Commissions part II

This post is a continuation of a prior post I've written on my commission process. If you missed it you can find that post here. Having secured the final approval for the first commission I wrote about yesterday, I needed to do it again for the second painting.  During my image archives search for a complementary composition I came across this 20x16" painting, done some years ago from my own photo references and sketches done on site. I felt this composition was similar enough in feel to relate to the first painting, and yet different enough to add some visual interest:

Because I wanted the  two little commissioned paintings to "talk to each other", I reversed the above painting, and scaled the image to 16x12". Like the first painting, this one also scaled really nicely to the new format:

Using my photo-shopped mock-ups, I provided a this shot below to show how the two paintings would look side by side:

There were a few color notes to keep in mind. The client wanted these to pieces to go in a room with an open floor plan where other artwork was already present. There was one painting in particular, a large pastoral with a red barn, that I needed to be cognizant of when creating my pieces. I didn't need to "match" the red, but I needed to be aware of it so as not to clash. This painting had a mid-to-cool temperature red focal area, so I'd steer away from anything too orangey. There were also some lovely aubergine and turquoise accents  in the shadows of the large painting that I noted and would attempt to riff off of in the paintings I was about to create.

My collector gave a big thumbs up to the ideas I had proposed. Whew! Awesome! Now for the fun/hard part of creating them! In my next post I'll show you how everything came together in the final paintings, and provide some thoughts to keep in mind about commissions in general, which I think will be of interest to the collector and artist alike.

Super cheap wet panel holder

This week as I am plodding through the daunting task of packing up my studio, I have storage on my mind (as in, where the heck am I going to put all of this stuff?!) Granted, a number of these boxes are my office supplies and files, but let's face it; artists have a lot of stuff.

And so we painters are always trying to come up with nifty and cheap storage ideas that will protect our paintings when they are wet and keep them organized when they are dry. With that introduction, meet my cd storage racks turned painting panel holders:

This is about as low tech as you can get. Two CD holders are tied together with twist-ties on either side.

These are also great to have in the car for plein air paitning trips. I put the whole setup inside of a box lid sized to hold them for added stability and reduced mess. It will hold painting panels up to 12" and keep them neatly separated from each other so that they don't touch.

Granted, CD holders are becoming a little harder to find as we move further into the digital age, but they are still around. If push comes to shove, a letter sorter from an office supply store will do.

Lilacs and Forsythia

This is the first time I've posted two auctions in the same week. But while this painting would be great on its own, it's also a nice companion to my other still life auction, "Daisies in a Blue Jar". This auction will start at 9 a.m. this morning. Read on for the details!

"Lilacs and Forsythia" Oil on canvas (gallery wrapped) 8x8" Place your bid in the auction widget on the right sidebar of this page! Congratulations to Barbara T. for winning this auction!

Even though it's the season of Christmas, springtime doesn't feel so far away with this delicate painting of cut lilacs and forsythia. This original oil painting measures 8x8" and is painted on a gallery wrapped canvas with 1 1/2" deep edges. The painted edges provide a finished look, so no extra framing is needed! This gallery-wrapped painting offers a number of great opportunities for display. It looks equally great perched on a mantel or bookshelf as it does hung traditionally on a wall.

This painting retails for $450.00, so this is a wonderful opportunity to purchase it at a fabulous price (and still in time for Christmas!) Signed by the artist, lower left.

Here's how the auction works:

• All auctioned items are offered unframed.
• The opening bid for this painting is just $100 (a fraction of my retail price).
• Bids increment by $25
• Highest bidder at the auction’s end wins the painting.
• When the auction has ended, I will send the winning bidder a Paypal invoice.
• Virginia residents are subject to a 5.3% sales tax.
• I ship via U.S. mail within 3 days or less of receiving cleared payment.
• Free shipping in the continental USA!
• Visit my auctions page for more details

New still life floral up for auction today

I've posted something a little different today on the auction block. Read on for the details!

