The first basic composition elements I’d like to introduce to you are the concepts of open vs closed form.

I personally think it’s very beneficial to you to decide if you like to paint with open form or closed form, so you will have a clearer picture of your artistic style. 

Open form refers to artwork that uses delicate tonal transitions through colors and values to create smooth edge transitions, instead of using lines to describe edges around objects. The earliest open form technique is called sfumato, attributed to Da Vinci.

The word sfumato means shaded. It comes from the Italian verb “sfumare” or “shade.” “Fumare” means “smoke” in Italian, and the combination of smoke and shade perfectly describes the barely perceptible gradation of tones and colors of the technique from light to dark.

Renaissance painting frequently used this technique for flesh tones. The most famous example is probably Leonardo’s Mona Lisa.

Open form paintings are often more loose and tonal. If the artist uses underpainting, the underpainting is often rough and light; then with each layer, the painter adds more details. Other open form painters include Jan Van Eyck, Rembrandt, Sargent, and most Impressionists.

Jan Van Eyck, “Portrait of a Man”

John Singer Sargent, “Lady Agnew”

Claude Monet, “Rouen Cathedral in the Evening”

Closed Form:

Contrary to open form paintings, closed form paintings are more like coloring books— the artist uses lines to create contours or edges of the painting subjects. The color of closed form paintings is not an important element for form forming. 

If you remove the lines in the painting, the painting will be much less recognizable and clear. In many closed form paintings, the underpainting is very detailed with clear lines to guide the whole painting process.

Sandro Botticelli, “Birth of Venus” (close-up)

Jean-Auguste-Dominique Ingres, “Comtesse d’Haussonville”

There are many ways to create lines. A popular method used by many contemporary painters is to paint the underpainting with a bright color, like red or purple, and leave the background showing through the subsequent layers, thus creating vibrant outlines of the subjects. 

For example, look at this contemporary artist Erin Hanson’s “Pink Cherry”. Look closely, and you can see she painted the background using bright green, then put down thick paints of pinks, purples, and blues to describe the leaves in the cherry tree.

Erin Hanson

As for abstract painters, the difference between open and closed form is even greater.

Artists like Joan Miró and Piet Mondrian heavily used lines to create their paintings.

Artists like Jackson Pollock and Willem de Kooning’s work is definitely more open-formed.

Joan Miró, “Women, Moon, Birds”

A Jackson Pollock painting

There is no better or worse method in organizing forms. I consider my paintings closed form as well.

Although I admire many Impressionists’ artwork, I have always liked drawing lines, and I like a clean, organized painting style when I paint. The bottom line is, find what you prefer in art and use it as your voice to express your vision.

Ying McLane, “Blue Symphony”

In the next post, we will talk about another basic composition practice—the shape of your canvas. Stay tuned!

The post Open vs Closed Form appeared first on Ying McLane.

After I was on my own making art, I realized what I needed was to learn how to compose a painting. 

For example, I can draw and paint good portraits, but I had no idea what to put in the background to make the portrait not static and boring!

So, I did some extensive research and added my own observations. I hope this series will give you a lot of “aha” moments along the way!

1. What is composition in art?

2. Paint what you want to say instead of copying what you see.

First of all, what is composition in art? Simply put, it’s the way artists organize all the different elements to convey the artist’s vision—the overall feeling or emotion of a piece of art.

Famous French painter Henri Matisse said, “Composition is the art of arranging in a decorative manner the various elements at the painter’s disposal for the expression of his feelings.”

Let’s deconstruct that statement a bit:

“Arranging in a decorative manner”—composition is key to “decorating” your painting to make it more aesthetically pleasing and attractive.

“Various elements”—composition consists of many different elements: colors, lines, placements, values… there is a lot to learn!

“At the painter’s disposal for the expression of his feelings.”—In essence, composition is a tool to express the artist’s unique vision and style. 

So, what do we learn from this statement? Composition is crucial to making or breaking a painting. There are various methods to compose a painting, and in the end, it’s all for the expression of the artist’s own vision for their art. Matisse himself is famous for using colors as his trademark style.

Matisse himself is a master of using colors to convey his unique vision and is one of the pioneers in the groundbreaking “Fauvist” movement.

Henri Matisse “Harmony in Red”

2. This leads us to the next topic: what you see vs. what you want to say.

With amazingly advanced photographic techniques, even AI, you can make a very painterly-like image on your screen in one second. I’ve seen so many paintings with amazing details, but they look just like… a photo or an AI-made image. 

