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suggestions for online business card printing? preferably someone who will work with me a bit over the phone
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Jun 7, 2010 00:59
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jediBAMF posted:I've been doing a series of collages. They're random books and magazine cutouts on a masonite panel. For finishing you can try different things. Acrylic gel (not acrylic medium) in whatever finish you want, in this case matte to get really even coats I water it down and do several thin coats. You can also use the gels as glue, the matte can be good because its less eye catching than some kinds of glues. This is nice because depending on the brush you get texture to your finish, or no texture if you dont want. There are various aerosol based acrylic matte finishes, in varying degrees of quality (krylon makes one, but theres like 3 or 4 big brands.) You can also get damar in matte, which is different. Available in spray or liquid bottle, damar is oil based so you can never add any more acrylic on top after you finish it. I used to use gloss damar to finish some of the stencil work I did on canvases or board, looked great. YMMV.
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Jun 26, 2010 09:53
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dmca notice plus a stern warning to the ISP unless you want damages, then you'd talk to a lawyer
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Jul 1, 2010 21:01
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d3c0y2 posted:Just a small question here, but I'm really struggling to get posing right on some more complex poses. Especially in regards to perspective. The thing is, it will look like you copied a photo, which almost always looks like poo poo. If your main issue is developing perspective, you shouldn't be copying photographs, you should be learning how to draw things from real life. But if you're in a hurry, I guess thats what you gotta do.
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Jul 22, 2010 07:03
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this isn't so much a stupid question as a stupid observation that the google homepage is really great today Click here for the full 1012x483 image.
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Jul 24, 2010 06:59
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you can find screen printing poo poo really cheap on craigslist if you live in any kind of a city, usually
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Aug 12, 2010 21:18
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Sirotan posted:I don't even know if this post belongs here. I just came back from a custom framing place where I wanted to frame a $40 poster I bought recently and with a metal frame plus a black on white double mats they quoted me $467. I pretty much walked out immediately (for a few other reasons besides just the ridiculous price). Edit: given what you are asking for (all the most expensive options) that price is actually not out of the range of possibility for a frame shop. Yeah, it's high but you are asking for all the most expensive (and in my opinion, least value added) options for framing artwork. A double mat is nice, but seriously, for a poster? I think its probably overkill if you're that price concious. If you have specific questions I can answer them. Buying custom mats is a good deal in bulk but individual is pricey. I have used matcutter.com (no affiliation but their prices are reasonable and their quality is excellent) as well as cut my own for awhile. My suggestion is to go to local goodwill / salvation army and find something there. I have scored tons of good frames that way that required minimal cleaning and repair to be almost new. Most wood frames look great with a coat of spray paint/varnish and a clear coat. Nicer stainless frames that are are more rugged I've picked up for pennies on the dollar. Ace hardware can cut custom glass for you. Museum grade glass is high quality but the price is extravagant in my mind for the minimal value it adds. But if you gotta, you can get it at places like hobby lobby or a local glass store will probably be able to special order it. I would rather buy custom lighting or mounting equipment than museum glass. Most damage to a piece will be through inproper mounting techniques (using lovely tapes or petroleum based products in general: "acid free" does not mean archival) as well as environmental damage (humidity, mould.) If you want your print to last, store it sandwiched between two pieces of acid free paper in a low humidity area, in the dark. Bonus posted:I draw mostly cartoonish stuff. I got used to drawing so that I'm doing my motions with my fingers and sometimes a bit with my wrist, but mostly the fingers. This way, I manage to make my characters pretty organic and their faces and bodies expressive. But as a consequence, everything I draw is pretty small. I've heard that it's better to use your whole arm and your wrist, but it kind of feels unnatural to me and I can't draw cool stuff. Is drawing with only your fingers bad form and should I just tough it out, or should I stick to what I'm doing? There are a lot of good reasons to draw from your arm instead of your wrist/fingers. For me the biggest one is line quality and consistency - I find it much easier to train large muscle groups than small ones for drawing, and it's easier to get bigger > smaller than smaller > bigger in drawing scale. Another big point is that if you have any ambitions to be a serious artist you need to take care of the health of your joints. Do you hear about artists getting carpal tunnel or RSI in their shoulders? No, because it's a bigass loving joint that is made for excessive use. On the other hand you hear about RSI in hands and wrists all the time. This isn't a concern when you're 18 but if you do it for 20 years from age 12 (video games) to age 32 you start noticing it. Best to get into good habits from the start, since your drawing will be better anyway. Beat. fucked around with this message at 01:54 on Aug 20, 2010 |
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Aug 20, 2010 01:48
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Sirotan posted:I guess 'museum glass' was just me throwing out a generic term. Is paying a little more for something that will protect it from UV not worth it? I'm sure it won't be hung on a wall in the dark the entire time so I'd like to protect it from fading as much as I can. I think you should read what I wrote again. The difference in cost is not "a little more." The main difference between museum quality glass and regular glass is clarity. UV is a concern for perserving artwork but on the list of general concerns it is not the highest one, especially for something that's indoors in a climate controlled environment like your house, and doubly so because you probably will not have it up for 50 years straight. quote:So I should ask for archival paper/mats/mounting instead of 'acid free'? Read up about mounting techniques, the mats are not going to be an issue, I don't think I have ever seen a brand sold that isn't acid free. Of course I don't shop at places like Michaels or whatever. The concern is with materials and techniques used to mount the piece to the mats ("dry mounting" is what you are going for.)