"Daisies in a Blue Jar" Oil on canvas (gallery wrapped) 8x8"

Place your bid in the auction widget on the right side of this page! Congratulations to Barbara T. for winning this auction!

Fresh-cut flowers are a surefire way to brighten any day. Now you can enjoy that feeling any time with this floral painting of fresh, cheerful daisies. This original oil painting measures 8x8" and is painted on a gallery wrapped canvas with 1 1/2" deep edges. The painted edges provide a finished look, so no extra framing is needed! This gallery-wrapped painting offers a number of great opportunities for display. It looks equally great perched on a mantel or bookshelf as it does hung traditionally on a wall.

This painting retails for $450.00, so this is a wonderful opportunity to purchase it at a fabulous price (and still in time for Christmas!) Signed by the artist, lower right.

Here's how the auction works:

• All auctioned items are offered unframed.
• The opening bid for this painting is just $100 (a fraction of my retail price).
• Bids increment by $25
• Highest bidder at the auction’s end wins the painting.
• When the auction has ended, I will send the winning bidder a Paypal invoice.
• Virginia residents are subject to a 5.3% sales tax.
• I ship via U.S. mail within 3 days or less of receiving cleared payment.
• Free shipping in the continental USA!
• Visit my auctions page for more details

Happy Thanksgiving! Plus, a little studio tour!

On this eve before Thanksgiving, I feel extremely grateful for the blessings of both my personal and professional life.  To my collectors, past students, and readers of my blog and newsletters, I give my heartfelt thanks. Knowing that people have taken such an interest in my art (and my meandering thoughts about it) does my heart more good than I can adequately express! Happy Thanksgiving to you all! One of the many other things I've been extremely grateful for professionally these past few years, is my studio. Since  I just cleaned it up, I thought it might be nice to show some pictures of how it looks today (now that I have had about 5 years to break it in.)

The last time I posted pictures of my studio, I had only barely moved in. But, while it may have  a little bit more clutter now than it did initially, it is still a "clean, well-lighted space".  It continues to be a place of inspiration for me,  and now for my little daughter as well. And since I've become a mom, I have thanked my lucky stars these last few years that I have my studio within a stone's throw of my back door. Sometimes the only time I have to paint is in the wee hours, so proximity has been key.

Any way, without further ado, on with the tour!

This first shot is more or less the view straight on as I walk in my side door (the main entry door for me as it leads to the house.) Following this path leads me straight back to my painting space, which sits across from that big brown easy chair and the French doors beyond (just out of view to the right). In that far back corner are storage bins (built by the D.H.) for frames and canvas.

From this spot, looking slightly to the left, you will see the framing table and flat files. That table from Ikea, as well the room divider, hold all of my framing tools and shipping supplies, small canvas and panels, etc. I got the flat files for a song at a thrift store. Luckily it just so happened they fit under the table nearly perfectly.

Directly across from the framing table is my computer desk. I also have more storage for frames, shipping tubes, bubble wrap, etc., in the loft area overhead. Nothing too heavy goes up there, as the only access is by that very tall loft ladder!

Here's another shot of the loft, as well as the "side door" that I use to enter. To the left of this area I have carved out a reading nook. This area has kind of become a little annex for my daughter's arts and crafts, but I still can use it for guest seating when I need to.

Moving past the room divider now, we come to my painting area. Being my primary workspace, this side of the studio is a little more about form following function. ;-) The sink sits in the far left corner. The "mini-split" we installed for heating and cooling sits on the wall nearby. It  keeps things nice and comfy. I have another one over the windows of my reading nook. In hindsight I really think I could have gotten away with just one of these units in this space. They are very efficient!

So there you have it! The nickel tour. Again, Happy Thanksgiving, everyone. I'll be out of pocket for the holiday, but back to posting again by this weekend  Eat well and safe travels!

Caring for oil paintings- some tips!

