Art Collector Tip #6 - Wall Arrangements

Most of us art collectors have many more things that we'd like to display than wall space to display them.  One way to get our collection of 2-D artwork out of the closet and onto the wall is to create a few wall arrangements where we can display many pieces of artwork in an artistic and complementary way.  I'll discuss some thoughts on creating pleasing wall arrangements in this article.

First, a comment on the layout process.  What I do when planning a wall arrangement is first to mark off the size and shape of the area on the floor, using some tape as an outline.  I then place the artwork in that area, trying different arrangements until I hit upon one that I like.  I then measure where all the hangers would be, make a diagram on a piece of paper, and use that to attach the hangers to the wall.  I then hang the artwork.  Whatever extra holes are caused by small adjustments needed in the position of the hangers remain hidden behind the artwork.  There are certainly other approaches, but this one works for me.

Now, to the arrangement itself.  Arranging artwork on a wall area is similar to composition or design of a painting on paper or canvas.  Most often we have a rectangular area to work with, just like most paintings, but there are exceptions.  As in a painting, balance is recommended for a pleasing arrangement.  We discussed the principle and types of balance in Artist Tip #13, from which I quote:

"The principle of Balance that we will discuss next applies mostly to shapes, though it can also apply to other elements - particularly value.  An unbalanced painting, with most of its shapes on one side, is disturbing to view.  If we think of balance in terms of weight, large shapes "feel" heavier than small shapes, and dark shapes "feel" heavier than light shapes.  In addition, balance can be either formal, with similar shapes in similar positions on both sides of the painting, or informal, with larger shapes on one side close to the center, and small shapes on the other side, nearer the painting edge.  Think of informal balance on a seesaw or teeter-totter, with a large child near the fulcrum balancing a smaller child near the end, and you'll have the idea.  We generally find informal balance more pleasing than formal balance.  Balance applies to paintings horizontally, not vertically - a painting that is "heavier" on the bottom "feels" fine.  But if it's heavier on the top, it can seem odd."

Although these comments on painting design cannot be fully applied to wall arrangements, they do help us to think about how to arrange paintings on a rectangular wall space.  In particular, we can choose whether to create a formal or informal arrangement, depending on the space and the room.  Here is an example of a formal arrangement of three of my weekly watercolor paintings:

Here we have a completely balanced arrangement, laid out on the floor...  identical size frames, equally spaced, with similar frame styles and mat colors, and related subjects - all urban European scenes.  This client planned to hang these paintings above her fireplace to create a more interesting arrangement than a single large painting would provide.

Next, let's take a look at a larger arrangement that is less formal.  This is an arrangement of some of my wife Jeanette's needlework on a wall in our study:

Note that the sizes, frames, mats, and subject matter are all different.  The only unifying element is that they are all needlework pieces.  Although the arrangement is roughly rectangular, not all of the outside edges of the frames line up with one another.  It would be even more informal if there were overlap between the vertical "columns".

Finally, one can mix different types of artwork and even 3-D objects in a wall arrangement.  Here is an example from our kitchen:

This wall arrangement includes needlework, a metal sculpture, and a decorative clock, to give a varied and pleasing arrangement.

So these types of arrangements of artwork can create very interesting displays, while increasing the effective wall space we have to display our art.  We can choose to arrange the artwork in a formal or informal pattern.  And we can include pieces related by medium, size, or subject matter, or just create a varied display of our favorites.  Several smaller paintings can thus be used effectively in much larger spaces.

I hope you have found this art collector tip useful, and food for thought.  If you'd like to get artist and art collector tips like this delivered directly to your inbox every few weeks, sign up for my fine art e-newsletter here!  When you subscribe, you'll receive a 10% instant rebate valid for one month for any of my paintings.

Art Collector Tip #5 - Artistic Styles

In Art Collector Tip #2, I proposed that there's one best reason to collect fine art...  you love it, and you want to see it in your home or office every day, for a long, long time.  Nevertheless, it can be useful to think a bit about the various styles of art, to assist in developing your own personal artistic taste.

In my opinion, the art "professionals" have gone a bit overboard in defining various styles of art.  Wikiart describes no less than 140 different art styles!  This can be overwhelming for most folks who enjoy art, including me.  So here I suggest a simpler way for art collectors to think about or "characterize" the art that they see.

