Here's some photos of Susan's studio below.
This building we built as a studio so it has 14' ceiling and much bigger
North window, though we wish we could have put the window even higher
than it is. In this first photo you can just see in the upper left
corner, the 650 watt light with a soft box on it that Susan uses to
light models. It is on a large boom with wheels so she can move it
around the studio and even have the light from directly above the model
if she chooses. The model stand is also on wheels and and I built it
with storage underneath for draperies, etc. The model in this photo is
Hope Clure, one of our favorites!
Some of your charcoals appear to be done
with a brush, how is this effect achieved?
For a more painterly effect, I sometimes do my
charcoals on watercolor board or paper. I pour a pile of ground-up vine
charcoal (you can buy a jar of pre-ground charcoal for a couple of
dollars at most art stores) onto my watercolor palette and then use a
brush and water to "paint" with it in exactly the way I would
with watercolor. Once it dries, you can soften edges by rubbing it with
a paper towel or your finger, erase out with a kneaded eraser (more so
on watercolor board, and less so on paper, which absorbs the charcoal
into the paper and won't lift as easily), and draw on top of the dried
brush strokes with vine charcoal in the traditional manner. I've even
done a few of these on gessoed boards. The nice thing about this method
is that you can cover large areas very quickly as well as more painterly
than with a stick of charcoal alone.
I've also tried using acetone to apply an
initial abstract tone to the paper and then work into this (Richard
Schmid uses this technique to great effect). The advantage of acetone is
that you can use it on thinner paper since it evaporates so quickly that
it won't warp the paper and can be lifted off more easily when dry. The
disadvantage is that it is very
toxic and you have to use it outside, which makes it only appropriate
for an initial tone. I switched to water so I could use the brush
throughout all the stages.
Of course, this is just one technique and is
mainly suited to the studio. I'd say the vast majority of the charcoals
I do in the field and of figures are still simply done with medium vine
charcoal and a kneaded eraser.
Why do you both do so many more small
paintings than large ones?
Actually, I'd say that Susan and I spend about
fifty percent of the time working on larger paintings. But because
larger paintings take between one to two weeks to complete and a smaller
painting just a day or two, the actual number of small paintings we
complete far outnumbers the larger paintings. Plein-air landscapes are
even faster, and it's pretty common on a trip to do two or even three a
day. For example, I'm now finishing up a 44" by 42" painting
that's taken me all week, as opposed to the previous week we spent
painting in Maine, where I did eight small paintings on the spot.
Do you use a medium to create thick
Susan and I use odorless mineral spirits to clean our
brushes and to thin our paint down a bit for initial washes, but just
use the paint straight without any medium for the rest of the painting.
The way I get such thick brushwork simply has to do with laying out lots
of paint and really loading up my brush. I will even mix up large piles
of the various colors I'm using in a painting with my palette knife so I
will have plenty of paint to work thickly with. I'll also save all my
palette scrapings and make piles of grays that I'll use in mixtures in
What brand of paint and colors do you use?
Both Susan and I are always trying new colors
and brands, but, for the most part, we use Windsor Newton and Rembrandt oil paints. On trips we sometimes use water-based oils,
acrylics, or gouache (usually only a red, yellow, blue, and white to save
space in our backpacks). Even in the studio, in fact, I'll often do
limited palette paintings where I choose some sort of red, yellow, blue,
and white to work with. One of my favorite combinations is Ivory Black
(which works as the blue), Yellow Ochre, and Cad. Red. It can be very
instructive to try different combinations like this since it forces you
out of your habitual color mixing patterns. It is also fun to choose a
pure color for one of the three primaries and then a grayer version for
the other two since this will automatically force your painting to have
Here's a list of what I and Susan most often
use in the studio.
(Windsor Newton) - Cadmium Yellow Light, Cadmium Lemon, Cadmium Red,
Permanent Rose, Alizarin Crimson, Viridian, Cobalt Blue, Ultramarine
Blue, Ivory Black.