Unless you aim to create photorealistic art, my guess is you don’t want your painting to look just like a photo. You want your art to convey your own vision and sing with your own voice. 

And the key to achieving that goal is: learning good composition.

And don’t get me wrong, there is nothing wrong with using photographs. The key is using them as a reference and inspiration instead of copying every detail. 

One of my favorite artists—French impressionist Degas—was a pioneer in using photographs as references for his paintings. Many of his painting angles demonstrate the influence of photography. But as soon as you lay eyes on one of his paintings, you will instantly know it’s a Degas, not a photo.

 Edgar Degas, “La La at the Cirque Fernando”

So, in the next post, we will dive into the world of composition, learn the ways to compose your paintings, and hopefully, by the end, you will have a clear vision of how you want your painting style to be!

The post Master Composition in Your Painting intro appeared first on Ying McLane.

In Florida, the heat is relentless, even during the supposedly cooler months of February and March. It was in this challenging climate that I stumbled upon a valuable, yet easily avoidable lesson. Welcome to the third chapter of my art show lesson series!

One essential item I needed for the art show was a metal rack for storing prints—a common sight in shops and shows.

I ordered one before the show but I underestimated the complexity of its assembly, naively thinking, “How hard could it possibly be?” As a result, the rack remained untouched in its box in my living room for several days.

On the morning of the show, I finally faced the task of assembling the rack… only to meet with failure. In a mix of frustration and desperation, I summoned my husband, who was busy with the tent setup. He too struggled but speculated that perhaps we were missing some parts. 

Sure enough, hidden at the bottom of the box were the nuts, bolts, and assembly instructions in a small bag. 

In our hurried state and the misleading belief that it would be a simple task, we still didn’t think to read the instructions first. 

After four rounds of screwing and unscrewing, my husband finally figured it out. By that time, we were thoroughly soaked in sweat.

So, what’s the takeaway? Never delay to the day of the show what can be prepared in advance.

In retrospect, this ordeal has become a humorous anecdote I plan to share with my kids. However, I assure you, I was not laughing at the moment.! 

In my next email, I’ll delve into more of my vulnerable experiences and the lessons they’ve taught me. Sharing our mistakes helps us all grow.

Have you faced similar trials? Your stories and reflections are welcome!

Warmest,

Ying

The post Are Show Success Series 3 appeared first on Ying McLane.

My booth was a mix of my wave series, water flower series, and some Christian art series. 

In hindsight, I should have focused on one or two series that complemented each other better on my wall. 

Diverse styles or themes aren’t the issue; it’s about the limited booth space. A more cohesive and spaced-out display appears far more appealing than closely hung paintings.

As my neighboring artist friend Lynda often reminds me, “Your booth is your gallery.” Think about the high-end galleries you’ve visited. They may showcase different artworks, but each piece is hung with ample space in between, making the booth aesthetically pleasing.

Additionally, let’s talk about the importance of a booth shot:

When applying for a show, you’re required to upload a booth shot. Initially, I questioned the necessity of a booth shot since I had already submitted images of my paintings. However, I learned that a booth shot could be the deciding factor in your acceptance or rejection.

The topic of booth shots is vast, with entire Facebook groups dedicated to it. While I won’t dive into all the details here, here are some general guidelines:

• Ensure the lighting allows for a clear view inside your booth. Avoid taking photos under harsh sunlight; opt for early morning or late afternoon when the light is softer.
• Display one or two of your signature pieces on the back wall, ensuring all paintings align at the top. Leave out price tags, print racks, or any additional items from the booth.

Even with an impeccable booth shot, acceptance into a show isn’t guaranteed. A friend of mine, a seasoned artist, shared that she only gets accepted into one out of every two or three shows she applies to. Yet, when she does participate, she averages sales of $10,000 per show—a testament to making a living as a professional artist.

I hope you’ve enjoyed this series. Art shows aren’t for the faint of heart, but they’re among the fastest ways to grow as a professional artist. Like any profession, the key to success is to hit the road and do it!

If you’re currently participating in art shows or planning to in the future, I’d love to hear from you. Let’s support each other on this journey.

Wishing you all the best,

Ying

P.S., Many of you expressed interest in my color series. I’m converting it into a PDF booklet. Let me know if you’re interested in reading it!

The post Art Show Success Series 5 appeared first on Ying McLane.

Whether you plan to participate in an art show or not, mastering the art of conversation about your work is essential. This post delves into a challenge many artists face: engaging with visitors.

