Saturday, 18 December 2010

Email List Building for Bloggers

This isn't so much a review as a recommendation to read the series of blog posts about List Building for Bloggers (#LBB)  written by Phil Hollows, the Founder and CEO of FeedBlitz .  This is an alternative to Feedburner for pushing out RSS feeds to subscribers which I use.

This series of posts are designed to:
  • help you get the most benefit from your blogging 
  • harness the power and capabilities of email and social media communications network - together with your blog - to build a list of followers.
These are the posts to date on the Feedblitz blog:

Get the basics in place first
  1. Why aren't Email Lists Dead in the Age of Social Media?
  2. Lists, Email Marketing and Your Blog
  3. Five Key Steps to Grow Your Blog's Mailing List
  4. Growing Your List: Accelerating Subscriber Growth
  5. Growing Your List: Improving Engagement
  6. Avoiding the Spam Trap 
Optimisation of your Mailing List
  1. Mailing List Underperforming? Optimize it with these Tips!
I've been reading them as they've been published and, while I wouldn't necessarily follow all the advice, there's lots and lots of good content and reminders of things you know but forgotten.

Friday, 10 December 2010

Book Review: Color and Light by James Gurney

Color and Light by James Gurney
I've studied colour and light over the years and have many books on this topic.  However I've never ever come across a book which tackles this topic in such a comprehensive and authoritative way as James Gurney's new book Color and Light: A Guide for the Realist Painter.

Here's my review of this brilliant new book - which in my honest opinion is set to become a standard for all artists working in the realist tradition.

Title: Color and Light: A Guide for the Realist Painter  by James Gurney
Synopsis:  This is a comprehensive art instruction book about all the important aspects colour and light for students of art and those wishing to improve the quality of their painting in any media. It addresses the FAQs about these topics raised by painters and illustrators. 
Summary review: HIGHLY RECOMMENDED - This is a book for students and improvers and all those who want to know more about colour and how light and colour interact - in life and in a painting.  Practical application of the lessons learned is made possible through a very accessible text coupled with excellent use of images and graphics.  Coverage of this topic is comprehensive.
Highlights
  • comprehensive, informative and stimulating - about every aspect of colour and light relevant to the realist painter
  • James' style is very accessible - succinct and informative and avoids being unnecessarily technical
  • knowledgeable overview of the use of colour and light in different traditions and painting movements
  • he simplifies complex topics.  Enough information is given to enable the reader to grasp the point being made but not so much that it overwhelms the reader
  • useful review of the different types of colour wheel - excellent graphics
  • an excellent and systematic analysis of the properties of pigments (in an appendix)
  • interesting recommended reading list - not one you'll have seen before!
Think Again?
  • Not as technical as those who love the in-depth aspects of colour science might like - however all important aspects are covered in a very accessible fashion
Who should buy this?:
  • artists using every type of media
  • art students needing an excellent primer about colour in every aspect
  • particularly relevant to painters working in the realist tradition
  • those who don't like instruction books which are dumbed down or ignore important areas of knowledge
Who should not buy this?
  • People who like step by step books - because it's not one
  • People who like pointers on "how to mix colours" - because it doesn't do this
Author / (Publisher): James Gurney / Andrews McMeel Publishing LLC
Technical data: Publication Date: 30th November 2010
Paperback -  224 pages;

Let me be very clear on this point.   This book comes very highly recommended by me.  

I've not come across any other book which covers this topic in such breath and depth and makes it accessible as well. 
  • I've got ones which are more technical - but they're much less accessible. 
  • I've got ones which are as accessible - but they don't cover as much as he does
The major plus point about this book is that it is comprehensive and accessible art instruction of a very high order
  • It does not attempt to dumb down or omit important aspects of the way in which colour and light function and interact. 
  • It articulates very clearly how you can make choices about how to use different features of colour and light in a painting.
I am so confident about the impact of this book that I am happy to predict that if you buy and study this book your paintings will improve.

You can get an overview of what the book covers by reference to the Table of Contents.