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Aug 20, 2010 20:24
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John Baizley Ink and watercolor his core style is basically figurative work that looks very art nouveau
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Aug 21, 2010 07:01
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Almost everyone I know in the creative realm who does something solo / professional has a website, to answer that question. No it's not uncommon but it's important that it look good and be updated once in awhile. I personally think that something memorable is better than "your name.com" but people do both and it is not a big deal either way. As far as asking artists to use their work, why don't you commission some cheap art through SA mart or whatever and say, "I really like artists x, y, z and the themes I'm going for are a, b, c come up with something that fits that?" or write to the artists and ask them how much something small would be. I don't know exactly what angle you're going for but generally speaking, asking artists for free work is bad form.
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Aug 22, 2010 20:12
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I'm not really sure what effect you are going after, a photo might help. If you're painting on store bought canvas, prime it with more layers of good acrylic gesso and sand it to smooth. That will get rid of the texture. Given your description (which I'm not sure I understand) what is more likely happening is that your paint isn't mixed well with the water. A product which helps with that is acrylic flow release, its very handy if you want to water down/mix acrylics. Start with a good paint like golden or liquitex, other brands use fillers that do weird unpredictable poo poo.
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Sep 28, 2010 20:21
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Radio du Cambodge posted:Also does anyone else ever get really existentially afraid about artistic failure or mediocrity? I'm young still but I get scared that I will never be able to create things I'm satisfied with and that other, discerning people are also satisfied with; and it seems like creating something NEW out of the materials we have lying around in this world is the only thing I consider really important, philosophically (as opposed to practically: I am going to look for a job after graduating). In short, is anyone terrified by the thought that they will never produce quality art?? Yeah there should definitely be a pretentious art house discussion thread. I love being a smug art cocksucker sometimes. Contemporary art baby. Anyway, to answer your question in a short way I will say that if your motivation in creating stems from some kind of need to please others, like any other endeavor which you might seek to please others, you are setting yourself up for failure. In creating art you cannot expect to please people and you cannot expect to make money. Those things might happen in time if you work your rear end off and do the right things, but they might not. Personally my motivation in creating is internal. I do derive a certain satisfaction in interacting with others and my environment, but for me that is always a secondary thing - more of some "oh, thats nice" moments here and there. The fiscal element of art is a completely different and large discussion, but for someone just starting out I'd suggest doing ones best to remove the need of creating being tied to your livelihood (not quitting your day job) until it's something that is clearly self sustainable. Unless you have a trust or something.