I myself imagine various art styles spaced along a continuum, a line stretching from photorealism to completely non-objective abstract art.  All of the 140 art styles mentioned above fall somewhere along this spectrum:

    photo                 painterly            objective          non-objective
|----+------------------+------------------+------------------+-------|
                  realism                                            abstraction

Photorealism is a method of painting which reproduces exactly the actual subject being painted, with all of its details.  It may include some slight exaggeration of graininess, color, and/or value, but only in a way to further emphasize the reality of the subject.  Photorealistic paintings can be very impressive, although they resemble very clear photographs (perhaps with some color and value enhancement) of the subject.  I'm not a photorealistic painter - I don't have the patience for it.  However, some of my paintings do have a very realistic center of interest, which is closer to photo- than to painterly-realism.  The sailboat in this painting is an example of this:

As we move along the line between photorealism and non-objective art, we next encounter realistic art that is in some way "painterly".  This art represents an actual subject, although it may be "simplified" and have very obvious color, shape, and texture distortions and enhancements to differentiate it from a photograph.  Many identifiable painting "styles" fall into this category, including impressionism, a favorite of many collectors.  I'd put most of my artwork into this category.  Here is an example:

In this painting the barn and landscape are very recognizable, but with simplified shapes and figures, and exaggerated color.

As we proceed along this continuum, we reach the zone of abstraction.  We first encounter abstract, objective art based on an actual subject, but with significant changes so that the artwork is inspired by, rather than directly representing, the subject.  Colors may have no relationship to the original subject, shapes and lines may be very distorted, and much of the painting achieves its impact via color, shape, and line.  Here is perhaps my only painting in this style - the "story" is clear, but it's certainly not an accurate depiction of a "real" subject:

Finally, we reach non-objective abstraction.  These paintings achieve their impact and interest entirely through abstract design, color, and texture, and are uninformed by any real subject.  The following example is a painting that depends entirely on lines, shapes, color, and value unrelated to any real-world subject.  One fun aspect of abstract art is that viewers can often "find" meaning in a painting that is specific to themselves.  This painting reminds me of kites flying, although I had no thought of kites when I composed it:

I imagine that some serious art students who read this article may feel that I've done a disservice to the many important styles of painting that have been developed through the years.  But my goal here has been not to give a comprehensive historical review of artistic styles but to present a simple "model" of painting styles to give collectors a way of thinking about the various paintings that appeal to them.

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Art Collector Tip #4 - All About Paint

Serious art collectors typically want some basic knowledge of the paint and grounds used in the paintings they collect.  In my first Art Collector Tip, I discussed the characteristics and archival quality of the watercolor paper (the ground) that I use.  It this tip I'll discuss the basics of paint, the other main physical ingredient of any painting.

At the simplest level, all paint consists of pigment, which gives the paint its color, and binder, which holds the paint to the surface or ground.  The pigment is identical for all painting mediums; it's the binder which gives various mediums their different physical characteristics.  For every medium there are additives available to improve the paint manufacturing process, hasten or retard drying, assist in mixing, protect the surface, etc., but we will not cover these here - we'll just cover the basics.

The binders for each painting medium are as follows:

• Watercolor and Gouache: gum (Gouache also includes chalk to provide opacity)
• Acrylic paint: acrylic resin (similar to house paint)
• Oil paint: various oils
• Egg Tempera paint: egg
• Pastel: gum

It is the binders that give paintings done in various mediums their different "look".  The pigments are identical.

Pigment is a physical substance that is ground into a powder and added to the binder to provide color.  There are two main types of pigment:

• Inorganic: natural earths or synthetic chemicals
• Organic: natural vegetable, natural animal, or synthetic organic chemicals

The various manufacturers of artist paints have created some very unique names for each paint color. However, different named paints may be created from exactly the same physical pigment.  Fortunately, these paints are also labeled with a standard pigment naming scheme, so that, for example PB28 (Pigment Blue #28) may be called Cobalt Blue, or Sky Blue, or anything else, but it will be the same basic color regardless of the manufacturer.  There may be other differences due to the exact manufacturing process, but the actual pigment used can be determined by reading the label. There are some "custom" multi-pigment mixtures that cannot be so easily compared.  For example, many greens are actually mixtures of a blue and yellow pigment, and correspondence by reading the label of Sap Green manufactured by different companies is not possible.  Here is a color wheel chart  created by Bruce MacEvoy that shows many of the available artist colors and their corresponding pigments:

Lightfastness or permanence is also an important quality of pigments.  Earths and synthetics are the most lightfast; many of the natural organic compounds fade or change color quickly.  Today there are excellent synthetic replacements for virtually all natural organic pigment colors.  There is a standard lightfastness rating system known as ASTM.  Ratings (in roman numerals) range from I (permanent) to V (very fugitive).  Most of today's artists are very careful to use only paints rated I or II, so their paintings will last for a very long time without suffering any noticeable change in vibrancy or color.