I recently received some questions from a new collector on how to care for her oil painting, so while I have discussed these issues here on my blog before, I thought my readers might also find a refresher helpful . I personally feel that oil paintings are much easier to care for than works on paper, but there are some guidelines to follow to ensure your painting receives a long and happy life.

I frame all of my oils without glass, as a canvas painted with oils that has adequately and properly cured is quite a bit less delicate than works on paper, which are more  prone to deterioration when exposed to the environment. Framing without glass is indeed, just one of the great advantages of oil paintings, as it eliminates the glare that can be created by the glass covering. If you feel, however, that the paintings would be subject to any unusual  conditions, consult a professional picture framer (or better still an art conservator), as they are best suited to advise you on such matters and may indeed determine that framing under glass is best due to those conditions. If you do use glass for any reason, the framer should use spacers between the painting and the glass, so as to avoid having the painting surface in direct contact with the glass (which can be highly acidic.)

When transporting the canvases, they should be held by the edges, not carried by tucking your fingers under and between the wood frame and the canvas. Do not lean anything up directly against a canvas or allow the canvas itself to lean or touch another object as this may cause the painting to develop “dimples” or indentations. Avoid hanging the paintings in direct sunlight. I do use professional grade archival paints and canvases, but any artwork, no matter the medium, will be prone to fading if in direct sunlight for a prolonged period of time. Also avoid high moisture areas (like steam from a hot tub or a bathroom shower, for instance)  which can cause the canvas to expand and contract and the frame to warp, creating the potential for cracking of the paint surface. Really though, the greatest risk to a painting occurs during transport, so assuming it is properly packed and arrives in good shape, the rest of its care should be pretty easy and straight forward.

French pastoral WIP and art studio WIP, cont'd

The misty painting of the Lot Valley continues....

Still trying to keep things soft, but articulate them at the same time. Today I'm working on the sheep. Meanwhile, I've been told that it's okay to continue my obsessive postings about the new studio ;-) . So here's a little mini tour:

First of all, so much of the furniture in this space came from IKEA that you'd think I had an interest in the company or something (none exists--other than a serious interest in shopping there. ) In fact, we put so many of my "IKEA finds" together that Dave started calling it "I killya" because of how much this stuff weighs. Still, there's no denying that they have some intelligent designs to outfit an office and art studio (and the price is right too!)

Here's a view of my painting area and the sink. At first I was going to go with a regular utility sink and cabinet, until I found the "Udden" sink at IKEA.

That sink nearly DID kill us, actually--trying to lift the coordinating cabinet up to screw it into position in it's nifty little slot. For a while after that little ordeal I seriously thought I had nerve damage in my hand (my "painting hand, too!)

Below is a view from my little sitting/library area looking toward the art bins that Dave built for me. There are some more bins on top temporarily, but they will go up in the loft area when we're finished with them. At this writing, we're still working on studio storage, so I'll write more on that in a future post. A bookcase blocks the view, but the sink sits across from the bins, and my main easel stands across from the full-length mirror pictured, so I can check my work in reverese.

And now flipping my position, here is a view of my sitting/reading area from beside my art bins (still populating the shelves with my many art books!)

I have divided my sitting and office area from the painting/sink area with a large 6 foot room divider with storage cubbies from IKEA's Expedit storage series. I like that it divides the space while still giving me a feeling of openness. What is hard to see is that I've bolted this unit at a right angle to a white bookcase that faces the French doors for added function and stability.

The ladder is actually an old telephone ladder like this one that I bought cheap on Craigslist. We're still working to make it a moving ladder on a track...almost there.

Now we're on the other side of the room divider looking at my table where I do my framing, plein air panel prep, and flat art-mounting. All those little drawers are great for my framing tools and fasteners.

In this same "room" sits my office. Can you tell how much I like paperwork? I've rather been avoiding going through my files, but since it's tax season, it's the task before me:

Note those big squares of light from the windows and how far they come into the room. This is why I opted not to have east-facing windows also on my painting side. I will likely put up some kind of sheer window treatment soon to diffuse this light so it won't be so harsh.