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Oct 11, 2010 07:48
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do you mean poster artwork, or what
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Oct 18, 2010 19:29
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There are some great pay sites that you can probably get access to at any university library computer, if you have one locally, like ArtSTOR, which is probably the biggest. They have hundreds of thousands of images and you can zoom in to a crazy degree, etc. with all the provenance, origin, etc. in image info. Thats worth checking into if you have a lot of stuff to do. For free images and info a good place to start is with museums with online collections. Victoria and Albert have the best (I think) online images and categorization. The images are not super high rez, I don't know of any free services that offer anything like that but they're good enough to do a presentation or report on. You could upsize them in photoshop because they're all pretty high quality. http://collections.vam.ac.uk/ I also like Kyoto National Museums images a lot but their database/search function sucks. But their images are really good. Thats mostly asian stuff. http://www.kyohaku.go.jp/eng/syuzou/index.html
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Oct 31, 2010 20:44
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Ars Manga posted:Thanks! Do you know what a good thickness is? The paper is cutting or tearing because you're using an old blade, diagonal or curve has nothing to do with it. Blades cost literally 15 cents so you should have a lot of them if you are doing this kind of thing because they dull quickly. Thickness of the stock depends on how rough you are with your stencil but I like 5 mil or thinner, but I only use a laser cutter now. Curves are easier to cut with a blade on thinner stock. Try a few and get a feel for what you need. When I was doing a lot of hand cutting I'd change them out every 5-10 minutes or so.
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Nov 4, 2010 21:10
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My trick is to draw from the shoulder and keep my wrist locked. Crazy poo poo, I know.
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Nov 5, 2010 00:53
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An observer posted:A friend of mine is opening a store in a high traffic area and he wants to put up art. This is more of a chance to get exposure, but if any art sells he says he charges 40% commission. I was wondering if it would be worth it to try this. It's something you have to decide. The way you phrase your question really sucks. Who the hell here knows about what anything is worth to you? Nobody. Are commission sales normal for people selling through retail venues? Yes. Are they a good way to sell art? Maybe. I have seen work sell and I have seen it not sell - it's about matching price with quality. I personally think it's better to sell something for cheaper and actually sell it than for more expensive and not sell at all and retain your "artistic pride." Does foot traffic equate to high sales? Not necessarily. For me exposure doesn't mean all that much in itself, it's more about the audience.
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Nov 11, 2010 21:49
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An observer posted:Yeah, my question looks like I ran it through google translate a couple of times. Mostly I just wanted to know if 40% commission is normal. Thanks though! It depends a lot on the venue, some things to think about would be whether or not you can price your work higher and if it will actually sell that way. I want to say it sounds a bit high to me, but really, it depends a lot on the business, location, etc. It could be a good deal for you.
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Nov 12, 2010 00:53
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Drawing long, straight parallel lines, drawing directionally shaded orbs, drawing grayscales with 8-10 evenly spaced gradations in one stroke
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Nov 16, 2010 07:02
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serious question: has anyone who posts in this thread ever met anyone who learned how to draw by reading a book? I cannot think of anyone I know who has, outside of copying plates as homework from a teacher
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Nov 18, 2010 07:05
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vonnegutt posted:I read a lot of books as a beginner and after. There's no substitute for having a teacher correct your mistakes, but you can get a lot out of instructional books if you really want to. And I don't mean those "How to Draw MANGA!" or "How to Draw Sweet-rear end Cars" but something like Anatomy for the Artist, Drawing on the Right Side of the Brain, or even Drawing for Children (which is my favorite because it really breaks down the drawing process and points out where a lot of people have trouble, and talks about dealing with frustration, fixing mistakes, etc). Yeah I think you're right... you can definitely learn about methods and the science of drawing and painting... I guess I just never saw myself improving a whole lot when reading the books I did. I am a big fan of Bargue/Gerome's book on academic style http://www.amazon.com/Charles-Bargue-Jean-Leon-Gerome-Drawing/dp/286770166X but it's expensive... but the plate reproductions are worth it alone. But I only used it along with rigorous instruction... I need some advice. I need to mount a whole shitload of small ceramic sculptures, less than 1/8th lb each, to concrete. Drilling into the concrete is not an option, so mounting hardware is out. So I guess I must use either some kind of concrete based material, latex, glue, or epoxy. Wondering if anyone has done similar and can suggest something. Some of this will be outside so it should be durable to heat / light.