There's so much one could say about this book - one could write a small book!  The table of contents gives you the headings - the summary below is what they actually mean in practice.  Here then are some of the more specific highlights of this book and reasons why it makes a good buy.

This book explains:
  • how outdoor studies of colour and light and plein air painting influence great studio paintings
  • how to look for sources of light in the paintings of others - in order to better understand their impact
  • how colours respond to different types of light - and why red looks good in a painting
Light and form
  • what are the different types of lighting and how it impacts on form
  • what's the best type of lighting for different subject matter
  • how light impacts on colour saturation and detail
  • five general truths about reflected light
  • what are the different types of shadows - and how they behave
  • how to simplify form in the context of the way light hits it
  • how a subject's material and ability to transmit light impacts on colour and light effects
  • how light and shade can add value (and drama!) to design of a composition
Elements of colour
  • the different types of colour wheel
  • the different types of colour
  • the characteristics associated with different types of colour
  • what a chroma value chart looks like
  • how greys and neutral colours can be your best friend
  • tips for handling greens (and reds and pinks!)
  • how tints and gradations are created
Paint and pigments
  • the different - and important - characteristics of pigments
  • how pigments can be charted
  • why painters start from underpaintings in an opaque colour
  • a simpler way of achieving an effective sky gradation
  • how you can create glazes
  • different ways of organising paint on a palette
  • different types of limited palettes
  • how to create mud
Colour relationships
  • the value of monochromatic colour schemes
  • the effect of colour temperature on the viewer
  • what are warm and cool colours and how to use them
  • the different ways of mixing colour
  • how a triadic colour scheme works
  • the value of the colour accent
Premixing
  • how to make a colour string
  • the value of premixing value steps
  • why it's important to leave out colours
  • what's the saturation cost
  • how to create a gamut mask
  • how a colour scheme can have a shape
  • how to create your source colours
  • what pushes you to identify accents
  • why a colour script is useful
Visual perception
  • how tonal and colour information gets processed
  • what can help create a more effective nocturne
  • how edges vary in different lighting conditions
  • why Goethe was wrong
  • how to isolate a spot of colour
  • schemes which describe how colours influence one another
  • colour associations and their impact on our psychology
  • how transmitted light works and what its impact is
  • what subsurface scattering is and how it works
  • the different colour zones if the face
  • how to create convincing hair
  • what a caustic reflection is and how it is generated
  • three rules of specularity
  • the different types of highlights - and how they work
  • how to use photographs more effectively
Atmospheric effects
  • how the color gradations work in a sky
  • the impact of atmospheric perspective on colour
  • what is reverse atmospheric perspective - and how it works
  • why painters prefer to work at dawn and dusk
  • how to paint sunsets from observation
  • techniques for painting rainbows
  • why transparency is important when painting trees
  • how sunbeams and shadowbeams work - and when to use them
  • the shape of dappled light
  • three rules of cloud shadows
  • how the lighting and colour of the foreground influences design and focus
  • why the age of snow makes a difference
  • reflections, refraction and shadows on water - and why they are different
  • how the behaviour of water impacts on colour and light
Now I'd extremely surprised if a lot of this is not entirely unknown to self-taught painters.  Much much may also only be a vague memory to those with fine art degrees - assuming they were ever taught it in the first place!

I first commented on Color and Light in MAKING A MARK: "Color and Light" and Making a Mark.

.......and finally

James Gurney's first art instruction book was published in 2009.  A year ago I published my review of it - see Book Review - Imaginative Realism by James Gurney

Note:  I was sent a review copy of "Color and Light" by James Gurney. 

Sunday, 21 November 2010

Online publishing platforms - the numbers compared

This post focuses on the relative traffic, size and impact and reach of the different online publishing sites.   This is because many artists now like to be able to publish their artwork or sketches in books and some also publish art instruction online. 