Conspicuously absent from these pictures are my paintings that will in future be on the walls and in the bins. We have yet to get them out of my temporary storage space until we have finalized our art storage solutions....but more on that in a future post.

Studio building project- the final stretch

My online presence has been a little quiet lately because we are getting down to the "finishing touches" of prepping my new art studio for move-in. After my lights were installed, I finally came to a decision about the color of the walls, and I've spent the majority of my time in the last couple of weeks painting the walls and trim, installing picture moulding, painting more trim, and touching up walls and trim some more.  (Just one more door to go!) Not only am I body-weary, but I am also decision-making weary. So it is a good thing that most of the big decisions are now behind us. I really had a time trying to decide on wall color. I knew I wanted a color (as opposed to white/off-white). But having had yellow walls in my last studio, (great color for the gallery walls, not great for art-making) I also knew I wanted something that was neutral enough so as not to cast the wall color onto my paintings and palette.

While the color that's so popular right now with many portrait painters (mentioned in this previous blog post) was waaay too dark for my taste, I did like the idea of a neutral gray/green. So I decided to start my quest by playing with a sample of the portrait painters' color (Benjamin Moore's "Mohegan Sage", #2138-30) to see if I could figure out the underlying base color by tinting it with a bit of white.

It may look a little more "colorful" on the computer monitor, but the lightest tint was a fairly dead-looking gray. Benjamin Moore lists Mohegan Sage as a "black", and having tinted it I can see why. It probably is a combination of black with just a touch of yellow. It's very rich in its full strength, but none too inspiring in my tinting experiment! Still, tinting up to an almost elephant gray, I couldn't deny that it is a very neutral color, and thought I could use my tinted sample against some other color swatches to find a related color that was both lighter and more inspiring but still neutral for my studio walls.

What I found was a beautiful rich color that seemed to be in line with the darker sage, though perhaps a tiny bit cooler. It's a color called "Storm Cloud Gray" (also by Benjamin Moore, # 2140-40.)

While this color is a good deal lighter than the dark sage, I was still a little concerned that it would be too dark. So I decided to use it on just one wall as an accent and do the rest of the walls in an even lighter shade that I also liked-- again a gray green called "Paris Rain," (BM color #1501). Here is the result:

Here are the lighter walls running into the deeper accent wall, complete with sleepy husband reporting for cleanup duty last Saturday morning (what a guy!)

I find both of these colors really lovely and pleasing. Sometimes they look more gray, sometimes more green; though in either instance they still remain neutral enough not to overpower.

In the above picture you can also see the picture moulding we installed so that I can hang artwork. Unlike the trim moulding, I decided to paint the picture rail the same color as the walls, both because I wanted to keep the high walls looking "high" and because the picture moulding was fairly plain and nothing special.

Since Dave (and friends) installed both the floors and the trim moulding, I wanted to do all of the painting myself to give the poor man a break. I totally underestimated how much time it would take. I guess it was those high walls that fooled me, but at last it's more or less done and we've had the "SmartBox" delivered (portable storage box). Over the next few we can actually start the process of moving in, assembling furniture, and piecing together my various work stations. This too will take a while (and likely a few more trips to IKEA) but it's actually starting to feel like a real art studio now. I'm excited about the prospect of being in there and getting back to painting again (as in ART) on a regular basis!

The next big challenge will be figuring out some storage solutions that make sense for the new space. Much of that will have to be dealt with after I've gotten my main workstations set up, but I will be sure to blog about it as I go along. Meanwhile, I doubt I'll do much blogging over the next few days, as we will be moving and dismantling my office for a bit.

An ideal art studio?