(Rembrandt) - Transparent Oxide Red, and
The linen I use is Clausen's double primed
Belgium linen - medium-all purpose texture. I order this canvas glued to
Gator Board, both for plein air painting and in the studio even for
large paintings. For overseas painting I sometimes get the canvas
applied to a very thin media board so they take up less space. I get
these panels from Wind River Arts
these places also sell the acid free glue
and everything separately if you want to do it yourself and save some
When money used to be a big issue as a student
and for a few years after, I commonly worked on gessoed or shellacked
massonite and various canvas panels. I used to take illustration and
watercolor boards other students had thrown out and gesso these to have
something inexpensive to paint on. Susan
likes a smoother textured linen. On trips we work on Shellacked Museum
boards of various colors because they're so light and easy to pack, or
the canvas on the media boards.
You can seal museum boards with either shellac or
polyurethane. Make sure they're museum boards and not matt boards (which
are acidic). Museum Board is just like matt board and is mainly used to
create mats for museum quality artwork that needs to be framed with
materials that are acid free and who's colors won't fade.
We order them through art supply catalogues but if you're in a big city
with a good art supply store, they'll probably carry them.
These are so thin and light that you can easily take as many as you want, plus the fact that they come in many different colors, which can also be fun to experiment on. With a razor and some tape you can easily construct a cardboard slot-box to hold the wet sketches and then simply stack the ones that have dried. I've also occasionally used gouache and acrylics with this setup and then you don't even have to worry about them drying. You might think that 6" by 8" is very small, but you can easily get all the info you need to do a larger painting in the studio. Besides, if it's the choice between nothing and 6" by 8", which would you choose?
Nowadays we mainly work on canvas that is glued to a thin
media board from Wind River Arts or SourceTek
Brushes - mostly flat and filbert bristles with
several long, soft-haired smaller brushes for details. I have no
particular brand that I prefer and mostly just buy whichever is on sale.
Various sized palette knives from giant down to
Newton or Rembrandt) - I use pretty much all the same colors as in oil
with the addition of Sap Green, Olive Green, Burnt Siena, Burnt Umber,
and others depending on what the subject. The reason for this is that
the colors on the oil palette above are sufficient to mix just about any
color necessary while in watercolor this is not always possible.
Brushes - my oil brushes (thoroughly cleaned
with soap and water) as well as some flats watercolor brushes of various
sizes. I think you will be surprised at some of the wonderful effects
you can get with the use of bristles for watercolor!
There are so many great surfaces to work on in
watercolor that it's hard to pick just one - my favorites tend to be
cold press boards, heavy weight papers, and Bristol board.
Pastels - I
use both Rembrandt and Senelier and work on watercolor board, sand
paper, or pastel paper.
Varnish -- after at least 3 months of drying,
we varnish our paintings primarily with brush-on or spray Liquitex
I use a Hughes easel that is counterbalanced in
the back with weights so you can move large paintings up and down without
the use of cranks. They are a bit expensive but worth it especially for
large paintings. I ordered mine through
Wind River Arts
Do you have any specific suggestions on equipment
for travel and painting in the field? e.g. a minimal list of oil
paints, size of canvass, a paint box.
There are basically four different setups I use on painting trips, each
one becoming progressively lighter and simpler. Which one of these setups
I choose basically depends on where we're going to be painting. The first
one consists of a full-sized French easel, a large palette that folds up
onto itself like a suitcase, and a backpack that holds about twelve oil
colors, my brushes, palette knives, solvent jar, paper towels, and
canvases. I use this setup when we're painting within the US, have a
rental car, and aren't going to be hiking long distances to find our
subject matter. This is perfect for plein air shows like the Laguna Plein
Air Painters of America and the Plein Air Painters of America show in
Catalina. In both instances I simply pack everything up into a large
cardboard box and ship it UPS to the hotel I'll be staying at, avoiding
all the hassles of checking it through on the airplane. This first setup
is also ideal for local landscape painting or driving trips. It's nice
having all my brushes, colors, and a large palette when doing larger
My second setup is for places where you can't
ship your gear ahead and where you might be doing quite a bit of walking
to find your painting spot - National Parks, Europe, etc. For these sorts
of trips I usually substitute a large poshade box (Susan and I use the
Open Box M
model) that holds all the paints, brushes, canvas panels, and other equipment compactly in one, easily carried unit.
