ask how long they have been doing these types of shows? Is this considered a good show? Was it hard to get in? Is the fee reasonable? How is the attendance? Are the show hours long enough, too long, or just right? Was the set-up and take down schedule suitable? What do you like about this particular show? What do you not like about it? Do you plan to return next year?

There are a number of other questions that could be asked, but please respect the artist’s time.

Some events that bill themselves as art shows or even arts and craft shows end up with a lot of questionable “art” booths that are not really art at all. If the “art” show has more than it’s share of artists who make foam rubber alligators on a coat hanger or rubber band gun crafters, it’s probably not that high quality of art show. That is not to say that there is not a place for these products.

There are many large festivals that attract huge crowds that have all kinds of vendors from artists and crafters to cosmetic salespeople to sausage-on-a-stick vendors. Don’t knock these venues, just be aware that you will encounter a lot of folks at these events who may have little or no interest in your art. The good thing is that you will encounter a lot of folks and sometimes that’s what it takes to find a few gems who will make your efforts worthwhile. I have experienced successes at both types of venues and I have come up short on occasion, as well.

On the other hand, a juried event will elevate the level of quality work that is shown, which should attract an audience that has a greater appreciation for art. It may reduce the number of attendees, but those who do attend may be a more “qualified” audience. By qualified, I mean that they not only have a greater appreciation for art, but hopefully the means to purchase it if they like it.

Once you have determined that you want to participate in a particular show or festival, here is what I think is vital to your success both as an artist and as a businessperson.

2. Have a Consistent Body of Work -
Even though you may be good at every artwork you ever produce, your audience of potential purchasers/collectors will likely identify you with a particular subject, a color, a style, a medium, a method of presentation, etc. Show a lot of whatever you enjoy doing the most and a lot of what seems to be connecting with folks the most.

A bunch of random paintings of various subject matter with no distinctive style or color pallet in cheap mis-matched frames will not likely hold a potential buyer’s attention for long, even if the paintings are good. A hodge-podge of sculptures that look like they were made by ten different sculptors will not likely enhance your reputation. This randomness does not help to identify what you are all about.

I’m not advocating that you never try anything new or experimental, but you must make your art memorable to gain any kind of following. Consistency is the key. Look at the work of some of the more successful artists that you admire. What ties their work together and identifies it as their own? Subject matter or theme, style (the way they paint or sculpt), choice of colors used, size, framing? Any and all of these characteristics may apply. Don’t copy their work, but learn from it.

If you are doing work that connects with an audience, folks will seek you out to buy your art, even after the show is over. It’s happened to me many times.

3. Have Varying Price Points -
Whether you choose to show only originals, or limited editions, or a combination is often dictated by the show guidelines. Sometimes, it is entirely up to you. If you have a body of work that connects with viewers, it obviously would be desirable to sell some of it.

If you limit your offerings to large, expensive (whatever that means to you) original works, your potential market will be smaller and you will eliminate a number of folks who, otherwise, might like to purchase. That may be OK if your work is selling for the prices you want on a regular basis.

However, my experience is that having artworks at several price levels makes it possible for purchasers/collectors to enjoy ownership of some of my art in the “now” until they are ready to move up to more collectable, thus more expensive and profitable, pieces.

This might be achieved through offering a number of sizes of original works, offering print or sculpture editions in two or more sizes, having some limited editions and some less expensive open editions, or even offering gift type products such as note cards or calendars with your art reproduced on it (if the show allows it).

While it’s true that some will never purchase anything of significance, others may use this as a stepping stone to begin their collection of your work to whatever extent they can afford.

Your job after that purchase is to keep these lower end purchasers (as well as all of your purchasers) informed about you and your art through mail outs, newsletter, website, newspaper or magazine articles, or however you can to let them know you appreciate their business and look forward to seeing them someday own some of your better art pieces.

They are more apt to desire to own more of your art when you show your appreciation for their purchase and they know more about you and your progress as an artist.

4. Have a Clean and Attractive Display Booth -
There are a few generally accepted artist booth set-ups that are used at most quality shows. The standard size booth is often a 10×10, so many canopies, or tents, are made to this size. EZ Up, Flourish, ShowOff, and a few others seem to be the most popular.

As your inventory and sales increase, you can always add on for a double booth space, when available. Though some brands of tents come in a myriad of colors, a white top is recommended.

Some shows won’t accept anything else. Choose the one that suits your budget and make sure it has adequate sidewalls and leg weights in the event of inclimate weather. If you show long enough, you will experience inclimate weather.

The actual racks that you hang your work on or use as a background might be metal grid type panels such as those made by Graphic Display Systems, or carpeted type panels such as those made by Pro Panels, or mesh netting made by Flourish.

Get what you can afford and upgrade as sales allow.
An indoor/outdoor carpet or other ground covering is a nice added touch if it enhances your booth and does not distract from your art.

Have a focal point in your booth, a “whopper,” a signature piece, or something that stops the show attendees in their tracks so that they will want to come in and see what your art is all about.

I hang a matted and framed 24×36 limited edition of my signature piece above a custom made credenza (that is on wheels, but the wheels are camouflaged) right in the middle of the back wall of my booth.