So all of this moving stuff has gotten me working on new studio plans, and I have certain things that I know I want for my next space. Namely these are: lots of storage, lots of light, good ventilation, and enough room to step back and forth while I'm painting. In the book Organizing From The Inside Out by Julie Morgenstern, the author suggests setting up whatever area you're organizing in "stations" by the kinds of activities you do. The Setup

• A painting station, comprised of:
  • Easel, palette, monitor, large mirror (set up across from the easel to check my work).
  • Additional items: Optiona secondary easel for a larger wet painting or WIP, bins or shelves for my paints and supplies, a drying station - preferably a "drying wall" for larger works in progress, and/or some shelving to prop up wet panels after plein air painting.
• A flat work, framing & shipping station (There are several different activities here, but for all of them I use a table with lots of drawers  from IKEA and shelving to store supplies, organized by activity.)
  • Picture framing, matting, and mounting artwork
  • Surface, panel and canvas preparations
  • Packaging/shipping
  • Work surface for watercolors, sketching, printmaking, etc.
• Cleanup- Utility sink, shelves, paper towels, etc.
• Office (computer stuff, desk, files)
• Previously mentioned in the above notations, but bears empahsizing: Storage (of all kinds- shelves & bins for canvases, frames, books, etc.) and as much wall space as possible.

Optional but desired:

• A sitting/viewing area- for reading and assessing my work
• High ceilings (in a smaller space it can provide a more "open" feeling")

I don't ask for much, do I? ;-)

Into the light

Of all of the concerns, good natural lighting is among the biggest wants for me, because for one, working with inadequate light is hard on the eyes, and in my current workspace it has been less than adequate. But you have to be careful because if there's too much of it shining directly on your canvas;  it causes glare problems with oils.

Artists always talk about north light as being the best for the most consistent, even and balanced natural light in the studio.  But a north-facing studio isn't always possible (my northern light is indirect at best because it's blocked by the building across the alley from us.) And any natural lighting will still need to be supplemented by artificial light, for overcast days and evenings when I may need to work, and for this I've found a few options.

Full spectrum lighting mimicks daylight, and it's what I currently use in my studio work area. I have this long flourescent bulb by Ott-Lite installed in a regular shop light that hangs just above and slightly behind me in my painting area. It does a pretty good job on my workspace, but I still feel the need to supplement with additional lamps.

The reason full-spectrum is recommended is that it is more "neutral" than the yellow cast that is often put off by incandescent bulbs. Artist Nita Leland has a good article explaining this further, so if you're an artist you may wish to check it out.

In addition to the above-mentioned option, we're looking into some kind of solar tube lighting. Friends of ours have these installed in their home, and it's amazing how much light it can put out. I light this option better than a skylight for my painting area, as a skylight can cause a more spotlight effect and the solar tube is less directional and more all-over and diffused.

One other option I hope to incorporate is clerestory windows. If I can get ones that open, they can serve number of purposes;  indirect natural light, additional ventilation, and the preservation of precious wall space in the painting area.

What's your ideal studio?

If you're still awake and reading all of this, I'd love to hear your thoughts. Anything I've missed? What's your ideal studio? And while you're mulling that over, check out talented artist Casey Child's blog - in particular his chronicles of the fabulous new (huge) garage/studio in progress- northern lit and all. His early posts on the topic have some great inspiration pictures too. I bookmarked his site some time ago, and in fact, his research is so exhaustive that I might not have bothered with a post of my own. But I'm nearly finished, so I might as well hit the publish button now!

Oil painting substrates; Multimedia Artboard

The last few paintings I've featured from my recent France travels are done on Multimedia Artboard. I posted about this surface before when I was getting ready for my trip, and I thought I'd write a little more about it as a follow up. I really enjoyed this surface, especially for traveling and painting en plein air. For one thing, it is very thin, so you can pack a good number of these boards and not take up a ton of room in your suitcase. You can also cut the board to size very easily with either a guillotine-type paper cutter or an exacto knife.

In fact, it is so lightweight that when I first ordered this material I thought I had been sent the wrong product. I was expecting a board, and what I got was something that seemed more like a rigid watercolor paper. I even called the manufacturer to ask about it. I will say that the manufacturer was extremely helpful, and was almost at a point where he was willing to ship me some board from his own stock so that I'd have some for my trip, even though I hadn't originally purchased it from him. But he told me, "If it's my board it should be very rigid. In fact, it will shatter if you try to bend it." Sure enough, when I put it to the test, it did.

