Showing posts with label equine artists. Show all posts
Showing posts with label equine artists. Show all posts

Tuesday, November 23, 2010

Did the Internet Kill the Photography Star?


The progression of the internet has been both a blessing and a curse to artists. On the plus side, we are able to reach a much larger audience with our work, and do more marketing on our own than the old days. The negative is that sharing our work online – through websites, blogs, and social media – makes us vulnerable to image theft. One of my artist friends, Michelle Grant, likes to say, “You can die of exposure,” and when it comes to the internet, it’s very nearly true!

Image theft has become a huge problem for artists and photographers. Just in case you don’t know, grabbing someone else’s photos (by right-clicking or doing a screen capture, that sort of thing) and sharing it with your friends is more than wrong – it’s illegal. We artists are usually nice people, but this sort of thing makes us rabid. We hate appearing as ogres. It’s really not in our nature. We’d rather be creating new work than chasing after infringers. We try to be gentle about educating people, but it’s frustrating, when so many are oblivious. The thing is, it’s hurtful to us. It threatens our livelihood. It robs us of the control of our rights.

In one recent situation, an individual on Facebook has gathered an album of photographs from all over the internet. He claims he is just sharing them with his friends – which, or course, still doesn’t make it right. He hasn’t received permission from any of the professional photographers whose work he’s posted. Some of the images have obvious copyright watermarks on them. He may think this is innocent, but just as he grabbed these images, one, or many, of his friends may now do the same. We know how viral the internet is. In no time at all, an image can be used in various contexts, none of which have been authorized by the actual creator.

I know a number of horse show photographers who are considering no longer shooting events, because so many people now just steal images from their websites – blatantly watermarked as a copyrighted proof. It makes me sad when I see this. Perhaps they don’t realize that in most cases, show photographers don’t get paid for being at a show – they rely on the sale of prints to pay for their time. Or maybe people don’t think we need show photographers anymore, seeing as everyone and their three-month old kid has a digital SLR these days.

The thing is, it only takes a moment to send an email and ask permission. We like to hear from people who like our art. Take the time to start up a dialogue – you never know what might come of it. Depending on the situation, the artist or photographer may be happy to have you share their work. Or consider sharing the image in context – the entre blog post, or website, so that others can not only see the image that you have enjoyed, but more of the artist’s work.

We don’t want to stop showing our work online. We don’t want to have to plaster our images with lengthy copyright declarations, like my example above, so that you can’t even see the artwork (and by the way, all the information in that diatribe is true). We need everyone’s help to educate on copyright law so that there is greater understanding. So pass it on. Artists everywhere will thank you!

Please feel free to share this blog post!!

Just a note about the title of this post. If you’re of a certain age, you’ll know the song “Video Killed the Radio Star.” A couple of weeks ago, I heard a new song, by the Limousines, called “The Internet Killed the Video Star.” I had to laugh. And just FYI – titles cannot be copyrighted! It’s too bad the Jockey Club doesn’t realize that – if they did, our boy Leo would be named “Sharp Dressed Man” right now! Sigh…

Monday, April 27, 2009

Monday Guest Artist ~ Karen Baker Thumm

We're getting some interesting weather right now in Southern Ontario. On Saturday, summer decided to pay us a visit, but by 5pm a powerful storm system moved in and made bringing-in time at the barn a bit wild! The temperature dropped a good 20 degrees for Sunday...and today it's supposed to be like summer again. The bad news for me is I really need to get on my taxes (no kidding), so my "day off" this time around will be spent crunching numbers instead of enjoying the weather. I know...that's what procrastination gets me!

Today's guest artist is another Equine Art Guild member I've "known" for years. Karen is an Associate Member of the prestigious American Academy of Equine Art, and has always been very generous in sharing her knowledge and experience with aspiring equine artists. There is a wealth of information, as well as a number of examples of her beautiful work, on her website. You can also see some of these paintings develop on her blog. Thanks Karen!


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Growing Pains
Karen Baker Thumm


I’d like to start off by thanking Linda for inviting me to be a guest
blogger on her blog this month. It is an honor to be chosen by an
artist whom I greatly admire.

In sticking with this month’s theme of growth, I decided to address
a subject that many of us traditional realist artists face at some
point in our development as artists, and that is the need to wean
ourselves from too much dependence on photographs. As equine artists,
it’s almost a necessity to rely on photographs to produce our art
since our subjects are not the kind to sit still for hours (or even
seconds!) while we capture their likenesses.The trick is to move
beyond the photograph at some point to make a more unique work of
art, and that is where the growth part of our development as artists
comes to the fore.