Online publishing platforms

I'm focusing on three publishing platforms.  Their own descriptions of themselves are quoted below.
Make your own book with Blurb online. Create photo books, wedding books and more. Design and publish professional quality books to keep, give or sell
Lulu.com brings the world of online book publishing to you. Looking to self-publish? Lulu's print on demand (POD) solutions make it quick and easy. Create a book in minutes, publish with the click of a mouse, distribute, sell and print books to order. It's that simple.
Explore a world of publications by people and publishers alike. Collect, share and publish in a format designed to make your documents look their very best.
Below you can see what the unique monthly visitors are for the different sites when their website URLs are plugged into compete.com - a site which provides comparative site profiles.


Comparison of the USA traffic for three online publishing sites: issuu, lulu and blurb
Compete's data comes from a statistically representative cross-section of 2 million consumers across the United States who have given permission to have their internet clickstream behaviors and opt-in survey responses analyzed anonymously as a new source of marketing research.  compete.com
These stats came as a bit of a surprise to me.
  1. I'm surprised that Lulu is about twice as big as blurb.  I knew it was bigger but not that much bigger
  2. I'm amazed at how just how big Issuu is and will be seriously looking into this as a vehicle for publishing my work in future.  Capturing the corporate audience with repeat readers is obviously an excellent way to grow your business.  It remains to be seen whether it does the same for independent publishers.
Bear in mind that
  • the above are predominantly statistics for an American Audience. 
  • You only really begin to get an appreciation of the global audience for Issuu in the Quantcast pages (see below) - and that's because it's so big.  
  • The US audience for Issuu is only around 25% of its global audience.
This is what each of the sites look like on Quantcast which is one of my favourite analysis sites in terms of a demographic analysis of visitors by sex, age group, earnings and college education status.  It appears to indicate that each of the publishing sites appears to attract the same sort of audience for their services.

Click the link in the title to see the full Quantcast page.

Blurb on Quantcast - ranks 7,096 in USA




Lulu on Quantcast - ranks 2,740 in USA


Issuu on Quantcast - ranks 158 in USA



In conclusion:
  • Issuu is HUGE compared to the other two platforms - but only delivers online publications
  • If you want to have your book or publication about your artwork found online by readers independently of your website or blog then you need to look very seriously at issuu
  • If you want to produce a physical copy of your book for distribution to clients or galleries then you're better off looking at Blurb or Lulu.
This is a very much a first look at these three sites in comparison to one another.  I'll be revisiting them. 

What do you think?

In the meantime if you've got experience of any of the three sites and would like to share your experinces please leave a comment below.

Friday, 12 November 2010

New colours from new pigments

Winsow and Newton have published an article about the new pigments which they have introduced in recent years in Why are new pigments so important?.  This succinctly describes the origins, pigments used for and performance of the new colours.
By the 1990s there were so many new organic pigments available that Winsor and Newton embarked on some far reaching reviews to ensure artists would be able to enjoy everything from entirely new colours to greater brilliance and permanence. Almost 200 new colours were introduced over the following 15 years and this process is still continuing today.

1996 Winsor and Newton embarked on the most significant change to the Artists' Water Colour range in 164 years. The availability of so many new pigments meant that 35 new colours were introduced into the range, offering artists the widest and most balanced spectrum with the greatest permanence.
They key issue has always been about how to balance transparency with lightfastness.  Older pigments frequently had one but not the other and the challenge has been to develop new pigments which provide quality performance across the spectrum and over time.

Winsor & Newton Watercolour Chart 2010 - see Catalogue 2010

The new colours covered in the article (click the link at the top to read it) are listed below.  The new pigments which are most prominent in the ones listed below are the quinacridones and the perylenes.  I was pleased to note that there is now a permanent carmine based on Quinacridone pyrrolidone.  Apparently it's still so new that it does not have a colour index number as yet!

