discount art college

How to help out your favorite artists when you don't have any money

I post something like this about once a year, because I get a lot of messages from people who enjoy my art but feel guilty about not buying things from my store or subscribing on Patreon or getting things from my wishlist, etc. You really don’t need to do ANY of those things to help us out! Eyeballs on artwork is what we want, and just that is really helpful. But there are lots of other, free things you can do, if you want to, that will help us.

  • You can reblog our work, with credit! Tumblr, Pinterest, Twitter, Facebook, showing people next to you in class or at the library, whatever. The more you reblog our stuff, any kind of stuff, and especially if it has a name and/or link attached, the more followers we get, the happier we are, and the easier we can sell art and pay rent. This is such a vital part of our continued existence and it is difficult to overstate how grateful we are when it happens.

  • You can like, comment, subscribe on Youtube, reply on Twitter, and generally make our little numbers go up. Even if you don’t want a drawing on your blog, hitting “Like” helps. If people are browsing your liked posts (if you have this option available in your sidebar or in a separate page) they will see our work. Additionally, higher note counts translate instantly to “more worthy of being looked at” when parsed by an idle, browsing brain. That’s the price of being a member of a social species, and it stinks because it doesn’t reflect “quality” or “innate value” of art, whatever that is, but a post with 4 digit notes is going to get more positive regard than a post with a 2 digit notecount. And really, it makes sense. If lots of people like a thing, it is likely, if only statistically, that you will too. 

  • You can talk about your favorite artists to your friends. A lot of us idle on skype and irc all day, talking about new album releases and games and twitter beef. It doesn’t occur to a lot of us to talk about how so-and-so just did a cartoon of a fat bird that is making our day slightly better, but that URL pastes just as easily into the chat as any other. Don’t be annoying about it, but like Homeland Security always says, if you see something, say something!

  • You can look at/click the ads on our websites. You can disable AdBlock on our websites, too. I have two little Project Wonderful boxes at the top of my blog. They pay me very little per day, but when I need $20 to stop an overdraft fee or buy a food, Project Wonderful has my back. This has happened about a dozen times, enough to teach me the value of having that last, tiny bit of cash just slowly snowballing in the background.

There is probably other stuff that I’m forgetting, so please feel free to reblog and add them.

“banana trees”

this is a trick i learned from nancy madura at casper college, in her nature drawing class. we made lots of very precise botanical illustrations, from life. to get warmed up and make her strokes more confident, nancy would do a pageful of banana trees. i got into the habit too and it really helps, especially when you’re trying to get the hang of a new instrument.

you start from the top, do a short vertical line down, then do alternating rows of three prongs like bunches of bananas. this helps loosen you up. as you make each column, try drawing smaller but moving faster.

boysinbarrettes  asked:

what's the deal with artist's statements on art projects? are they required by institutions or something? it's always a little jarring seeing a really cool painting or photo project or whatever, next to a really academic, nearly impenetrable wall of text about it

Artists universally despise artist’s statements, in my experience, and only do it under intense duress. We hate writing them and we hate people reading them. They are generally demanded by business managers, gallerists, collectors, schools, occasionally patrons (although not often, hail satan), press kits, CVs, and group shows or festivals.

Last time I was asked for an artist’s statement (for a press kit) I made Simon write it for me after listing off some shit I’ve done, and only gave it a very cursory glance before “approving” it. 

My best guess is that you can safely ignore artist’s statements, and/or assume someone had to write it at gunpoint, or that it was written by a third party and the artist wanted as little to do with it as possible.

duncanisideal  asked:

Hi! I'm asking what is probably going to be something difficult to discuss. I just wanted an outside opinion besides my own. Do you think the phrase "Everyone can be this good if they just work as hard as I do." falls into ableist thinking? Why or why not? Personally I feel like it is often used in an ableist manner. Excluding or ignoring the effort many disabled artists put into their work. You don't have to answer this is if its uncomfortable in any way, and I hope that you're feeling better!

hm. I’m not a good person to ask about this; I’m too privileged to have any expertise in whether a thing is ableist or not. I’m going to publish this because i do have a lot of disabled or differently-abled artists and craftspeople following me who can give you a much more authoritative answer if they feel like it.  I will say that even aside from the question of ableism, I think the “bootstraps” worldview is poisonous in general, not to mention unrealistic + ahistorical. It also frames the speaker’s definition of “this good” as some sort of objective goal, which is sensical only in the context of capitalism.

I can say as an artist and an armchair academic (as if that bestows any kind of authority) that the definition of “good art” or even “skill” is useful only contextually, either to the speaker or in the framework of critical analysis of an artist or works, or a genre, etc. Being “good” at new yorker cartoons doesn’t require you to have a strong grasp of draftsmanship or anatomy. It might help you to convey an idea, but then again it might not. likewise, being a competent author of droll one-liners isn’t going to win you any prizes at the National Portrait Gallery’s annual competition, but forty years of grueling anatomical and still life studies probably will.

i can also say, with authority born of experience in my “chosen” career, that literally every piece of visual media has an audience. no matter how crude, unpracticed, cartoonish, stylized, or abstract. it is one of the wonderful things about living in the modern era imo—representational art is still a valid field, but it’s not the only bitch on the block anymore. some of my favorite artists right now are working with a style that any high school art teacher would dismiss as “crude” or “unpracticed”, nothing your grandma would even put on her fridge. i’m not going to conclude this paragraph by saying “…and it doesn’t matter”, because it absolutely does matter—it’s part of what that artist has to say, regardless of whether they wish they were “better” at traditional anatomy and draftsmanship or not.

What I’m trying to say is, I believe now that all art is inherently valid and valuable. However “bad” or unpopular or amateur or vapid or beautiful or pregnant with meaning, and regardless of how much I hate or like it, and regardless also of how morally or politically sound it is, someone is going to love it. Even in my own limited oeuvre, so many people are attached to paintings and drawings of mine that I think are just abject garbage. So our tastes disagree—so what? I made a thing and someone likes it. It gives them some satisfaction, it makes their lives better in an infinitesimal way. That’s good enough for me. It’s okay to act as a conduit for a thing you may not understand or appreciate. And it took me a long fuckin’ time to figure that out.