When people apply for our Artist Residency Award we ask them to list their top three questions about being a professional artist. It was my plan to answer these questions after each award segment, but, alas time is always an issue and so far that hasn’t happened. The great thing is I am ready to start tackling these now. The first question I am going to address is a great one and also one I have been giving a lot of thought to lately (as I have been updating our Etsy shop). This question is “How do I properly Document my Work”.

Documenting your work is THE most important part of promoting yourself as an artist. Images of your work are what get people interested in what you are doing. Because of this, documenting your work properly is an important investment as an artist and entrepreneur. Personally, I like to hire a photographer to take images of my art work. I struggle with taking great photos and I am even worse with editing them. My paintings often have different textures, vibrant colours and high shine areas which make them very difficult to take images of.  I would rather ensure that I get the best photo possible by hiring a professional. You can see in the example below why working with a professional can give you that added advantage. In the image I took there is glare, the image is dark, the colours are off, but with the professionally taken image the colours are true, you can see the details in the work and there is no glare.

If you choose to take this route here are some tips I have learned over the years when working with photographers:

1. Find a brightly lit area of your home or studio where you can set-up the shots. It would be best if this space has a blank wall you can hang your work on easily (or a place where you can set-up a table for three dimensional work).

2. Have everything prepared before the photographer arrives. I like to make sure I have all the work I want photographed set out in the order I want them taken. I also have a nail in the wall where I can hang each of my paintings. This way the photographer just has to set-up his camera in one spot and I can change the work for him or her. This makes the process much faster which is good for both the photographer and yourself (especially if you are being charged by the hour).

3. Remember to get details. This is something I often forget when working with photographers. If you have the time consider getting some close-up images of your work (especially if there are interesting textures in your pieces). It is also nice to have a “in situ” shot so that a potential buyer can see what your work looks like in a space, this also gives them an idea of size.

If you are confident in your photography skills or if hiring a photographer is just a bit out of your means that is fine as well. We have a wonderful PDF written by a close friend and photographer, Paul Hubble. Paul outlines, in detail, all of the information you need to take images with your own camera.

There are also a number of online resources with helpful tips on this topic. I recently watch a great video on the Etsy website about how to take product images. Even though you might not be photographing crafts these tips can be easily used for paintings, prints or sculpture.

Pine cone Card by Spark Box Studio

On the drive home from Belleville this Wednesday Kyle and I listened to a segment of the show “Spark” on the CBC about letter writing. Producer Michelle Parise talked about going through her basement and finding shoe boxes full of old love letters from high school boyfriends. She reflected on these letters and questioned how technology is changing the way we communicate with one another. She asked if text messaging and emailing have killed the physical love letter. (the link to this broadcast is below)

I thought this was a pretty cool question. I know I have cleaned out spaces and found old letters stored away in boxes. I used to keep every letter I ever received from a friend, boyfriend and family member. In fact, I have photo albums filled with letters instead of pictures. These messages mean so much to me –I cherish them and enjoy going back and re-reading. Maybe this is why I make printed material and use archaic machinery. I loved how Michelle talked about the experience you have with reading and writing a paper letter.

Octopus Card by Spark Box Studio

When I send a letter I think about how my paper or card selection says something about me. Then I know that the person I send at letter to will get to have a little part of me with them for as long as they keep the letter. When I make cards I imagine a person sitting down and writing out a letter to someone the care about and that my image means something to them. How do you feel about paper letters?

If you would like to listen to this broadcast click here >> and scroll to the last broadcast in the “Personal Connections in the Digital Age” section.

I know this is late coming, but this past April Spark Box Studio was featured in Ellegirl Korea. I am still not sure how the editor heard about us but in mid-March I received an email asking if we would be interested in being interviewed for their Pop Girl section. The editor was putting together a few pages surrounding artist collectives and she thought we would be a great feature. Of course we were thrilled and agreed instantly. We had local photographer Michael Grills take some shots of us, the studio and some of the awesome people that have helped make this place possible.

It took awhile for the magazine to finally arrive on our doorstep but when it did we were happy to find out that we were the first page of the feature. Sadly, not knowing any Korean, I am not sure what parts of the interview were used but the page looks great (they even included Square2!).

Last night we had a great turn out for our collaborative “How to Work the Media Workshop” with the Kingston Arts Council. With 6 panelists and a great group of attendees the night was filled with informative media tips and valuable questions. Our panelists were honest and forthcoming with their advice and our audience didn’t shy away from asking real questions and discussing challenges they face when trying to get their exhibits, openings and events noticed by local and national media.

Greg Tilson, Programming Director for the Kingston Arts Council, picked a solid panel featuring many local media reps including Rene Dick from Scout Design, Steve Campbell from The County Magazine, Katy McIntyre from the Picton Arts Council and Scott Johnston from the Picton Gazette. Below is a sample of some of the great information that was offered to the group. This tidbit comes from Adam Bramburger, the editor from the Picton Gazette. Here Adam tells us what he looks for in a press release.