If you’re like me, starting out can leave you puzzled—should you initiate a conversation? What do you say to show interest?

I’ve gleaned valuable advice from my incredible artist friends:

• Understand that most passersby have no intention of buying. Let them explore freely.
• When someone enters your booth, give them 20 to 30 seconds, then warmly greet them: “Hi, I’m the artist. Feel free to ask any questions.”
• If they show interest, share the techniques behind your art. If they seem curious, offer the story behind the piece or discuss potential spaces in their home that could be enhanced. What emotions does the painting evoke for them? Remember, people will say how beautiful your word is all day long, but they only buy when there is an emotional connection to the piece.
• If they inquire about the meaning, flip the question: What does it mean to them?
• Should they mention their walls are full, suggest the idea of refreshing their space with art they love.

Often, if visitors say they’ll return, chances are they won’t.

A common newbie mistake is assuming interest equals a sale. For instance, at this show, the artist behind me who made metal wall art spent all his time on his phone, disengaged and complaining, missing out on connecting with potential buyers.

As my kind and talented neighbor Liz Doody advises (check out her stunning work at Fine Art by Liz Doody), it’s crucial to share what you do.

 Your art is beautiful, but the unique draw of an art show is the chance for visitors to meet you, the artist, and learn your stories. Each piece of your art should carry a story, allowing buyers to share a piece of you with their loved ones.

However, respect cues from those who prefer to browse in silence. Also, avoid mentioning it’s your first show; buyers may hesitate to purchase from perceived newcomers, regardless of your experience.

How did you find this series? Each post is a gem born from my experiences helping you in your art business, whether in shows or general art marketing and sales.

Wishing you a wonderful art journey, and remember, I’m always here to support you!

Ying

The post Art Show Success Series 6 appeared first on Ying McLane.

Johannes Itten (1888-1967), a Swiss expressionist painter and teacher, developed the principles of color contrast and played a significant role in the development of color theory in the 20th century. We have already discussed two of his color contrasts—complementary and simultaneous color contrast—in previous articles.

Now, let’s explore the remaining 5 color contrasts:

1. Contrast of Hue
2. Contrast between Light and Shadow (Value)
3. Contrast of Saturation
4. Contrast of Cold and Warm Colors
5. Complementary Contrast
6. Simultaneous Color Contrast
7. Contrast of Proportion

1: Contrast of Hue

The most intense contrast in hue is achieved by placing the three primary colors—red, yellow, and blue—side by side. When using secondary colors (orange, violet, green) and tertiary colors (blue-green, blue-violet, yellow-green, yellow-orange, red-violet, red-orange), the contrast becomes milder. Additionally, adding black will make the colors appear lighter while using white will make them appear darker.

2: Contrast between Light and Shadow (Value)

Using a combination of black and white creates the most extreme color contrast. This technique, known as chiaroscuro, has been employed in various artistic styles, including Chinese and Japanese ink drawings and the works of old masters like Rembrandt.

3. Contrast of Saturation

The brightness of a color is always relative to the color surrounding it. The same color will appear brighter when surrounded by duller colors, while it will appear duller when surrounded by brighter colors.

4: Contrast of Cold and Warm Colors

The division between warm and cold colors is evident on the color wheel. The half of the wheel filled with reds, yellows, and browns represents warm colors, while the blues, greens, and purples represent cold colors. This color contrast is particularly useful in depicting the depth of space, as seen in many landscape paintings.

5: Complementary Contrast

For an explanation of complementary colors, please refer to the previous post.

6: Simultaneous Color Contrast

Please check out the previous post on simultaneous color contrast for more information.

7: Contrast of Proportion

When creating a harmonious composition in artwork, artists need to determine which color to use in larger areas compared to other colors. A common application of this contrast is using a small amount of a color you want to emphasize, such as yellow in a sea of blues and greens in this painitng of French artist Georges Seurat. 

To see who this artist is and his important role in art histoty, click the link:  French artist Georges Seurat

I hope this post provides you with helpful insights. Please leave a comment sharing your thoughts—I would greatly appreciate it! Last, check out this post about how to layering colors: https://yingmclane.com/lesson-8-layering-your-colors/

Until next time, keep painting and creating!

Your artist friend,

Ying

The post How Artists Use 7 Color Contrasts in Art appeared first on Ying McLane.

We are all familiar with how Van Gogh used bright and complementary colors to express his intense emotions, and how Rembrandt used sober earth tones to depict the emotions in his portraits.