I hope you found this post of interest.  If you'd like to get Artist and Art Collector Tips like this delivered directly to your inbox, sign up for my fine art e-newsletter here!  When you subscribe, you'll receive a 10% instant rebate valid for one month for any of my paintings.

Art Collector Tip #3 - All About Copyright

On occasion I've discussed copyrights with several of my collectors and with some of the students in my watercolor workshops.  Both collectors and artists will benefit by a basic understanding of how copyright law applies to works of art.

Disclaimer:  The explanations that follow are not advisory.  They represent my best understanding of copyrights, but if you need reliably accurate information, please consult a copyright lawyer.

This discussion is based on U.S. copyright laws.  Many other countries have copyright laws that are similar, but there are some differences.  There is no way to obtain a "worldwide" copyright, although many countries have reciprocal agreements to protect each other's copyrights.

What is a copyright for a painting?  It is a form of protection provided by U.S. law that gives the copyright holder the exclusive right to display, reproduce, and derive other works from the copyrighted image.

How can one tell if a painting is copyrighted?  That's easy... every painting recently created in the U.S. is automatically protected by copyright, regardless of whether the copyright symbol © is displayed on it.  This copyright lasts for 70 years after the death of the artist.  (The rules are slightly different for paintings created before 1963.)

The artist owns the copyright unless the work was created while he/she was an employee; in that case the employer owns the copyright.  For commissioned works, the artist owns the copyright, since he/she is not considered to be employed by the person commissioning the work.

Under copyright law it is illegal to make copies of a painting created by someone else - even if you have purchased the actual painting.  If you want to make copies - for example, of a portrait to give to other family members - you should either have the artist make the copies for you, or have the artist transfer the copyright to you (in writing), either of which will probably require an additional fee.

Similarly, artists should not copy the works of other artists, or of photographers, without permission.  If you do this for your own private learning, it's fine.  But if you do it to exhibit or sell, you are running afoul of the copyright laws.

What can happen if I infringe on someone else's copyright?  It depends.  In the worst case, the copyright owner can sue.  If the copyright has not been registered with the U.S. Copyright Office, the copyright holder can sue for up to the value of the infringer's profits, but cannot recover any costs of the suit or associated legal fees.  So for an unregistered painting, there is no financial risk to you unless you have profited from your infringement.  Most artists who produce work of moderate financial value do not register their artwork.  However, if the work has been registered before the infringements occur, the financial penalties can be severe - $150,000 per infringement plus legal costs.

Thus for most "personal" copyright situations, the issue is really an ethical one.  We should not infringe on someone else's copyright because it is illegal and unkind to the creator.  Artists should create their work from their own references or from references of others from whom they have obtained permission.  Collectors should not make copies of artwork, even if they own the physical piece, unless the artist has transferred the copyright to them in writing.  Let the artist who created the work profit appropriately from his/her creation.

I hope you found this brief discussion of copyright interesting and useful.  There are many good resources on the web that can provide this sort of information in more depth.  Here I shall repeat my Disclaimer:  The explanations above are not advisory.  They represent my best understanding of copyrights, but if you need reliably accurate information, please consult a copyright lawyer.

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Art Collector Tip #2 - Why Should I Collect Fine Art?

There's one best reason to collect fine art...  you love it, and you want to see it in your home or office every day, for a long, long time.

There is really no magic to collecting art.  Simply buy what you love.  Art is very subjective, and nobody can tell you what's good or bad... you just need to look at a lot of artwork, let your tastes develop, and decide what you like.  Don't buy art because it matches your decor... your decor will change, but you will own the art for a lifetime.  Think of art as an accent to your decor, rather than as a matching part of it.

How do you know if you're paying a fair price for the art you buy?  The value of art depends on many things, including the education and reputation of the artist, as well as the venue selling the art. Would you be surprised to learn that most galleries charge a 50% commission for the art they sell, and that it is usually the artist's responsibility to have his/her artwork framed?  As with many items, the best way to determine a fair price is to "comparison shop".  Look at similar artwork, by artists with comparable education, reputation, exhibit and prize history, and learn what constitutes a "reasonable" price.  The size of the piece has a significant effect on its price.  When you purchase artwork, you are not just paying for the cost of materials and the artist's time creating that specific piece, but also his/her years and expense developing the craft that went into the piece.

Today, the internet is disrupting art sales venues, as it has disrupted the sales of many things, and direct buying artwork from the internet is rapidly gaining market share over purchasing art from galleries.  If you are buying art on the internet, be sure there is a risk-free money-back guarantee, as art can appear different "in person" depending on the photography and presentation skills of the artist.  If you are already familiar with the artist's work, you are way ahead, because you know what to expect when you purchase a new piece.  If you purchase the artwork unframed, you minimize shipping costs, and can frame the piece in the way that you prefer.