TIPS FOR PRESS RELEASES

There’s a simple format that I teach reporters and people writing press releases to follow that I’ll pass along. This format should help them get the media’s attention. I think most people have watched the movie Austin Powers and remember my favourite character, Fat Bastard — another oversized redhead — and his catch phrase “Get In ma belly.” Well, if they remember Get INMA, they’ll be set.

INMA to me, is an acronym with all the pertinent questions the media needs to know.

I – The Issue

Simply put, tell us what you’re about in a single sentence with focus – somebody doing something for a reason.   That’s enough to build a story on right there.

N -  What’s New

We need a hook to tell us what makes what you’re doing different than anything that hasn’t happened before and why it is timely right now for us to be there.

M – What it Means

We need to know why the average joe, whether they’re superbly interested in the arts or not should care that this development happened.  Give some context to let us know the broader hopes of what you want to accomplish.

A – What’s Ahead

This is where you make sure you relate to the community what they can do with relation to your event or project — get in the dates, prices, phone and e-mail whatever — and maybe leave them looking forward to things that will happen in the future.

Other things to consider:

1. Contact by email and phone (usually on the same day). Mention that you have sent an email or that you phoned earlier and that you are following up to ensure everything was received. Adam mentions that Wednesdays are the WORST days to try and get in touch with him, consider asking other media representatives the best or worst day to contact them.

2. Don’t clog up your press release with bios and photos. Keep it simple. Send all the additional information as added attachments.

3. Think about timing. It is best to send in a story two weeks before your event. This way the media can plan and have time to get your information out there.

4. Adam would like to reveal a press release myth, that media would rather have press releases or articles written by someone else and submitted in full to save time. For the Picton Gazette it is the exact opposite. They employ many reporters and journalists and they would much rather give them the job of writing about your event, putting together an interview and writing an article for the paper.

5. When you are drafting your press release for the media consider what they generally feature in their paper/magazine/website. The Picton Gazette  enjoys featuring local artists who are engaging with the public, doing something interesting and different and enriching the community.

6. Always consider sending a one-line summation. Sometimes it might be a good thing to send as a subject line, as a headline on a press release or as a bold note.

7. It is always a good idea to give the time, date, and place in a simple to find manner.

COME UP TO MY ROOM
Exhibition Hours:

Friday, January 28, 12-8pm
Saturday, January 29, 12-10pm
Sunday, January 30, 12-5pm

Every January the Gladstone Hotel hands its rooms and spaces over to a group of 20 artists and designers for one of their most exciting shows Come Up To My Room. This alternative design event spans over four days and features 11 room installations and 14 public space projects. Only 44 artists and designers are selected and Prince Edward County’s Chrissy Poitras and Becky Lane were among these.

Chrissy and Becky will be creating a public space piece entitled Chaos Theory in which the two will collaborate to create a process-driven installation which discusses the junction between happenstance and expectation through that quintessential symbol of order: the clock. The themes of chaos and order are addressed from opposite ends of the spectrum.

Chrissy Poitras is an abstract painter and printmaker with a degree in fine art from Queens University. Her work is an investigation of the accidental marks found in her surroundings, the purpose of which is not to create a unified composition, but to allow the viewer to follow trains of thought.

Becky Lane is a designer with a degree in interior design from Ryerson University. She is the principal designer for the design studio, I Beast You. Becky explores themes of nostalgia and remembrance by recreating objects from her past, and incorporating the discarded objects from other people’s pasts into her own story.

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Check out www.pbs.org/art21/, enjoy some amazing documentaries.

Join us for a night on the town! We will bring Prince Edward County’s newest arts & culture magazine to life June 10th starting at the Regent Theatre at 6 PM.

Performance art, poetry readings, live music and visual art will be occurring throughout down town Picton. 

Participating locations include:

Books and Company

Kelly’s

Spark Box Studio

The Regent Theatre

Acoustic Grill

Purchase a numbered limited launch edition of Square2 that night!

Event will be free of charge.

Sponsored by Angeline’s Inn and Restaurant

RSVP: info@sparkboxstudio.com

Spark Box Studio was recently featured on the Queen’s radio station CFRC. The three part interview was broadcast through their E-file and Alternative Frequency programs.

The interview was conducted by our friend Irina Skvortsova. Irina, along with Queen’s University student Cecily Taylor and Kingston silkscreener Julian Berry, owner of  Ironclad Graphics, came to the studio not only to conduct an interview but also to use the space. Part of the interview included a short etching for the three visitors. By short we mean several hours.

We explained our hardground etching process from start to finish. Although the plates were prepared ahead of time we still talked about the importance of plate preparation.  After carefully executing their imagery each individual was able to ink up their plate and leave with an original print.

During the coarse of the day Irina engaged us with discussion about Spark Box Studio, our education, experiences and how we had come to build up our business.

Watch our website for the posting of the interview clips.