Securing high-profile mural commissions can elevate an artist’s career, providing increased visibility, prestige, and financial reward. However, breaking into the world of public art often requires strategy, persistence, and a deep understanding of the industry. Here are some essential steps to help you land your first major mural commission.
Running a successful art studio requires more than just artistic talent; it demands a strategic approach to business. In a competitive market, achieving consistent sales growth involves a mix of creativity, marketing, and community engagement. This article outlines practical, research-backed strategies for art studio owners to boost sales and grow sustainably.
Canvas painting offers a unique and satisfying creative outlet, but like any artistic endeavor, it comes with its own set of challenges. Whether you’re a seasoned painter or just starting, understanding common obstacles and how to tackle them is key to producing your best work. Here, we’ll explore the primary challenges artists face when working with canvas and offer practical solutions to overcome them.
Painting is a wonderfully fulfilling endeavor, but it often comes with its own set of challenges, one of which is maintaining an organized art studio. A cluttered and chaotic workspace can hinder creativity and productivity, making it difficult to focus on your artistic pursuits. However, with a few simple tips and tricks, you can transform your art studio into a well-organized space that inspires creativity and productivity. Here are some valuable tips for keeping your art studio organized:
1. Designate areas. Start by dividing your art studio into different zones based on the type of activities you engage in. For example, create a painting zone, a drawing zone, a storage zone for art supplies, and a relaxation zone for taking breaks. This helps create a sense of order and makes it easier to find what you need when you need it.
2. Invest in storage solutions. Use storage solutions such as movable racks, shelves, cabinets, drawers, and storage bins to keep your art supplies neatly organized and easily accessible. Consider using clear containers or labeled bins to store smaller items like brushes, pencils, and tubes of paint, making it easier to locate them when you need them.
3. Keep your workspace clutter-free. Make it a habit to clean and declutter your workspace regularly. Clear off your work surface at the end of each day and put away any supplies or tools that are not in use. This not only creates a more inviting and organized workspace but also helps prevent accidents and damage to your artwork.
4. Create a system for organizing tools and materials. Develop a system for organizing your tools and materials based on frequency of use or type of medium. Keep frequently used items within arm’s reach and less frequently used items stored away in designated areas. This will streamline your workflow and make it easier to find what you need when inspiration strikes.
5. Label everything. Labeling is your best friend when it comes to keeping your art studio organized. It’s a tedious process, but very valuable in the long run. Use labels to identify the contents of storage bins, drawers, and cabinets, making it easy to locate specific items quickly. Consider using a color-coded system for even greater organization and efficiency.
6. Utilize vertical space. Most artists don’t have the luxury of having a big studio. Make the most of your studio space by utilizing vertical storage solutions such as wall-mounted shelves, pegboards, and hooks. These space-saving options allow you to maximize storage capacity without taking up valuable floor space, keeping your studio tidy and clutter-free.
7. Establish a cleaning routine. Set aside time each week to clean and organize your art studio. Wipe down surfaces, sweep or vacuum the floors, and put away any stray supplies or tools. A regular cleaning routine not only keeps your studio looking its best but also helps maintain a healthy and productive work environment.
8. Embrace digital organization. In addition to physical organization, consider utilizing digital tools and software to keep track of your artwork, reference materials, and inspiration. Use apps or software programs to catalog your artwork, organize reference images, and jot down ideas and notes. This digital organization system can help streamline your creative process and keep your studio clutter-free.
By implementing these tips and establishing good habits, you can create an art studio that is not only organized and efficient but also conducive to creativity and inspiration. With a well-organized workspace, you can focus more fully on your artistic pursuits and bring your creative visions to life with ease.
Having an artwork is an investment both emotionally and financially. Whether you’re the painter or the art collector, making sure that your painting is in pristine condition should never be a difficult task.
Here are five simple ways on how to care, clean and store your artwork:
Dust regularly. Keep your paintings in tip-top shape by dusting them regularly. If the painting is on a wall, bring it down first and place it on the floor against a wall at an angle before dusting.
Use a soft, clean brush or a microfiber cloth to gently sweep away dust and dirt. Think of yourself as a painting detective, revealing the true beauty hidden beneath the grime! Avoid feather dusters since its fibers could latch on the canvas and edges of the paint itself.