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Nov 19, 2010 21:27
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typically people just use mat or gloss gel mediums, but there are other things which allow you to "sculpt" the paint as well that are called gels, they're kind of like a clear or opaque colored plastic, with the consistency of peanut butter http://www.goldenpaints.com/products/medsadds/index.php you can also use plain old water, or for textured effects you can use things like sand, paper, fibers (cloth), food, ejaculate, etc. mediums are basically just spreading the pigment out so if you start with cheapass paint with a lot of filler, it will not look as good as if you're using high pigment paints (golden, liquitex) I typically avoid retarders (which slow drying) because I think they make the paint look like poo poo, but I almost never use acrylic anymore except as a base additive for my gesso Beat. fucked around with this message at 18:49 on Dec 3, 2010 |
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Dec 3, 2010 18:47
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Side Effects posted:What do you do when you catch a senior art student tracing from other peoples paintings? Some of my friends and myself have caught this girl tracing straight from the computer screen on multiple separate occasions and we don't know what to do. Should we alert the teachers or should we just let her wallow in her absolute crap artwork? You'll have to provide details about the situation. It's not like copying something makes it bad, or is a bad practice to be in, in general.
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Dec 16, 2010 21:00
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Detective Thompson posted:That's a pretty good answer. My biggest concern would be that I'd be shipping said pictures off to my sister in California sometime after the holidays (she'll be here for Christmas so I at least show them to her), and I was just wondering how long it would be before I could safely do so without fear of them getting messed up. There's about a dozen common additives / mediums like japan drier, etc. you can mix in oil to speed up / slow down curing in addition to whatever you're probably using already, turpentine, paint thinner what have you
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Dec 19, 2010 07:36
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Side Effects posted:It's not that she's copying something, it's that she's tracing copy written work and then claiming it as her own. And she's not just tracing a portion of it either, usually it's the whole piece of art. Well, how you handle it boils down to your personal philosophy. I'm sure there is academic infrastructure in place for confronting this kind of issue. Whether or not it is worth your time and emotional investment is something you have to hash out for yourself. I've spent a lot of time in academia, I'm (slowly) working on my masters in art history right now. But I've been in plenty of other classes where practices that were questionable ethically happened all the time. The notion that "cheaters never win" is basically horseshit, cheaters win all the time. Mostly they just got by with a mild wrist slap for infringements. Because, after all, they don't want to lose the cash flow from a $45k a year student. Where I am now, I'd rather invest my time in myself, and using the resources available to me to my own ends. I simply do not have time to get bogged down in petty horseshit, which is what I classify this as. The overall quality of this chick's work is probably lovely, anyway, and she's not doing herself any favors. I sometimes use a shared space for doing ceramics work at the school I'm at, because I can use their glaze room, kilns, etc. People see the poo poo I create and some of the methods I use and they're like, "I'm totally going to try that." This happened to me at least 5 times in the past few months. Yeah, go ahead. I explain more or less how I do it, too. At worst they will take the techniques I use and come up with something new that I can copy later. More than likely though, 9/10 of them will get frustrated and quit before they figure out anything. Meanwhile I'll be on to greener pastures, having further refined my methods and have more time to spend trying to market/sell my work. It's not completely analogous. Point is, don't get bogged down in horseshit that doesn't help you.
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Dec 22, 2010 00:15
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I suggest gift card as people usually have pretty specific preferences... like there's only one brand/type of charcoal I draw with and one kind of ink pen I typically use if I'm just drawing... almost anything else just sits on my shelf. but some things you almost can't go wrong with are moleskines or other nice sketchbooks with good paper in them comedy ipad option: http://www.youtube.com/watch?v=5OLP4nbAVA4 that video owns by the way the manga poo poo is a phase... most people outgrow it once they get to college... unless they're Bei: http://beibadgirl.com/ Beat. fucked around with this message at 08:13 on Dec 23, 2010 |
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Dec 23, 2010 08:11
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Yeah, usually you frame them the next size up sandwiched in a nice mat to hide the edges.
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Feb 5, 2011 05:22
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Blurry Gray Thing posted:I knew someone was going to say that. I can definitely see merits and demerits to each approach. Being able to 'tune in' to your own stream of conciousness and just go with it is very important in any kind of creative process, especially writing which is a very time-centric medium. I personally think exploring both clean, concise focused writing as well as "getting it all out there" is important.