That's the one thing to be careful of with this product--but protect the corners in travel and don't drop it from a balcony, and you should be fine. It has a rough side and a smoother side to it, so you have a choice on which side to paint, depending on your needs. I also like that it accepts a variety of media--watercolor, acrylic AND oil. It can accept oils either as is, or primed, if you wish, with gesso. I double primed mine, but it was a little slick, so I think next go around I'll try it unprimed to see what that's like.

While the board is rigid, because it is thinner than a "board", I taped mine to a larger board (gatorboard or coroplast) to give me a stronger work surface.  For framing, I can simply pop it in a frame backed by a sturdier board and it's ready to go.

I am finding the Multimedia Artboard  much easier to mount and frame after the fact than the other surface I took with me, a fine-weave primed linen. And while linen has luxurious qualities all its own, I can easily and happily see myself going back and forth between these two surfaces for my plein air painting travels.

Photographing oil paintings for the web

Thanks to my niece Molly, a talented artist in her own right, for inspiring this blog post: So you have a nice little painting you've just completed, but none the photographs you took do it justice. How can you get decent photos for your website? I am certainly no expert photographer, but I will share what I do for my own website to produce decent reproductions of flat art for online display.

Photographing artwork is definitely a little tricky. If the artwork has any sheen at all, any flash or angled light can cause glare on the surface, which will distract or obscure the true nature of the picture. These days, I use a digital camera for all of my photography and tend to do a fair amount of color correction in Photoshop. But I used the same method of photography I will describe below, even in the pre-digital age when I made slides of my work. 

The best conditions I've found for photographing artwork is outside on a bright but cloudy day. This gives consistent diffused light and the least amount of glare. If photographing on a sunny day, try to set your painting up at the edge of a shaded area so that enough light reaches the painting without shining directly on it. Tree shade isn't good because of the dappling. It needs to be even light, so maybe an overhang on the side of a building or something.

If you are shooting film or are otherwise not able to correct the camera angle after the fact, you'll need to make sure your canvas is as perpendicular to the camera as possible. You can either set it up on an easel or hang it on a wall on the side of a building if the overhang isn't too large. To avoid the fish-eye effect that can occur because of a wide-angle lens curve, you should set your camera up on a tripod far enough away from the painting and zoom all the way in on your painting to fill the lens as best you can with the picture. This will minimize that fish-eye distortion. (Thanks to artists David Darrow, James Abbott and others in the Daily Painters Discussion group for this and other technical tips!)  

When photographing, I use my camera's manual setting so that I can set the white balance and bracket the exposures, just in case what I'm seeing in the viewfinder isn't what I get on my computer screen. Then I'll examine all of these images in Photoshop, and with the painting sitting next to me, I'll make adjustments to the chosen image in brightness, contrast, color, etc. Photoshop is great also for correcting the picture if the painting doesn't look exactly square. But Photoshop is also $$$ so if you don't already have it, you might look for a cheaper image editing software program that can do most of these basic corrections.

For the web, I will overlay my copyright info and save my images as 72 dpi JPEGs. For archiving, though, I save the image at the largest size my camera setting will allow, and save it as a TIFF. JPEGs are fine for web stuff, but not great for archiving because it is a "lossy" image format. This means that every time the JPEG is opened it looses a bit of information, even if it is a large file. For any kind of high quality reproduction (such as giclee prints), the best option is to have the painting professionally scanned or photographed at a very high resolution.

Vibrant new show for the First Fridays Art Walk tonight

It's raining now, but they're predicting a clearing by 5PM, so head out to the First Fridays art walk downtown tonight. We're open early from 6 to 8:30, and there's ususally plenty of parking on Main Street. Opening tonight at the gallery: "A Touch of Red"- New and recent landscape paintings from Provence to the Tropics with a splash of Valentine's Day red.