Avoid direct sunlight. Sunlight—the painter’s best friend and worst enemy! While natural light can enhance the beauty of your artwork, prolonged exposure can cause colors to fade and canvas to deteriorate faster than last week’s leftovers.
Keep your paintings out of direct sunlight or consider using UV-filtering glass to protect them. It’s like giving your masterpiece its own pair of sunglasses!
Check the temperature and humidity. Whether you’re hanging or storing your painting, it’s important to pay attention to the room’s temperature and humidity. Avoid extreme heat and cold temperatures since these will damage your artwork.
According to art experts, between 21-24 degree Celsius is the optimal temperature to keep paintings. Be mindful of ceiling lights which can deteriorate your painting in the long run. Also, keep your paintings away from air conditioning units, radiators, fireplaces, and air vents.
Store properly. When it’s time to tuck your paintings away for a little rest, give them the VIP treatment! Store them vertically in a cool, dry place away from damp basements and hot attics.
If you’re stacking them, make sure to place protective sheets between each painting to prevent scratches and smudges. The front of the canvas should be stacked against the front–and not the back, of another canvas. Make sure that the stretcher bars rest over stretcher bars so there are no sharp edges (corners) pushing into the canvas of another painting.
Tip: Put paintings on crates or other stable platform to prevent the them from touching the ground that exposes them to dirt. And, if you live in a flood-prone area, these crates will keep your paintings safe and dry.
Handle with care. Always handle your painting with care. Hold the artwork by the frame or edges and prevent touching the surface of the painting. The oil in your fingertips can damage the artwork.
Always have acid-free paper, bubble wrap, corner protectors, foam cushions, etc. on hand. These inexpensive items will protect your painting while in storage, and during moving or shipping.
Creating a masterpiece on canvas takes time, skill, and passion. But what good is your stunning artwork if you can’t capture its brilliance on camera? As a proud creator of art, it’s natural for you to show it to the world.
Whether you’re photographing your paintings for personal satisfaction, art shows, or grants, here are some factors to consider to hopefully help you capture the beauty of your work like a pro!
1. Lighting. Like a painting itself, lighting can make or break your photograph. Indirect, natural light is your best friend, so position your artwork near a window or in a well-lit room. Beware of harsh sunlight though—it can cast unwelcome glares and distort colors.
If you’re pressed for time and the weather isn’t cooperating, you can use two artificial lights such as flashlights or table lamps. A simple triangle setup will be useful in reducing shadows on your photos. Place the lights between the canvas and the camera with the lights pointing at a 45-degree angle towards the painting. The camera should be behind the lights.
2. Position. Hang your painting on a neutral colored wall (black, white, gray). Make the center of the artwork parallel to the position of your camera. A tripod is useful to get good shots, especially if you’re photographing several paintings.
3. Composition. Tell a story with your photos. If you’re tired of taking 2-D images of your paintings, try including props (art materials), changing angles, or let someone else take a picture of you working on your artwork. Experiment and see which photos work for you.
4. Background. Your artwork is the star of the show, so don’t let a cluttered background steal its thunder. Clear the space around your painting of distractions—coffee cups, stray brushes, or that rogue sock—and let your canvas art shine in all its glory.
5. Camera settings. Ensure your camera’s focus is razor-sharp on every brushstroke and color gradient. Take your time to adjust the focus manually if needed, and don’t be afraid to zoom in for those intricate details. Your painting’s precision deserves nothing less than crystal-clear perfection.
6. Editing. Taking a photo of your painting doesn’t end once the photo is snapped. If you’re on a budget, there are free and inexpensive photo editing software that you can use to edit your photos. With these programs, you can do minor adjustments, crop the photo, adjust the color and contrast, and remove impurities.
Hope these will help you capture the beauty of your paintings and how you represent yourself professionally. Of course, there are other factors to consider when photographing your paintings, but these six are the basic and are a good starting point.
Managing unsold paintings can be a common challenge for artists. Here are some suggestions on how to handle and potentially monetize your unsold artwork:
Create an Online Portfolio. Build a professional website by using online platforms like Etsy, DeviantArt, or Saatchi Art to showcase your unsold paintings. This provides a centralized location for potential buyers to discover and purchase your work.