One of my recent paintings is a perfect example of moving beyond the
photograph. “Meet The Green Team” is its title, and so we shall. The
first image is my reference photo for this painting. I very much
liked the expressions of these two gentle giants, their connectedness
to each other and their mild interest in the viewer who has
interrupted their quiet moments together. In order to convert this
photograph into a work of art that was more of my own concept, I made
a number of changes.

The first choice I made was to change the left hand horse’s coat and
mane colors since I wanted the painting to be of a pair of Belgians.

Next I decided to eliminate the sweat on the horses in order to go
along with a theme of quiet relaxation.

Thirdly, I decided to pretty up the trailer by eliminating the rust
and broken railing and giving it back some shine.

Since I'm not fond of wide blazes that go over the nostrils, the
right hand horse got a blaze adjustment which worked out very well.
You can see that he actually has a very fine muzzle which was
disguised by that wide blaze.

The two ears almost touching in the center created a weird tangent,
so I changed one ear to a more forward position and eliminated that
problem.

But, the changes didn’t stop there. The wheel fender was eliminated
since it added nothing to the compositon. I changed the far side of
the trailer to show more openings and make better sense of it. And,
finally, I played around with different crops until I found one which
worked well and which allowed the image to fit onto a standard size
canvas.

It’s a good thing that I like to challenge myself because, Boy! did
this painting challenge me! The first thing I did was to make a color
study in pastel to use as a guide for the oil painting. Other
reference photos were used for the highlights and shadows on the
horses and for reflections on the trailer. A couple of Breyer horses
and a mirror also helped show me where the reflections should go.
Using all of these tools helped me to create a painting that was both
challenging and very rewarding.


I’m so glad that I took the risk and created a painting that I can be
very proud of. Whether it wins any show awards or not, it’s already a
winner for me. Growing pains and all, it helped to build confidence
in myself and was one more step in my growth as an artist.

Sunday, June 01, 2008

Purple Panel Painters, Unite!


I was just browsing the Equine Artists' feed - this is kind of a group blog that collects blog posts from various members. I've been enjoying watching the progress on many of the Mural Mosaic panels on our Equine Art Guild forum, but it was fun to see the more public postings too. At the EAG some of us have jokingly formed the "Purple Panel Support Group" to help ourselves deal with the particular challenge of these purple panels! Seeing so many of them completed or nearing completion is putting the pressure on, though!

So, for some progress! I'm not going to explain my subject now - but I'll post pictures so you can see where I'm at. The EAGers know who this is, as I've shared over there, so no letting it leak! Not that it's a big deal, but I'll post my little blurb to go along with the panel once I'm done. If you can figure it out, let me know.

The first step was to transfer my drawing to the panel. I dug up old photos, and new photos, and played around a bit in Photoshop as well as my sketchbook to come up with what I wanted. The darkness of the panel meant using a white china marker for the drawing, which actually worked out quite well when I started adding paint. The solvent will dissolve the marker with some persuasion, but "stuck" enough to give me the guidelines I needed once I started working in the paint.


On the advice of a few EAGers I put a light coat of a 50/50 mixture of mineral spirits and linseed oil over the panel to help the paint flow. While it did allow me to cover the panel quickly, and with a nice looseness, it also increased the drying time of this layer significantly! I managed a rough tonal, then had to leave it. The paint on this layer is very thin, so I'll be doing a better job of covering the panel with the next one. I'm keeping my colours in line with the panel at this point - French Ultramarine Blue, Venetian Red and Unbleached Titanium, which, mixed together to the blue side, gave a nice bluish-purple. Maybe a little cooler than the orignal panel tone, but working for what I wanted for this underpainting. I've actually used these colours for an underpainting before, so I did have basis for my decision!

When that initial layer was finally dry, I was back at the easel with the same palette. Now I worked to cover the panel more fully, still keeping it monochromatic, and getting my detail more solid without really losing the looseness. So I'm at that stage now where I could very happily leave this as is - who needs full colour anyway? It's that fear of messing up a satisfactory underpainting!


Good or bad, this needed time to dry. As it turned out, I didn't have time to work on it this week, thanks to a small bout of horse stress. No more excuses now though! The panel is dry, and I have a day to paint. Add to that, there's a bit of a deadline on this, so no time to dwell on my insecurities! Boldly go! ;)