Sometimes I just take the palette section alone in my backpack to save
weight. The palette itself attaches to a tripod on the bottom so I can stand and paint with it, or simply sit with it on my lap or at a table (this is perfect in Europe where you can sit at a cafe and paint while sipping tea!). I don't usually do anything larger than 12" by 16" with this setup and most of the paintings tend to be around 9" by 12". Everything fits nicely into a backpack with just enough room for a camera and jacket.
Now for places that are a bit off the beaten path
like the trips we've taken to China and Nepal. Since you really need to
travel light in such places, I use our third setup which consists of a
very small pochade box, three or four brushes, and only four tubes of
water-based oil paint (red, yellow, blue, and white - Hobein's DUO brand).
We use the water-based paint since it is nearly impossible to track down
acceptable paint thinner in such places, plus the fact that you'd then
have the extra weight of carrying a jug of it around with you. Each time
you fly to a new place within the country, you'd have to find a new source
since paint thinner isn't allowed on planes. Water can be found everywhere
and it makes cleanup especially easy. This box can also be attached to a
tripod, but I just set it on a table or my lap. I have several
pochade boxes, but the one I use the most is made by Alla Prima Pochade http://allaprimapochade.com/
This is the 10" by 12"
"Bitterroot" box from http://allaprimapochade.com/
with a 6" by 8" painting on it and can handle up to 12" by
16" canvases. I also use the open box M setup which has a bit larger
of a palette and can hold larger canvases, and a very small 6" by
8" box that is very small and is good when you are traveling by
Here's Susan using one of the Open
Box M setups. Open Box M
Essentials also has a nice, inexpensive plein air easel and tripod as well as
other art supplies, panel carriers, one of the best umbrellas for your easel,
For plein air
painting, this website sells a very good umbrella for attaching to your
easel. It folds up very small, can be bent easily in different
directions and has vents at the top to let wind through so it doesn't
take off into the air as easily. http://www.pkorch.com/
My last setup isn't really even a setup, just my sketchbook, a few pencils, and an eraser. This is great when you want to do some serious hiking or are just sick to death of carrying all your painting gear. For most of the time in Nepal, for example, when we were trekking up into the Himalayas at high altitude, my sketchbook was all that I needed or wanted.
As to what specific easel or pochade box, etc.,
I'll leave that up to you. I have been lucky enough to paint with many of
the best plein-air painters around and each has their own quirks and
equipment that suits them. Most have a few different setups like I do,
with the common element being smaller and lighter for far-flung trips and
more elaborate setups when doing large paintings within this country. When
in doubt, I'd go with the smaller and lighter setups since there is
nothing more frustrating than struggling to haul all your equipment down
street after cobble-stoned street, with that magical aura of old-world
beauty obscured by the sweat pouring into your eyes. Believe me, I know!
Lay out your paint before setting out and, if at all possible, at the end
of each painting. That way you can just open up your box and get started
when the creative juices are flowing. I'm sure I don't have to tell you
how frustrating it is to be fussing around trying to lay out paint while
that gorgeous, magic-hour light is disappearing!
Wear a dark, neutral T-shirt if painting out in the sun since the strong
rays can bounce off a brightly colored shirt and either color your canvas
or create glare on your darker brushstrokes.
If the wind takes your finished masterpiece and dumps it into the grass,
gravel, or sand, wait till the painting is dry to brush all the dirt and
gravel off - it will be a lot easier then and you'll be surprised at how
little damage will have been done. Heck, I think a few bugs and gravel in
the paint makes it that much more authentic.
Who hosts your website?
Do either of us have an instructional book or
Click here for
here to order Susan's book, Visions and Voyages
Figure Drawing - 4 hrs $110
Colors" - 6 hrs $195
Fire Lit" - 3 hrs $95
Your Artwork -
2 hrs 20 min - $75
Click here for
Can you critique other artist's work through
I just can't give critiques over e-mail for many
reasons. One is time, but the main one is that it's too easy to confuse
someone when you aren't in front of the actual model and I can't
illustrate my points with paint. Just saying the values are wrong or
something else is meaningless unless I can show you in detail the proper
way of analyzing the subject to solve the problem. I am trying to give as
much info through the demos on the website and plan to add a lot more to
this section when I get the chance.