Social Media Promotion. Social media is your friend. Leverage social media platforms such as Instagram, Facebook, X (formerly Twitter), TikTok, and Pinterest to showcase your artwork. Regularly share images, stories, and updates about your paintings to increase visibility.
Art Shows and Exhibitions. Join local art shows, galleries, or exhibits to display and sell your paintings. Networking with other artists and art enthusiasts at such events can also open up new opportunities.
Limited-Time Promotions. Create limited-time promotions or discounts for your unsold paintings to encourage sales. This can be especially effective during holiday seasons or special events.
Prints and Reproductions. Consider offering prints or reproductions of your unsold paintings. This allows you to reach a broader audience at a lower price point and provides an alternative for those who may not be able to afford original artwork.
Collaborate with Local Businesses. Partner with local businesses such as cafes, restaurants, or offices to display and sell your artwork on consignment. This can attract potential buyers who may not have visited traditional art galleries.
Art Leasing. Explore the option of leasing your artwork to businesses or individuals. Some people might be interested in rotating artwork in their spaces without committing to a purchase.
Painting on canvases may start as a hobby, but for most painters, selling their artwork is a primary source of income. Some left their full-time jobs to become full-time artists. They enjoy spending time doing what they love in creating and expressing their thoughts and feeling through paint and a blank canvas. For some artists, painting is a stress reliever after a hard day’s work.
Choosing the right canvas size can be a factor in selling your artwork. Aside from collectors having different tastes in art, having the perfect painting size can determine whether or not you’ll be able to close the deal.
So, what canvas size sells best?
While there’s a debate whether a small size painting sells better than larger ones and vice-versa, a medium-sized canvas is a safe place to start.
Canvas sizes such as 16″ x 20″ and 18″ x 24″ tend to sell well in the market. Paintings using these canvas sizes can fit the walls in most homes. This also gives you enough space to paint intricate details in your art without compromising the overall composition.
Explore painting on several medium-sized canvases. It’s a handy size that you can bring outdoors for plein air painting. It’s also a good size for portraits.
Other factors to consider
Target buyers
Think about your potential buyers. Are you targeting locals or tourists into purchasing your painting? Tailor your canvas sizes according to your collectors’ preferences.
Tourists like smaller artworks for easier packing and shipping. Small paintings can be quickly stored inside a suitcase or can even fit carry-on bags.
Small paintings are also more affordable. First-time buyers and those are in a tight budget will usually lean on buying a low-cost artwork.
Meanwhile, local collectors especially those who frequent high-end galleries, show areas, exhibits, etc. prefer buying large paintings. These paintings give greater visual impact and hang beautifully in wide and high walls. Large artworks usually grace the walls of hotels, restaurants, universities, and hospitals.
Market trends
Study market trends. Art trends determine which sizes are in demand. What’s high-selling last season may not be so hot right now.
For example, art buyers may prefer miniature paintings during Christmas time since these small artworks are great gifts to family and friends. These miniatures can be used to hang on a Christmas tree, too.
Selling venues
If you’re selling art online or in local art shows, smaller paintings are preferable in these venues. On the other hand, art galleries prefer larger-sized paintings.
Learn more about custom-sized canvases from CanvasLot.
Oiling out – The application of an oil medium to a painting that has sunk (become dull) or lost its oil to the layer underneath. Artist’s painting medium should be rubbed sparingly into any sunken areas with a clean cloth, wiping off any residue, allowing to dry for a few days and repeating as necessary until an even sheen is obtained throughout. Optical Colour Mixture – The tendency of the eyes to blend patches of individual colours placed near one another so as to perceive a different, combined colour. Also, any art style that exploits this tendency, especially the pointillism of Georges Seurat. Organic – An image that shows a relationship to nature as opposed to man-made images. Any shape that resembles a naturally occurring form or that suggests a natural growing or expanding process. Painted Edges – Not all canvasses are framed. Instead, some are intended to be hung without frames. If this is the artist’s intention, the artist will often paint over the edges of the canvas onto the sides. This not only allows the painting to be hung unframed, but also creates the interesting effect of extending the painting into three dimensions. Pastel – A colored crayon that consists of pigment mixed with just enough of an aqueous binder to hold it together; a work of art produced by pastel crayons; the technique itself. Pastels vary according to the volume of chalk contained and the deepest in tone are pure pigment. Pastel is the simplest and purest method of painting, since pure colour is used without a fluid medium and the crayons are applied directly to the pastel paper or card. Pentimento – A condition of old paintings where lead-containing pigments have become more transparent over time, revealing earlier layers. Perspective – The representation of three-dimensional objects on a flat surface so as to produce the same impression of distance and relative size as that received by the human eye. In one-point linear perspective, developed during the fifteenth century, all parallel lines in a given visual field converge at a single vanishing point on the horizon. In aerial or atmospheric perspective, the relative distance of objects is indicated by gradations of tone and color and by variations in the clarity of outlines. Pictorial Space – The illusory space in a painting or other work of two-dimensional art that seems to recede backward into depth from the picture plane, giving the illusion of distance.