Due to the importance of color schemes, I am going to present this topic in several parts, providing you with details and examples of different color schemes. After reading these, you will never look at a piece of art in the same way again!

1: Complementary Color Scheme

2: Tetradic Color Scheme

3: The Split Complementary Color Scheme

4: Analogous Color Scheme

5: Monochromatic Color Scheme

1: Complementary Color Scheme

The most popular color scheme used in contemporary art involves using one main color and its complementary color on the color wheel.

Complementary colors are those that are opposite each other on the color wheel. The main color serves as the dominant color, while the complementary color acts as an accent. This color scheme is widely used in all forms of art.

For example, in the movie poster for “Brave,” blue is the dominant color, and the girl’s orange hair serves as the accent color.

Van Gogh was a master of using the complementary color scheme to evoke human emotions, as seen in his famous painting “Night Cafe.”

 In a letter to his brother Theo, he explained his intention behind the painting: “I have tried to express the terrible passions of humanity by means of red and green. The room is blood red and dark yellow with a green billiard table in the middle; there are four citron yellow lamps with a glow of orange and green. Everywhere there is a clash and contrast of the most disparate reds and greens.” 

 As a result, this painting gives off a jarring and uneasy vibe, precisely the feeling Van Gogh sought to express through this artwork.

2: Tetradic Color Scheme

Within the category of complementary colors, there is a color combination called the tetradic color scheme, also known as the double complementary color scheme. It involves matching two base colors with their complements.

There are several popular tetradic color schemes, such as red, orange, green, and blue; yellow, orange, blue, and purple; vermillion (red-orange), amber (yellow-orange), teal (blue-green), and indigo (blue-purple); and indigo (blue-purple), magenta (red-purple), amber (yellow-orange), and yellow-green.

The tetradic color scheme is the boldest, most vibrant, and also the most challenging color scheme to pull off. However, if executed successfully, it can create a truly unique piece of art. 

Sonia Delaunay, a Ukrainian-French artist, was a key figure in the Orphism movement, which focused on the harmonious interaction of colors. 

She frequently used the tetradic color scheme in her artwork, exploring the interplay of complementary colors. Her painting “Electric Prisms” showcases a vibrant combination of red, yellow, green, and blue, creating a dynamic and visually captivating composition.

Another prime example is contemporary artist James Jean, he often uses this color scheme to create one-of-a-kind and unforgettable art pieces. To see more of his work, visit http://www.jamesjean.com

3: The Split Complementary Color Scheme

The split complementary color scheme uses the two colors adjacent to the base color’s complement as accents, rather than the direct complementary color.

When used properly, this color scheme can have a more subtle effect than the direct complementary color scheme, creating a harmonious balance between warm and cool tones.

For instance, a painting might prominently feature blue (the primary color) while incorporating orange-red and orange-yellow (the split complements of blue) to craft a vibrant yet harmonious scene.

An example of a split complementary color scheme can be seen in my artist friend Liz Doody’s oil and cold wax abstract painting.

English painter William Turner used a split complementary color scheme to create a harmonious, dream-like atmosphere in his seascape painting.

The key to using the complementary color scheme effectively is to choose a dominant color and use its complementary colors as accents. This ensures that the colors are well-balanced and not overly stimulating.

4: Analogous Color Scheme

An analogous color scheme typically consists of three colors that are adjacent to each other on the color wheel. It includes a dominant color, a supporting color, and an accent color. Additional colors can also be used as long as they are close to each other on the color wheel. Additionally, black, white, and grey can also be incorporated into these colors.

Interesting art history–Pablo Picasso had a time between 1901 and 1904 when he painted in monochrome blues and greens. 

Talking about using color’s psychological effect– He was living in Paris, far from his family and home, in extreme poverty.  This blue period was triggered by the death of his closest friend, Carles Casagemas, whose “infatuation with a girl and her rejection led to his subsequent attempt to kill her and to his own suicide.  Picasso later explained, “It was thinking about Casagemas that got me started painting in blue”(Picasso and the, 2013).     

Picasso intentionally painted in monochrome tones of blue that reflected his psychological state. His blue paintings portray destitute human beings. He chose the color blue to express misery and despair — “to intensify the hopelessness of the figures depicted, such as beggars, prostitutes, the blind, out-of-work actors and circus folk, as well as Picasso himself and his penniless friends. At the time, Picasso even wore blue clothes”(Picasso and the, 2013).  

5: Monochromatic Color Scheme

A monochromatic color scheme revolves around a single color that serves as the basis for all shades and hues within a painting. The shade of color varies in value and saturation. Sometimes, black and white are used as the two ends of the spectrum.