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Feb 6, 2011 02:23
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Depends on how much relief you want. Using a clay or clay like material will get heavy prtty quick. If you want to do it on canvas, I'd do a rough model in styrofoam and put modeling paste over that. Another alternative would be to use paper mache, prime that, or put plaster of paris over it, and prime that. To attach I'd use glue or epoxy and then since youre using acrylic I'd just use plenty of medium and do a few extra relatively transparent layers around the melding point.
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Mar 4, 2011 23:37
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GonzoRonin posted:This is more an industry/legal question than a creative one: I want to upgrade to Adobe CS5 Creative Suite so I can start freelancing and doing better work for school. How do I go about getting a student discount on that? Once I get it, what records do I need to keep to write off the business expense on my taxes later? well to get a student discount you need to be a student at a school that sells it for the tax write off, what you need is the proof you bought it, and some way to tie it to an income source. if you conduct all your business under a separate entity either through a tax ID or something more elaborate like a company, then you all the money for both transactions (purchase of software and sale of goods) should be moving through that entity. honestly, if you make less than 30 a year, you'll probably never get questioned unless you make some gigantic gently caress up
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Mar 5, 2011 07:25
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Slashie posted:You can get a student discount by following the instructions on the Adobe site (I believe it involves emailing them a scan of your student ID), but student installations of the software are expressly not for use on professional projects, so writing it off on your taxes is moot. You may be able to write it off as some sort of student expense - a tax accountant would know more. It doesn't really work like that. Getting caught by adobe for using the wrong license and getting caught by the IRS for tax compliance are two completely separate things. There is no problem writing off a software cost if you use it in a professional project, the IRS is not going to give a poo poo about it. They certainly aren't going to call up adobe, are you kidding me. Expensing software is like expensing travel, it's common as gently caress. You're not "supposed" to use it on professional projects, but I've never heard of anyone getting in trouble, ever, and I know a lot of art fags.
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Mar 5, 2011 11:09
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The model will be fine. You could also cover her in semen, as that glows under a black light. If you tell her it's for art she might go for it.
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Mar 28, 2011 10:58
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The reason people talk about not painting acry over oil is because they'll crack and deteriorate over time, but being frank, if you have to ask about it, you're not selling paintings for thousands of dollars, so who cares? just re prime it and go to town, and see what happens. But really, re-stretching a canvas takes like 20 minutes. So you could also do that, and canvas is cheap.
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Apr 27, 2011 19:55
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maybe it will look interesting, anyway
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Apr 27, 2011 20:29
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haha, what a great avatar
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May 6, 2011 21:18
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buy a drawing anatomy book that goes over proportional canons
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Jul 7, 2011 21:14
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Open up word and use one of their invoice templates, or look for one on the web. The only thing you probably won't know is "Terms" and that just means how many days before they make payment. Typically is 30 (one month), or immediate. You probably want immediate. They just need it for their record keeping poo poo so they can tie a check to a bill.
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Jul 11, 2011 23:20
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it's starch, gelatin, and sugars... so yes, you can do it, as long as you're not attached to it not lasting a long time or being made of stuff that can get brittle, rot, decay, etc.
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Jul 16, 2011 21:08
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Doom Goon posted:I bought a silicone mold and am looking to get into casting some cheap trinkets... I'm interested in pewter or resin, depending on the cost and difficulty. Has anyone had experience with this and knows a good guide? Thanks. if you are just casting in resin or epoxy, its very easy if you have the right set up... any online guide that goes over resin casting will give you the info you need. if you're making your own molds or want to, I'd suggest http://www.amazon.com/Essential-Guide-Making-Casting-Ceramics/dp/1600590772/ref=sr_1_1?ie=UTF8&qid=1310899088&sr=8-1 really, it's all practice. once you get the basics down you just have to do it... but for little things, it's easy as pie and resin is pretty cheap.
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Jul 17, 2011 11:41
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Imapanda posted:I hope I'm in the correct thread for this question. http://www.artslant.com/global/artists/rackroom/16237 I used TinEye to find that Soopafly posted:I work in a science lab and we go through about 3 dozen of these things a week, and they're kinda cool but I haven't found anything interesting to do with them yet. Ideas? have a look at peter wegner, http://peterwegner.com/?pa=/works/installation/&gid=77&sl=720 Beat. fucked around with this message at 00:28 on Dec 13, 2011 |
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Dec 13, 2011 00:24
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