Someone said you do all your own work on your
site. Do you have a PC or a Mac? What software program do you use to
update your site?
I have a PC. It really doesn't matter much
which kind of computer you use. Things have advanced so much that even the
cheap ones have more than enough memory and ram for simply building a web
page. If you
use a laptop, then I would suggest hooking it up to a monitor when making
your color adjustments to images. I have lots of friends who use Macs as
well, I just started with a PC so have stuck with it since all my programs
are for PCs.
Before 2003 I shot mostly negative 35 mm pictures
(with my very old, manual Nikon) and scanned them in with a slide/negative
scanner. The 35 mm scan still gives you as much information a good digital
cameras (around 4000 by 6000 pixels). If you're just wanting fast shots
for your webpage, go for one of the cheaper digital cameras rather than
the high end, since web images are so low resolution that you don't need
that much. As of 2009, I use a Nikon D80 digital camera that is
our main camera now, though I still shoot a 4" by 5" transparency of
larger paintings as well.
Photoshop to crop and adjust the images for the website. Most important to learn is levels
and curves (the white point eyedropper is great if you have a color card
with your painting when you shoot it since you only have to click once on
the white square to clean up most color casts), sharpening, resizing, and
then compressing your image for the webpage (Save for Web) -- I usually
use a setting of JPEG 70 for paintings and 50 for photos of painters (120
is the highest), which gives a small enough file that will load quickly on
To build the webpage itself I use Front Page 2000
(around $200 when I originally bought it in 1999). Nowadays there are tons
of other programs to choose from so I can't really give advice on this
since I don't know the new ones.
hosting service is Wyenet
The price varies depending on the amount of
bandwith you use. As more and more people visit the site, it's easy to
slowly increase the amount you need. Bandwidth basically just means the
total amount of Bytes of information that is transferred from your site to
all those who visit it for that month. If you have music or video, for
example, this will use up a lot of bandwidth since those files are very
The main thing is to simply get some books from
Barnes and Noble or Borders on your programs and just spend an hour or two
each day learning the programs. You should have the basics down in no
time! Hope I haven't made it seem too complicated, because it really
isn't, once you get going.
Several questions on shows -- what judges look
for, how to deal with the depression of loosing, etc.
Just remember that whether you win or loose a show, the painting hasn't changed. If it's good, it's still good, and if it has problems, no amount of awards will fix it. Concentrate on those things you can control, like drawing, value, color,
edges, and your creative vision -- the rest will eventually come if that is your focus.
When you do get into a show, it can certainly work as a motivating factor
to do something especially ambitious, knowing that so many people will see
it, but just ignore the awards since they are merely one person's opinion
and, had someone else been the judge, there would have been a different
winner. Personally, I prefer shows without awards myself, since it's more
about simply showcasing everyone's uniquely personal paintings without
trying to turn art into a sporting event.
I hope you don't mind my
asking but how would I go about applying to some good galleries.
This is a complicated one, but since we've gotten
so many e-mails on this subject, I'll do my best to answered all the
ins-and-outs of getting into and dealing with galleries!
Approaching galleries. The
first thing to keep in mind about this is that most galleries have several
dozen artists a week asking them to look at their work. If you're mailing
in your slides and want them back, then make sure to include self
addressed and stamped envelope and even then there's no guarantee they'll
be retuned so never mail off slides that are your only copy. Some
galleries have a specific day and time set aside to consider new artists,
while others have no problem looking at work if things aren't busy at the
time. Slides are a good, portable medium, though hardly anyone ever
bothers to actually put them in a projector and see them larger, so I
personally prefer a few larger printouts as well as one or two originals
if you have any available that aren't too large. (I wouldn't walk into the
gallery with the originals, however, but wait until the gallery owner
agrees to see them).
It's a balancing act, really. Galleries need
work to sell, but would all prefer to have the most established artists
possible since they already have a name and can sell for higher prices.