"A Place in the Sun", Key West Oil on Canvas, 16x20" More info

Where we are: 

Jennifer Young Studio & Gallery is located at 16 East Main Street, (between 1st and Foushee) two blocks east of the Jefferson Hotel.

New winter/spring hours: 

Beginning in February, gallery hours for the winter/spring season are Wednesday through Friday from 12-6 PM and Saturdays from 11-2.

We're also open during the First Fridays Richmond Art Walk from 6 to 8:30 PM and by appointment at other times. For additional information contact us or call 804-254-1008. Click here to view a map and get driving directions from your location.

New "Art for Food" charity auction listed- Provence watercolor

Here is the latest in my series of charity auctions for the Central Virginia Foodbank. I am listing this little Provence watercolor of the Luberon Valley on eBay, and you will notice some adjustments to the listing due to the things I wrote about in my previous posts here and here.

"Summer Vineyard" Overall size 8x10" (image size 5x7")

Bidding has ended for this item, but you can see the latest art auction here.

Online charity art auctions- The learning curve part II

Look for a new "Art for Food" auction posting later today. Meanwhile, here's  a follow-up to my previous post  on the charity art auctions I'm holding for the CVFB. Filed under the "hadn't thought of that one" category: 1. Sales tax: Only after a couple of auctions were listed did it dawn on me that I probably had to collect VA sales tax. Doh! A call to the VA Dept. of Taxation confirmed this.  I am selling the item and then once I collect the profits, I'm turning around and donating the money to charity. Even though it's a donation, it's still a retail sale and subject to the tax for in-state sales. I can't really do anything about past auctions but pay the tax myself. But for the future a statement to collect sales tax in Virginia will be included in the listings. 

2. Framing: Due to the time involved in listing and promoting the auctions, making the donations, as well as packaging and shipping (not to mention creating the artwork), I cannot provide an in-house framing service for the charity auctions. Watercolors should be framed under glass, and shipping glass requires a lot more time and care in the packing and additional cost (and risk). It also adds another dimension of confusion to my whole accounting process. The good news is that these pieces are created in sizes that can be matted inexpensively, and fit easily into standard-size frames  found readily at local frame shops and even craft stores.

3. Donations: I started these auctions out with 100% of the proceeds going to the charity. However, since these auctions are an ongoing 6 month project, I really do have to consider the processing costs. Paypal, my online money transfer agent, assesses processing fees, reducing the total amount that I collect. If I can designate 95% of the proceeds to the charity, this will defray my costs for processing and any listing fees (for eBay listings and/or extra features).

More thoughts on eBay: I've been reading more on the eBay/Missionfish deal and can see that there might be some benefits to listing there. I've learned that in addition to your auction being listed on eBay's site and in the GivingWorks category, it is also listed on Missionfish. There are claims of better visibility and higher returns for GivingWorks listings over regular listings. Without having listed there I don't know how accurate that is.

The main hesitation I've been having are the Missionfish fees. At first blush, 15-20% of the donation seems like a painfully large processing fee. Will it really save that much time over ArtByUs in the processes of listing, fulfillment, documentation and donation? Will the venues provided through eBay GivingWorks increase the number of bids? If those two things were true, it might very well be worth a try.

A few gallery snaps from the "Small Stuff" show

Don't let anyone tell you that hanging a show for a bunch of small works is an easy task. But after it was all in place, we were very happy with the results, and I'm glad to report that my husband and I are still married. ;-) Here are a few shots from the show, on view now through Jan. 30th: When we were looking at this space for the gallery, one of the first things I noticed was this cute built-in. It's a perfect display for my minis and my new line of watercolor/pen and inks. Here I've decorated it with some lights and mistle toe:

A close-up that shows some of the ornaments--I like the little silver and gold Christmas balls along the bottom shelf:

On the opposite wall are the landscape paintings of Venice and Lake Como:

Close-up shot of the mantlepiece decorated with paintings. To the left of the large Venetian landscape are a series of little square 6x6" Lake Como paintings. Anyone who has read my blog for a while, or my squidoo lens on hanging art must know I'm a fan of grouping big and small paintings together like this. I'd love to do something similar over my fireplace mantle at home.