This popular image is what I am most identified with as it has become my best selling print. Since I have started doing this, I have seldom failed to sell one of these framed prints. The credenza also tastefully displays very small pieces such as note cards, hand painted tiles, and a guestbook for addresses and e- mail addresses (my favorite way to contact folks).

Inside the drawers of the credenza are my change (keep adequate change), sales tickets, credit card forms (in my opinion you must accept credit cards for higher end items), tape, string, insect repellant, business cards and brochures, and extra hang tags for my framed pieces. Underneath are unframed prints ready to replenish my print rack when one is sold.

All of my work that is hanging is framed (with the exception of an occasional gallery wrap canvas) in similar style frames with brass nameplates to enhance the value and identify the title of that piece. All unframed prints are sleeved in clear bags that have an adhesive flap to seal them and placed in a browse rack.

Have a tool box to contain such items as pliers, hammer, nylon connectors, wire, duct tape, clamps, small broom and other miscellaneous items that you may need over the course of the show.

Once you have shown a few times, you will get an idea of what items are useful. Keep this and anything else that might distract from your art out of sight as much as possible.

5. Give Your Potential Customers Room -
I have noticed that more people will actually come inside my booth exhibit and look longer if I stay outside my booth until I sense an interest in my work. I try to be very attentive, but I will only approach a visitor when I sense some kind of interest, however slight.

Do not block your entrance by positioning yourself and your staff or friends and family where no one can walk in and look around. Even if there are two of you and each is sitting at the side near the front of your booth, there seems to be an invisible barrier through which visitors will not pass.

I have seen other ideas of where the artist(s) position themselves to encourage better “booth visitation,” and in a larger booth than 10×10 I could see where sitting over to the side at the back of the booth might work well.

However, in my own personal booth I don’t want my face to compete with my art. At this point, I am only incidental to the art.

I created the art and I answer any questions and take the money. Otherwise, I don’t want to get in the way. Yes, I want the customer to remember me, but I first want them to see my art. When you make a sale of any significance, follow up with a handwritten thank you note.

Showing and selling your work at outdoor art festivals is hard work often accompanied by some expensive lessons. However, when you finally make that connection with folks who like your work and are willing to part with their money to own some of it, the rewards can be great, both financially and artistically.

Neil Lemons represents The Texas Artist Industries a professional eight year-old Texas fine art painting company. For more information, visit http://www.atexasstateofmind.com.

Welding is the process of getting metal surfaces to join together by using high heat to melt them together. Vices are often used to hold the pieces of metal until they have molded together. Welded metal is very strong and it is often hard to tell if two pieces of metal have been welded together. This process of welding is used in industry all the time. It is much stronger than solder or other joining techniques.

There are many types of welding. Forged welding was used by blacksmiths to put two pieces of metal together. They would get the metal hot and use a hammer to make it go together. This is believed to be the first type of welding ever used. Arc welding is commonly used today for construction and in home workshops. This type of welding uses a power source to make an electric arc.

Spot welding is a form or resistance welding. This is commonly used in businesses and on sheet metal. This type of welding allows you to weld a particular spot that other types of welding can’t get done without getting the entire surface area hot.

The type of welding you will use depends on many factors. The important thing is for the weld to be amazingly strong. Factors to consider include the amount of heat needed to get the materials hot enough, the design of the material, and the design of the joint. It is important to test the strength of the weld. Not all metals hold a weld very well. Steel and sheet metal work best.

Since you will be working with heat and often with metals that have sharp edges, it is very important that you wear heavy gloves and eye protection when you are welding. You should also wear long sleeved clothing to prevent burns. You should only use welding equipment after being properly trained in how to operate it.

Metalwork is the art of making various objects out of metal. Most metalworkers are also called machinists. They make pieces of structures or machine parts also called metalworking. This is quite a complicated job that requires patience, precision, and some concrete math skills in geometry. Luckily most machine shops have computers that will do most of the calculations for you.

There are many types of skills a metalworker needs to have to be able to design all of the various structures and machine parts needed. Milling is the process of removing the unneeded edges of a piece. Turning involves using a lathe that spins; the metalworker gets to shape the metal as it spins. Cutting involves using various tools depending on the cut you want and the type of metal you are working with. Drilling is the process of creating holes in the various machine parts. Grinding will help remove sharp edges giving the machine piece a smooth finish.

Depending on the reason why you are creating the metalwork, it may be necessary to use casting methods. Welding is commonly in metal working as well. This is a trade that requires you to have various skills with tools and knowledge of how those tools can be used on various types of metals.

It is important to be safe doing metalwork as well. The metal used is often scrap metal that was discarded so wear gloves to protect against sharp edges. Make sure you know how to properly use the metalworking tools. You should always wear eye protection to prevent getting pieces of metal in your eyes. Metalworking fluids should only be used in a well ventilated area with gloves to prevent a reaction to your skin. Stop working with metalwork fluids if you develop bronchitis, asthma, or respiratory problems. To prevent them, consider wearing a respiratory mask.

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