There are a limited number of such artists, however, so most galleries try
for a couple of these and then look around for the best up-and-coming
artists to fill in the rest. It's kind of ironic. I've actually had
galleries asking me to go with them when I told them that I just couldn't
go with another gallery (even without them having heard of me or having
seen my work!). They must have figured that if I didn't need another
gallery I must sell well enough for them to want me in their gallery. Had
I approached them and asked to show my work, they probably would have been
much less excited. What I'm trying to say here is not to seem too
desperate. You are interviewing them as much as they are you.
Finding the right gallery for your work is not
always obvious. The first gallery I sold work at was called the Paintin'
Place in Oak Park, IL. I sold my work there from $75 up to $150 while I
was a student at the American Academy and they did very well for me. At
that time in my development it would have been counterproductive to have
been in a bigger gallery. Even if I could have convinced one to carry
my work, do you really think they would have tried selling a painting for
$75 when they had paintings for $7,500 on the wall? To that small gallery
my paintings were expensive and a good profit so they hung them in a
prominent place and worked hard for me. When first starting out in
galleries I see many artists make the mistake of going too big too soon.
Assess where you are honestly -- what is your name recognition, your price
range, what galleries your work will fit in with according to style,
medium, and subject, etc. The number one most important thing is how
excited the gallery owner is about your work. Even once you're well
established, if the person selling your work is cool to it, this will be
conveyed unconsciously to the buyer and you won't sell. Better to be in
the frame shop down the street with someone who loves what you do.
One final tip. I would check out the art
magazines or ask the galleries you're interested in if they have any group
shows (many have annual miniature shows with artist that aren't normally
with their gallery) that you might send them one or two paintings for as a
try-out. If your work is received well, then you can talk about possibly
going with the gallery on a more permanent basis. This is much easier for
a gallery to do since they aren't committing so much space and time and
money to ten or twelve paintings. If their collectors don't buy one
painting at a show it's much less work to ship back than a dozen so you
have a good chance of them saying yes to such a limited proposal. I've
known many artists who started out this way.
The Business End
- Once you've found a gallery that
you like and that likes you, the negotiations begin. First is commissions,
which run the gamut from 50-50 and all the way down to a 15% commission
for the gallery for really high priced and well know artists. Most artists
I know give 40% or one-third to their gallery. Sometimes this will depend
on whether the gallery is paying for the advertising or splitting it with
the artist. Generally, the higher your prices and the more in demand you
are, the lower the commission, but this should never be your sole criteria
when choosing a gallery since there are so many other factors to consider.
I feel that the galleries I'm with earn their commission and I'm happy to
After your schooling, what did you do to become
Was it mainly applying to shows, or trying to get articles written in
magazines? Or was it because of the shows publicity that magazines
discovered you? I am currently an art student, and there really
appear to be a lot covered on this aspect of art.
To be absolutely honest, I think that the key to
popularity as an artist is mainly devoting yourself to your craft and
improving your paintings. Everything else will follow from that.
"Popularity" is a fickle thing and something you cannot control.
Don't try and change your style or subject matter to simply get into shows
or magazines that you think will help you. In the end, the most important
thing is that you are happy with your work.
As to getting into magazines, it is entirely up
to magazine editors who they choose to do articles on -- sometimes they
see your work in ads, or at shows, or in galleries, or hear about you from
other artists. My advice is to not worry about things like that which you
have no control over. Once a magazine asks you to do an article, then it
is very important to be professional. Get your materials in on time, have
professional quality photographs at the ready, etc. I've known
several artists who've actually turned down articles because they had
neglected to shoot photos of their paintings and deemed it too
much of a hassle to try and track down the paintings to have them shot for
an article. Magazine editors have an enormously complex job so if you make
it easy for them to do an article on you, you'll likely be asked again.
But, again, if your work isn't what it should be, then no amount of
lobbying or anything else will get you into shows or magazines.
Below is a standard gallery contract with some of
my comments in red. Feel
free to copy and paste this contract into your word processing program and
use it as a starting point for your own contract.