The acronyms after their names are for Artists watercolours (AWC) Artists Oil Colours (AOC) and artists Acrylic Colours (AAC)

Yellows: 
  • PY184 -  Bismuth Yellow (AWC*, AOC*, AAC*)
  • PY150 -  Transparent Yellow (AWC), Indian Yellow Deep (AOC), Nickel Azo Yellow (AAC)  
Orange:
  • P073 -  Winsor Orange (Red Shade) (AWC), Winsor Orange (AOC), Pyrrole Orange (AAC)
Reds:
  • PR255 -  Scarlet Lake (AOC), Pyrrole Red Light (AAC)
  • PR254 -  Winsor Red (AWC), Bright Red (AOC), Pyrrole Red (AAC)
  • PR264 -  Winsor Red Deep (AWC)
  • PR209 -  Quinacridone Red (AWC, AOC, AAC)
  • Quinacridone pyrrolidone - Permanent Carmine (AWC, AOC)
  • PR206 -  Brown Madder (AWC), Quinacridone Burnt Orange (AAC)
  • PR233 -  Potter’s Pink (AWC, AAC)
  • PR149 -  Winsor Red Deep (AOC), Perylene Red (AAC)
  • PR179 -  Perylene Maroon (AWC, AAC)
Violets:
  • PV29 -  Perylene Violet (AWC, AAC)
  • PV15 -  Ultramarine Violet (AWC, AOC, AAC)
  • PB74 -  Cobalt Blue Deep (AWC, AOC, AAC)
  • PB60 -  Indanthrene Blue (AWC, AOC, AAC)
Greens:
  • PG50 -  Cobalt Turquoise Light (AWC, AOC, AAC)
  • PY129 -  Green Gold (AWC, AOC, AAC)
Earths:
  • Mixture due to replacement -  Quinacridone Gold (AWC, AAC)
  • PBr7 -  Brown Ochre (AWC, AOC)
  • PR101 -  Caput Mortuum Violet (AWC), Mars Violet (AOC), Violet Iron Oxide(AAC)
Black:
  • PBk31 -  Perylene Green (AWC, AAC), Perylene Black (AOC) - the first new permanent black for thousands of years!
Below are links to the various colour charts for artists colours which can be seen online

    Thursday, 11 November 2010

    More about Lightfastness

    As manufacturers begin to appreciate that lightfastness does matter to artists, we're beginning to see more and more information published by those that make the art materials we buy

    I just want to highlight today a couple of examples:
    • the new Love Pencils - the Derwent blog created by the Cumberland Pencil Company has a post Lightfastness Testing Revealed!  about how they test for lightfastness
    • Schminke - who make pastels I use - have a two page leaflet about the processes they use when creating art materials (see lightfastness.pdf available to download as a pdf file).  In it you can see an example of the blue wool cards used as a quality control by many companies manufacturing art materials.  This gives you a very good display of just how much fading happens in those actually graded 'lighfast' at levels 5 and 6 - and just how much disappears at the lower end of the scale.  
    Seeing real blue wool cards like this - and how dramatic the fading can be - is what woke me up to the cause of lightfastness.  I now aim to use only pencils which meet levels 7 and 8 (ie 4 star and 5 star pastels and pencils).

    Extract from Schminke Leaflet - Lightfastness – A Measure of the Durability of Artists’ Colours (pdf file)
    I also learned something new from the Schminke leaflet and that is lightfastness levels MUST always tested on the finished product as the mediums which combine with some pigments can result in colours which darken.

    You can read and learn more about lightfastness on two of my resources for artists sites:

      Friday, 5 November 2010

      Which is the most helpful art business book?

      Over on my "resources for artists information site - The Best Art Business Books - I'm running an opinion poll to try and get different artists' perspectives on which art business-related book you find the most helpful. 

      Not that there can be any one book which suits all artists - because everybody has their own individual needs and preferences.  However, it is interesting to know which are the ones which people have found more helpful.

      One of the reasons for doing the poll was to also highlight these books which I've found are so very often get buried in art bookshops and on Amazon. 

      However it's not had a lot of responses to date - so I thought I'd highlight it here too.  So here's the LINK to the opinion poll - Which is the most helpful art business book?