Example: 

James Abbott McNeill Whistler – “Nocturne in Black and Gold – The Falling Rocket”: Whistler’s painting is a prime example of a monochromatic color scheme. The artwork predominantly features various shades of black and gold, creating a nocturnal and atmospheric scene.

In this painting, Georgia O’Keeffe used monochrome red to paint this flower’s inside details.

With the exception of the monochromatic color scheme, when applying these principles, 

remember to be careful not to use all the colors with the same strength and emphasis. Otherwise, it may create a jarring and uneasy feeling due to an overwhelming presence of colors jumping out of the painting simultaneously. –Achieving a delicate balance is crucial.

In my next post, we will delve deep into the science of color to understand why different color combinations have varied effects on human perception. So, keep an eye out for it! Also, to read more about the famous impressionist colors, click this link: https://yingmclane.com/color-series-9-the-impressionists/#4

I hope this post proves helpful. If you like it, feel free to share it with a friend. Happy painting and exploring!

The post Using Color Schemes in Art to Evoke Emotions appeared first on Ying McLane.

1: What is Simultaneous Contrast?

2: A Brief and Interesting History

3: Examples

4: Color Tips

1: What is Simultaneous Contrast?

It all comes down to an important scientific phenomenon: simultaneous contrast.

Simultaneous contrast refers to the way in which two colors affect each other. 

When a different color is placed next to a color, it can change how we perceive the tone and hue of that color, even though it’s the exact same color. 

For example, when you place a gray rectangle inside different color shapes, the gray will take on a tint of the complementary color of the surrounding color.

Did you notice that the first gray within the yellow rectangle had a purple tint, while the gray within the green rectangle had a reddish tint? It’s quite fascinating, isn’t it?

The science behind it is that the human eye simultaneously demands the complementarity of a particular color it sees. As an example, when you look at a blue object for a while and then close your eyes, you will see the complementary color of blue, which is orange, in your mind’s eye.

2: A Brief and Interesting History

Simultaneous contrast was first described in the 19th century by Chevreul in his famous book on color theory, “The Principles of Harmony and Contrast of Colors,” published in 1839 (translated into English in 1854).

While working in a carpet-making factory, Chevreul discovered that the reason people complained about the carpet dye appearing “dull” was not due to the dye itself, but rather how the colors were arranged next to each other. This led him to conduct thorough research and publish his book.

In the book, Chevreul systematically studied color and color perception, demonstrating how our brains perceive color and value. He discovered that when two colors are placed close together in proximity, each color can take on the hue of the complement of the adjacent color. For example, if a dark red and a light yellow are seen side by side, the red will appear shifted toward violet, while the yellow will appear shifted toward green. Additionally, dull or near-neutral colors can make saturated colors appear more intense.

3. Examples:

Georges Seurat – “A Sunday on La Grande Jatte”: Seurat’s famous pointillist painting is a prime example of simultaneous contrast. By applying small dots of contrasting colors next to each other, Seurat achieved the optical mixing of colors in the viewer’s eye, creating vibrant and luminous effects.

Bridget Riley – Op Art: Riley’s optical art relies heavily on the use of simultaneous contrast. Her geometric patterns and repetitive shapes in contrasting colors create optical illusions, producing a sense of movement and depth that captivates the viewer.

4. Color Tips:

• Dark colors next to bright colors make the bright color appear even brighter and the dark color appears darker.
• Warmer colors look warmer when placed next to cooler colors.
• Cooler colors look cooler when placed next to warmer ones.
• A bright color next to a muted color makes the muted color appear more dull, and vice versa.
• If two colors have similar brightness, they will appear less bright when placed next to each other.

In addition to the above tips, when painting, it is helpful to start with a thin wash of colors and gradually build up layers. This allows you to view and judge the colors as they are applied together. I avoid finishing a small area of a painting first, as I never know how the color will appear next to other colors once the painting is complete.

I hope you find these insights on simultaneous contrast and color contrast in art helpful in your artistic endeavors!

The post Simultaneous Contrast in Art appeared first on Ying McLane.

Today, we’re going to delve into how to apply the color knowledge we’ve acquired to effectively layer your colors. Our focus will primarily be on layering oil paint, as I am predominantly an oil painter. Understanding two key aspects of layering oil paints is crucial:

1. Fat Over Lean
2. The strategic placement of colors on top of each other to achieve the desired final effects in a painting.
3. Positioning colors beside each other according to color interaction.