Agreement is made between *****
(hereinafter refereed to as the "Artist"), and the undersigned
Gallery or artist's representative (hereinafter to as the
1) The artist appoints the recipient
as an agent for the sale of his/her paintings and promises to supply the
recipient with a sufficient number of paintings to satisfy demand. The
recipient wishes to represent the artist under the terms and conditions of
2) The recipient will supply a
consignment agreement to the artist each time new works are received by
the recipient, showing paintings title, size, and the artist's given
retail price (gallery may not raise this price without written permission
from the artist). This last part is
particularly important. Don't let your different galleries set different
prices -- keep them consistent no matter where they are and don't discount
them if you sell them yourself, either. The Art world is a small place and
collectors and galleries will find out and feel cheated. The couple extra
bucks you'll make won't be worth the long-term damage to your reputation.
I've had galleries try and sell works above my price so they could simply
keep the additional amount secretly, so it is a good idea to have someone
go in and check that the prices are correct if you aren't certain of the
3) The artist's retail price, less
the recipient's commission of one-third (33.3%) will be remitted to the
artist within thirty (30) days of the date of closing the sale. The title
of those works remains with the artist until the works are sold and the
artist is paid in full, at which time the title passes directly to the
purchaser. Even after sale, the artist retains all reproduction rights to
the painting and it is the responsibility of the gallery to advise all
buyers of this fact.
4) In the case of installment sales,
the artist's two-third (66.6%) of payments shall be forwarded to him
each month. Layaway sales shall not exceed six months without the artist's
written consent. The painting will remain in the possession of the
recipient until full payment has been received.
5) A copy of the sale's invoice on
each painting, showing the name, address, and phone # of the customer and
the retail amount paid, shall be attached to the remittance of the artist,
who agrees not to share this information with any other gallery. Galleries
might be reluctant to give you the collector info until you are
established, for fear that you'll try selling directly to their clients
behind their backs (sadly, there are some artists that have done this),
but I think it's essential to have a record of where all my paintings go.
Once you establish your reputation, though, it shouldn't be a problem. One
added bonus to this is that you can send out a thank-you note to the
collector that includes the Title, size, and price of the painting,
insuring that if the gallery did jack up the price, you'll get a call from
6) The recipient will assume full
responsibility for the painting as well as the frame. It is the
responsibility of the recipient to repair or replace any frame that is not
in the condition it was received.
7) In the event that a customer
declines the frame, a maximum of five percent (5%) may be deducted from
the artist's given retail price or whatever price in specified in writing
on the consignment agreement. The recipient's commission is then
calculated on the retail balance. The frame remains the artist's property
and it is the recipient's responsibility to return it to the artist.
8) The recipient will assume full
responsibility and be strictly liable for any consigned works lost,
stolen, damaged or destroyed while in the recipient's possession.
9) Works by the artist owned by the
recipient shall not be displayed for sale against works by the artist on
consignment. This keeps the gallery from
buying your paintings themselves and then putting it up for sale at a much
higher price, effectively getting a much higher percentage commission on
the sale. I once had a gallery owner's son buy a painting and try and sell
it for four times the initial amount. The collector called me and I left
the gallery. Some artists like to stipulate that the gallery cannot carry
resales of their work in galleries that represent them, since collectors
might not realize they are resales and be fooled into thinking they are
buying a work at the artist's current prices.
I sometimes have galleries request
to simply buy my paintings directly for the 60% up front, which I won't do
because I know they will simply sell it for much more than I would have
and I will ultimately end up with a lot of cheated and angry collectors.
Once again, think long term! Galleries do still buy paintings from us at
full price from our other galleries and then resell them for more, but
this cannot be avoided and buyers simply have to be aware of buying
resales from galleries not representing you directly.
10) The artist may withdraw any or
all works consigned on thirty days notice. The recipient may return to the
artist any and all works without notice. The artist shall be responsible
for shipping works from his/her studio to the recipient. The recipient
shall cover the cost of returning and properly insuring unsold works to
the artist's studio.
11) The consigned works will be held
in trust for the benefit of the artist and will not be subject to claim by
a creditor of the recipient.
12) The artist represents and
warrants that the consigned property is the original work of the artist
and that sale of the property does not violate any property right or
copyright and does not contain any libelous or unlawful matter.
This agreement will terminate on
written notice of either the artist or the recipient.
Upon termination, all of the
artist's paintings will be returned to her studio within thirty (30) days
at the expense of the recipient. All accounts will be paid in full within
thirty (30) days.
Consented and agreed to:
Gallery or Company
One further note on having a painting on
Consignment with a gallery.