A small grouping from the next room of some of my more local autumn scenes:

I  guess that's really all I had time for, photography-wise. I may share a few more snaps and I will definitely share more info on some of the individual pieces in the show very soon.

Miniature landscape painting of the Tuscany sunset

This painting sold last night at my gallery exhibition preview, but it's still on view tonight for the First Fridays downtown art walk. It is a companion to another Tuscany painting I blogged about a couple of days ago:

"Lingering Light, Tuscany II" Oil on linen, about 3.5" x 7.75"

If you're doing the downtown art walk tonight in Richmond, come by Jennifer Young Studio & Gallery and see all of the "Small Stuff" -- miniature paintings and prints --on display for the holiday season. The gallery is located at 16 East Main Street between 1st and Foushee.

If you're not in Richmond, I am continually uploading new paintings to my web gallery, or you can see them offered first here, on the blog. I'm also offering free shipping (with some restrictions) until the end of the year, for holiday shopping convenience.

Useful links:

Ideas for hanging "small stuff" How I pack paintings for shipping My purchasing FAQ's My gallery information (and virtual tour)

Grand Venice painted as a small vignette

Though the subject matter is vast and expansive, this painting is tiny. I enjoy the looseness of it. With a painting this size you can't help but be loose! The little gondolier and other people were a challenge, so I resorted to a size 0 brush in some places:

"Grand Venice" Oil on Canvas, 4x5"

The image is about true to size. Painted on a mini gallery wrapped canvas with edges painted a near black (the gondola color). This is offered on its own or with an accompanying mini easel. Additional pictures and info will be added to the website later, but you saw it here first. Please contact me for all the details.  Available to ship this weekend, after my openings Thursday and Friday. Update: just sold! To see the other small works I still have available for sale, please click here and here.

"Lingering Light, Tuscany" miniature oil painting

More "small stuff" today as I continue preparations for Thursday night's gallery anniversary party and the First Fridays Art Walk that follows. This little painting shows the setting Tuscan sun over a sloping grove of olive trees .  There is a companion to this little painting that I'll try to post soon. 

 

 "Lingering Light, Tuscany" Oil on Linen mounted on birchboard Approx. 3.5" x 7.75"

It's an odd size, I know, but I do have a frame for it. It would also look great unframed, just perched on a mini easel.

I am enjoying the long horizontal format I've used in these pieces and in my previous painting of Venice. That's the great thing about making small works--you can experiment with formats and compositions (mediums too) with less sweat, tears, and expense than is sometimes required of a large canvas. And if they don't work out, they fit into the trashbin  a whole lot easier! I think this one's a keeper though. ;-) 

Mini still life oil painting; colorful apples vignette

Here's one of many small pieces that will featured in my "Small Stuff" show that opens next week at Jennifer Young Studio & Gallery. It's a colorful still life painting of apples in a translucent red bowl:

"Three's a Crowd" 4x5", oil on canvas

Set on a gold mini easel, this little piece is great on a shelf or mantle with other objects d'art. In the gallery I have it grouped with a couple of my gallery wrapped mini florals:

More mini paintings and vignettes will be featured as my next show draws ever closer. Stay tuned! **UPDATE: This piece has sold. See some of the other small works I have available for sale here and here. For more information about any of these pieces, please visit my website or just contact me.

Video- Tour of Jennifer Young Studio & Gallery

Taking some time over the Thanksgiving holidays to spend with family , so for now I leave you with a little tour of my studio/gallery featuring my last and perhaps one of my favorite shows to date, "Luminosity". The groovy music, by the way is by David Webb.

If you don't see the video player above, clicking this link will take you to the video in a new window.

Happy Thanksgiving!