1. Fat Over Lean

The “fat over lean” principle refers to the technique where paint layers that are “leaner” or “thinner,” meaning they have less oil content, are applied first. 

Subsequently, layers with more “oily” paint are added. This is crucial because oil paint undergoes slight expansion and contraction over time as it dries, and layers with different oil contents dry at varying rates, affecting the painting’s longevity and appearance.

Why is this important? Oil paints with higher oil content (fat) take longer to dry and are more flexible, while those with less oil (lean) dry faster and are less flexible. If a “fatter” layer is applied beneath a “leaner” one, the top layer may dry and harden before the bottom, leading to cracking or wrinkling as the layers age. This method helps to ensure the painting dries evenly and remains stable over time.

Materials like cadmium colors dry slower than earth tones like umbers due to their chemical composition. 

Environmental factors, such as humidity and temperature, also play a role.  

The higher the temperature, the faster the paint coating dries because its solvent(oil or water) evaporates faster.

Paint also dries slower if the humidity levels are high because the paint solvent evaporates at a lower rate if there’s more water vapor or moisture in the air.

Colors thinned with turpentine or mineral spirits dry faster, offering artists control over the drying process. Ignoring this rule can lead to uneven drying, cracking, or discoloration.

The oil painting process typically begins with thin washes to “map out” the composition, followed by the application of thicker paint directly from the tube or mixed with oily mediums like linseed oil.

2. Placement of Colors for Desired Effects

This concept encompasses both indirect oil painting techniques like glazing and scumbling, as well as the various techniques in direct painting (alla prima). We’ve discussed glazing and scumbling in detail previously, and you can find more information at the following links:

• How Transparent Colors Elevate Your Painting
• https://yingmclane.com/scumbling-painting-technique-what-you-should-know/

3. Color Interaction

This method involves placing colors beside each other to enhance or mute their visual impact through interaction. 

A prime example is Henri Matisse, who masterfully used primary and secondary colors, as well as complementary colors, to create vibrant and dynamic compositions. Each brushstroke in Matisse’s paintings was deliberately placed to interact with surrounding colors, creating a bold and rich appearance. Adhering to the “fat over lean” rule, his works have maintained their integrity over time.

Understanding color interaction is not just about theory but also about practice. Try experimenting with different color placements in your own work. Notice how colors change based on their neighbors. For instance, a blue might appear more vibrant next to an orange, its complementary color, than it does next to a green.

I encourage you to share your experiments and discoveries with color interaction on social media or within our community. 

It’s fascinating to see how each artist interprets and applies these principles differently, leading to a rich tapestry of styles and techniques.

In essence, mastering these methods is all about meticulously planning your colors and paints to create outstanding paintings. Each technique and aesthetic choice contributes to achieving a unique harmony and depth in your artwork.

I hope you find these insights and suggestions helpful. Dive into your next painting project with these techniques in mind, and don’t hesitate to share your progress and experiences. 

Share this post with a friend who might find it helpful, and let’s spread the joy and knowledge of painting!

The post Lesson 8: Layering Your Colors appeared first on Ying McLane.

A couple of days before the show, I remembered that I needed to buy price tags. So I searched on Amazon and got those big sales stickers with yellow frames and a money sign on the side. 

At the show, I found out that I made a big mistake. 

Number 1, these stickers don’t stick to the pro panel walls so they kept falling off.

Number 2, The yellow frame with the money sign on it looks like I am selling cheap toys at the dollar store. 

Also, after asking around my friendly neighbors about how they price their art, I found that my pricing is too low. Which is a common mistake for most artists who have just started doing art shows. 

Just like what I said in the first email: Art is not a necessity. People don’t want to buy cheap art. They buy art because it gives them an elevated feeling of beauty and prestige. 

Overall, your price sign should be small, and printed, with the painting size and price. The title of the painting is optional. 

My friend Lynda, a wonderful portrait and marine artist, also, the sweet lady who told me to take down my discount signs showed me the little machine she used to make her signs:

https://amzn.to/3TzY0k0.  I just bought this machine and it makes any label like a breeze. I can’t wait to use it for my future exhibitions!  (if you choose to buy this machine through this affiliate link, it will add no cost to you and support this blog keep going.) 

(Portable Sign Maker: https://amzn.to/3TzY0k0.)

After this experience, you can rest for sure, I will be more prepared next time. 

Let me know how you like this series so far. Until next time!

Ying

The post Art Show Series 4 appeared first on Ying McLane.