      Which art business book have you found most helpful?

      The books listed (alphabetically) in the poll are:
      Do please comment below if there is a book you'd like to particularly recommend.

      Links:

      Saturday, 30 October 2010

      How to create a Lazy Susan Coloured Pencil Holder

      Lesley Crawford's Lazy Susan Coloured Pencil Holder
      courtesy of David Crawford, Janie Gildown and Barbara Newton
      all photos copyright Lesley Crawford
      This post describes yet another way coloured pencil artist Lesley Crawford has found to store her art materials.  Earlier this month this blog has a post about Storage for Unison pastels.  This post is about how to create a "Lazy Susan" pencil holder for coloured pencils.

      How many times do we see great ideas for helping us sort out our studio in books?  But do we all put them into practice?

      Like many coloured pencil artists, Lesley likes to have all her art materials and storage sorted while working in her studio.  She used to have problems with tins and boxes of coloured pencils all over her desk.  They took up too much space.  Plus she also didn't like the way she had to shuffle through pencils bunched together in jars, especially when the shorties fell to the bottom!

      Then she saw the Lazy Susan Pencil Holder - as pictured in the Colored Pencil Solution Book by Janie Gildow and Barbara Benedetti Newton.  She asked her husband David if he could work out how to make the pencil holder from the picture!

      This is her explanation of how it came about once David had studied the picture and worked out how to make it.  Thanks to Lesley and David for both the story and the pictures - and thanks to both Janie and Barbara for the inspiration!

      Instructions for Making a Lazy Susan Pencil Holder
      Here's the instructions for making a pencil holder.  It's very simple to make.

      The starting Point - a wooden Lazy Susan

      Materials:
      • Lazy Susan (a circle of wood on a small circle of wood joined by ballbearings so that it spins round - available from kitchen shops).  The one we bought is 14 inches in diameter - see right.
      • Timber 35mm x 14mm - from DIY stores, very cheap.  Usually comes in lengths of around 2 metres.
      • Small hinges and screws
      Tools:
      • Saw
      • Drill and bit
      • Screwdriver
      Instructions for how to make a Lazy Susan Pencil Holder
      1. Cut the timber into 165mm lengths.  (Please note that this is what fitted my lazy susan.  If yours is a different size you need to adjust this measurement)
      2. Choose a drill bit that is slightly larger than the diameter of your pencils.  Put a piece of tape around the bit 30mm from the tip - this will prevent you drilling through the bottom of the wood, and will make all the holes consistently deep.  Drill one hole and check that a pencil will fit, if it is tight then use a slightly larger bit.  Drill a line of holes along the narrow side of the wood, with a slight  space beween each one - I got 14 holes per strip.
      3. Join two pieces together with a hinge as shown
      4. Make as many units of two pieces of wood as you need.   
      5. Sort your pencils out as you want them to be arranged, and write the names  on the wood with indelible ink - ballpoint pen fades over time.
      Paired strip joined by hinge - open to show the names of the pencils
      Paired strip folded and sitting on top of the Lazy Susan
      - and the  Pencil Holder has started (repeat as required)
      This then held all my original set of Derwent pencils.  However as my collection increased, it got a bit crowded, so I cut a piece of plywood into a circle of 18 inches in diameter, and screwed four small blocks on it so that it would sit tightly on top of the original lazy susan.

      I now have 11 units of paired strips, holding a total of 308 pencils - all in a footprint of 18 square inches.  I have my complete sets of Derwent Artists, Faber Castell Polychromos and Prismacolor Verithins, plus a few odds and ends from other sets.

      In the centre is a tub which holds tools, erasers, blenders etc. 

      You can keep the whole thing on the desk, or lift off as a unit off to use separately.  The pencils are always in the same order so you soon get to know where they are, and it is easy to put your hand on exactly the one you need.

      If you've got a good solution for storage 
      or anything which is a cost-effective solution for anything to do with art 
      DO let me know by leaving a comment and a link or contacting me (see right hand column). 
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