Picture Plane – An imaginary flat surface that is assumed to be identical to the surface of a painting. Forms in a painting meant to be perceived in deep three-dimensional space are said to be “behind” the picture plane. The picture plane is commonly associated with the foreground of a painting. Pigment – Dry coloring matter, usually an insoluble powder to be mixed with a liquid to produce paint. Pochoir – A stencil and stencil-brush process for making muticoloured prints, and for tinting black-and-white prints, and for coloring reproductions and book illustrations, especially fine and limited editions. Pochoir, which is the French word for stencil, is sometimes called hand-coloring or hand-illustration. Pochoir, as distinguished from ordinary stencil work, is a highly refined technique, skillfully executed in a specialized workshop. Positive Space – The space in a painting occupied by the object depicted (not the spaces in-between objects). Provenance – The record of ownership for a work of art, ideally from the time it left the artists studio to its present location. French for source or origin. Replica – An exact copy of an original work of art that is made by, or under the supervision of, the original artist. Repoussoire – From the French verb meaning to push back. A means of achieving perspective or spacial contrasts by the use of illusionistic devices such as the placement of a large figure or object i the immediate foreground of a painting to increase the illusion of depth in the rest of the picture. Reproduction – A mechanically produced copy of an original work of art (as distinct from replicas which are one-offs). Semblance – A picture consisting of a graphic image of a person or thing. Shading – Showing change from light to dark or dark to light in a picture by darkening areas that would be shadowed and leaving other areas light. Shading is often used to produce illusions of dimension and depth. Signature – An artists name physically signed (or carved) on a work of art usually providing evidence that the work is entirely by the hand of the artist who signs the work. The Signing of prints is usually done using a soft base pencil in order that it’s dark, clearly visible and does not fade over time. Silhouette – The outer shape of an object. An outline, often filled in with color. Simultaneous Contrast – The tendency of complementary colors to seem brighter and more intense when placed side by side. Study – A detailed drawing or painting made of one or more parts of a final composition, but not the whole work. Style – A characteristic or a number of characteristics that can be identified as being embodied in a work of art. Typically associated with a specific artist, group of artists, culture, or a specific artists work during a particular time period. “In the style of …. ” means that the work resembles a particular artists style but is not actually created by that artist. “In the studio of …. ” means that the work was created by a student, apprentice or colleague of a particular artist whose style it resembles and possibly supervised by that artist.
Support – The surface, or material, on which an artist creates two-dimensional art. Can be canvas, paper, cardboard or wood panel. The surface often has to be treated before the paint is applied so as to neutralize any natural acidities and protect the work from discolouration or deterioration. Tempera – Medium, typically egg yolk which was used in the Renaissance prior to the advent of oil and has benefited from a recent revival. Tonality – The overall color effect in terms of hue and value. Often one dominating hue is employed in various shades and values. Triptych – A painting or carving consisting of three panels. Underpainting – The traditional stage in oil painting of using a monochrome or dead color as a base for composition. Also known as laying in. Vanishing Point – In linear perspective, the point on the horizon line where parallel lines appear to converge. Vignette – A small illustrative sketch or painting that appears to float suspended on a surface. Wash – Used in watercolor painting, brush drawing, and occasionally in oil painting and sculpture to describe a broad thin layer of diluted pigment, ink, glaze or patina. Also refers to a drawing made in this technique. Yellowing – This effect on oil paintings is usually caused by one of three reasons: excessive use of linseed oil medium; applying any of the varnishes that are prone to yellow with age; or most often – an accumulation of dirt embedded into the varnish.