When a gallery sells a painting that is been
consigned to them by the artist, the law states that they are not allowed to
use the artist's percentage of the sale for anything either personally or in
regard to their business. The money is just as much the property of the
artist as the painting had been. I've had times when galleries have told me
they were struggling and just didn't have the money to pay me. I've known
other galleries that went bankrupt and tried to get the artist to deal with
a mediator to accept less money than they were owed.
Don't let yourself be fooled that you are in the
same position as other creditors. If a gallery went out of business you
would expect to get your unsold paintings back from whomever seized the
gallery since they are still your property, just as the money from a
consigned sale has always been your property. If the gallery claims they
don't have the money to pay you, it is no less than an admission of theft of
your property (exactly as if they'd stolen it from your bank account). Such
an admission is grounds for criminal prosecution of the gallery owner. Make
sure they know you are aware of this and will be pressing criminal charges
against them. There is nothing like the threat of criminal charges to focus
the mind of a gallery owner and get them to find the money they've stolen
from you. Do not sign any agreement from a mediator and let yourself be
treated like a normal creditor because you will have given up your right to
press criminal charges and may never get paid at all.
Do you have models sign release forms?
We haven't always done this in the past, but I now
have models sign the form below (mainly so I don't have to track them down
in the future if I want to use one of the paintings I do of them in a book).
In fact, we just got a release form for Susan and her niece, Erin, to sign
since Richard Schmid is going to use a couple of paintings he did of them at the Palette
and Chisel for a new book. Of course it is impossible to get releases from
all the people we take photos of in Africa, Tibet, etc. but such is the risk
of trying to paint in the world of Land of the Lawyer. Feel free to copy and paste the below form into
your word processing program and print it out if you need a Model Release
for your own use -- just don't forget to change the names from ours to your
__________________________________________ , hereby consent and authorize
___SCOTT BURDICK and SUSAN LYON__________________ and his or her successors,
legal representatives, and assigns, to use and reproduce one or more
photographs, drawings, paintings and/or portraits of me and to reproduce my
name (or any fictional name) for any and all purposes, including publication
and advertising of every description. No claim of any kind will be made by
me. No representations have been made to me.
hereby warrant that I am of legal age and have every right to contract in my
own name; that I have read the above authorization and release prior to its
execution and that I am fully aware of its contents.
(Parent or guardian if subject is under 18)
Here's some books bellow that Susan and
I'd recommend. Some are simply names of artists we like and some are
technical painting books. If we knew the name of a specific book and where
to get it, we included that info, if not, we simply gave the name of the
artist. Please don't flood us with e-mails asking where to get all these!
I'd suggest doing searches on Amazon and used book sellers since many of the
books in our own library are out-of print and we're always on the lookout as
well. There are no doubt lots that we're forgetting and we'll try and add
them to this list as they occur to us.
Gallery of Fine Art,
West Bend, WI
The Art of Scott L. Christensen-
Edgar Payne 1882-1947 and
Edgar Payne Composition of Outdoor Painting-
J. W. Waterhouse
Art Spirit- Robert Henri
Carlson's Guide to Landscape Painting- John
George Carlson - www.georgecarlson.com
Jordan Volpe Gallery
The Paintings of Richard E. Miller "A Bright Oasis"-
your Oil Paintings with light and color" as well as his book,
"Reflections on a Pond" Kevin
"Figure Drawing, Head and Hands" and "Creative
Illustration"- Andrew Loomis
John Singer Sargent
Anders Zorn - www.nordicartbooks.com
Carl Larsson - www.nordicartbooks.com
Dennis Miller Bunker
Sorolla- Hispanic Society,
Fechin- Fechin Institute
The Art of Thomas Wilmer Dewing -
Alla Prima, Figure Painting and Landscape Painting-
Richard Schmid RichardSchmid.com
Paint- Ned Jacob
Constructive anatomy, Bridgman's Life Drawing, The Book of a Hundred Hands,
Heads, Features and Faces- George
Drawings of Mucha, The Art Nouveau Style of Alphonse Mucha and Mucha's
The Gibson Girl and Her America- Doverpublications.com
The Human Figure John
This is a must!