It is helpful to have some knowledge of the materials used in creating the artwork, as you want it to last a lifetime.  Pigments (paints) and grounds (canvas, board, and paper) should be archival quality so you don't have to worry about your artwork fading, cracking, or disintegrating as time goes on.  The good news is that archival, light-fast pigments and superior solvents and coatings are widely available today, and are used in all mediums (watercolor, oil, acrylic, pastel, pencil) by responsible artists.  In addition, archival grounds are available for all mediums.  You may want to ask the artist about the materials he/she uses to ensure that your purchase will stand the test of time.  With proper framing and care, there is no reason that modern artwork won't outlive you and your loved ones.

Should you purchase art as an investment?  Some art has proved to be an excellent investment, while other art has a dismal investment record.  Purchasing art as an investment is an entirely different "game", and to play this game, you probably need the assistance of "high-end" galleries and art critics, since you're betting on the future "value" of the artwork, rather than simply choosing art that you love.  And by the way, the art that you love may very well appreciate in value as time goes on, which will be a bonus for you!

What about "giclees"?  Despite the fancy name, a giclee is simply a copy or reproduction of an original artwork made using an inkjet printer.  Many reproductions may be made of the original artwork.  Some of these "editions" are unlimited, and some are limited to, say, 300 copies, with each copy labeled with a number (for example, 15/300, meaning the 15th copy of a run of 300 copies) and possibly signed by the artist.  If you can't afford the original of the art you love, you may be able to purchase a copy.  Just realize that you do not own an original piece of art, and that you may see "your" artwork in other places.

So, although it is wise to be familiar with the artist, to do comparison shopping for pricing, and to understand the archival qualities of your art purchase, the bottom line to collecting fine art is: Buy What You Love.

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Art Collector Tip #1 - Watercolor Papers

I've posted quite a few Artist Tips here (27 so far - you can find them by searching for artist tips in the search box in the right column of this blog), and announced them all in my Fine Art Newsletter.  I hope that not only my artist friends, but also those who are mainly interested in collecting art, have read them and enjoyed learning a bit about what we artists struggle with.  But I feel it's time to include some Art Collector Tips to address more directly some of the questions I hear from my collectors, about both art collecting in general,  and my art in particular.  This first tip is a short tutorial on the watercolor paper I use - typical sizes, surface finishes, and its archival qualities - to help collectors better understand the materials in the paintings they may purchase.

I employ both Arches and Saunders Waterford artist-grade watercolor papers.  I purchase these in full sheets, which are 22x30" in size.  (I do have some larger sheets, but haven't painted on them in awhile.)  I usually tear these sheets into smaller "standard" sizes of half-sheet (15x22"), quarter sheet (11x15"), and eighth sheet (7.5x11").  I also sometimes tear them "the other way", to produce a longer, thinner shape: 5.5x15", 7.5x22", and 11x30".  The smallest of these, the eighth sheets, are what I usually use for my weekly watercolors.  In addition, when I've completed a painting, it sometimes turns out that it can be improved by cropping - cutting it to a smaller size to emphasize the successful parts, get rid of the unsuccessful parts, or move the center of interest.  So a finished painting may turn out to be just about any size.  This is one great advantage of watercolor paintings - it's quite easy to crop a completed painting to improve it - as simple as cutting a piece of paper!

Watercolor paper typically comes in three different surface textures - hot-press (HP or smooth), cold-press (CP or "NOT" - meaning not HP), and rough (R).  HP paper  takes paint very differently than the other two finishes, and I don't like the results I get with it, so I don't currently use it.  I do use both CP and R, depending on the size of the piece and the subject matter.  It's easier to get smooth washes (large areas of fairly uniform color) on CP paper, while it's easier to get vivid dry-brush strokes on R paper.  These papers also come in two colors - natural (light cream) and bright white - and I use both.

This artist-grade watercolor paper is paper only in the most general sense.  It is actually made of 100% cotton fibers - not of wood fibers like "normal" paper.  (The acid in wood-based paper causes it to brown and disintegrate with age.)  The watercolor sheets are mould made, acid free, and sized either inside or on the surface (or both) with gelatin to make them less absorbent - otherwise painting on them would be like painting on a blotter.  They are of archival quality - they will last a long, long time without yellowing or deteriorating when framed behind glass or plastic.  Despite some opinions to the contrary, there is absolutely NO scientific evidence that the canvas typically used for oil and acrylic artwork is any more long-lasting and archival than modern artist-quality watercolor paper.

In a future Art Collector Tip, I'll discuss the physical qualities of the paint I use.

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