Diptych – A painting or carving consisting of two panels. Enamel – When painting, used upon a ground of metal, porcelain, the colours afterward being fixed by fire. Fine Art – Generally used to describe art that has been created purely as an aesthetic expression to be enjoyed for its own sake (as opposed to applied arts or decorative arts or design). The viewer must first search for the intent of the artist in order to fully appreciate, identify or relate to the artwork. Fixative – A solution, usually of shellac and alcohol, sprayed onto drawings of pencil, chalk and pastels, to prevent their smudging or crumbling off the support.
Foreshortening – The diminishing of certain dimensions of an object or figure in order to depict it in a correct spatial relationship. In realistic depiction, foreshortening is necessary because although lines and planes that are perpendicular to the observer’s line of vision (central visual ray), and the extremities of which are equidistant from the eye, will be seen at their full size, when they are revolved away from the observer they will seem increasingly shorter. Thus for example, a figure’s arm outstretched toward the observer must be foreshortened–the dimension of lines, contours and angles adjusted–in order that it not appear hugely out of proportion. The term foreshortening is applied to the depiction of a single object, figure or part of an object or figure, whereas the term perspective refers to the depiction of an entire scene.
Fresco – The art of painting on freshly spread plaster before it dries, or in any manner. Gesso – A white ground material for preparing rigid supports for painting. made of a mixture of chalk, white pigment, and glue. Same name applied to acrylic bound chalk and pigment used on flexible supports as well as rigid. Glaze – A very thin, transparent coloured paint or glossy finish applied over a previously painted surface to alter the appearance and colour of the surface. Gold leaf – Very thin leaves of real gold that are burnished onto an object such as a wooden frame that has been coated with several layers of other material in preparation. The process is expensive because of the use of precious metal. Gouache – A watercolour executed by using opaque watercolours mainly for illustrations. Grisaille – Chiaroscuro painting in shades of gray imitating the effect of relief. Gum Arabic – The binder used in watercolor and which is made from the gum of the Acacia tree (in the past commonly associated with Arabia, in recent decades also found in the West). Harmony – The unity of all the visual elements of a composition achieved by repetition of the same characteristics. Hatching – A technique of modeling, indicating tone and suggesting light and shade in drawing or tempera painting, using closely set parallel lines. Iconography – Loosely, the “story” depicted in a work of art; people, places, events, and other images in a work, as well as the symbolism and conventions attached to those images by a particular religion or culture. Idiom – The style of a particular artist, school or movement.
Illustration – A general term used for a drawing or an original work of art. Knife – A painting knife may be utilized for the application of paint, whereas a palette knife is primarily utilized for mixing and blending the paint on the palette. Lacquer – A varnish consisting of a solution of shella in alcohol, often used for varnishing metals. Licensing – The act of selling a license to reproduce an artist’s work for a specific purpose. There are licensing agents who specialize in negotiating deals with makers of porcelain, giftware, stationery etc. Artists should be aware of the difference between selling a license and selling their copyright in a work. Linear Perspective – A method of depicting three-dimensional depth on a flat or two-dimensional surface. Linear perspective has two main precepts: 1. Forms that are meant to be perceived as far away from the viewer are made smaller than those meant to be seen as close 2. Parallel lines receding into the distance converge at a point on the horizon line known as the vanishing point. Mannerism – A deliberate simulation or exaggerated display. Medium – Used to describe either the material used to create a work of art (such as oil, acrylic, pencil, water-colour, charcoal, stone, cloth or other material); the liquid with which pigment or an existing oil paint is mixed to create or modify the paint, or an expressive art form. Mixed Media – Used to describe art that uses more than one medium (such as a work that combines paint, natural materials and man-made materials) to create a single work of art. Monochrome – Painting done in a range of tints and tones of a single colour. Montage (Collage) – An artwork comprising portions of various existing images such as photographs or prints and arranged so that they join, overlap or blend together to create a new image or artwork in its own right. Mural – A painting that is applied to a wall surface. Neutral – Having no hue – black, white, or gray; sometimes a tannish colour achieved by mixing two complementary colours. Numbered – A numbered print is designed to show the limit or size of a print edition. The number is generally placed over the size of the edition. For example 12/500 indicates that the print is number twelve out of an edition of 500.