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Although some people seem to start at an extremely young age creating wonderful art not all great artists are born. To the contrary, this is a skill that can be learned and developed.

Art education is a part of the requirement of becoming a good artist. It is true that not all attend a formal training, some are self-taught, but all are educated to some degree, even if only through practice.

Small children begin drawing and perfecting their skills as they grow. We usually see round heads with hair coming out from the top and stick bodies with stick limbs in the beginning. Most children begin by drawing their family, house and family pets. Later they experiment with other items.

Some lose interest and others continue pursuing the field. With practice their skill flourishes. As they continue to draw they not only get more accurate with the depictions but they also get quicker at the drawing itself.

The key is that an artist must learn to memorize what things look like. They must truly understand the human anatomy and how it moves. Not only basic human anatomy but the differences in the human body as it ages.

The many fabrics can pose a challenge to the artist as well. A leather blanket would certainly drape differently than one made of cotton. Lighting is the essential ingredient that can make a drawing come to life. All artists must study lighting and learn that it travels in a straight line but it reflects off some objects and is absorbed by others.

Consider the changes in the skin from infancy to old age. That must be shown in art. The same is true when the model is a young tree as opposed to that of a tree that is 50 years old. The bark would be very different indeed!

So you see, every artist is trained to some degree, whether he attends a class or not he must be taught. There are many good books on the subjects of art and drawing that can assist with the mechanics of drawing but only the artist can provide the essential element. That is the key ingredient without which the finished product will never be considered art.

I am referring to the mindset of an artist. Just as I mentioned, an artist takes into account even the smallest detail of his surroundings and notes it to memory, for he never knows when it may come into use.

Debbie Allen is a writer, internet marketer and personal coach. She has written an ebook about drawing, “The Simple But Eloquent Art of Drawing”. Read more about that at: http://www.drawingspeed.com — or visit her site designed for women of all ages at: http://www.FitInsidenOut.com

Artists are a unique breed. They are special people that have developed the skill of capturing scenes from life or imagination and putting them on paper, thus sharing them with others.

The really great artists are able to make us feel what they were feeling as they experienced the scene. The amazing thing is that artists need very little in order to do this however, some things are essential:
…Brushes & paint, pencils, or chalk
…Artist pad or canvas
…Studio

That is a basic list and most would agree that every artist should have at least those items to start. The first two are self explanatory but a bit more should be said about the studio.

First of all, the studio should be set up with convenience in mind. That means a computer and phone should be near by. It is also good to have a window in the room.

The artist would of course prefer not to be disturbed while working so the area should be free from distractions. Good lighting is necessary in order to get the coloring just right. Since the artist is likely to work for long periods of time comfortable seating is also important.

You also include a small area to house light snacks and perhaps coffee. I am not talking about anything drastic, but the more convenient the studio is the better.

Although basic supplies are minimal, over time every artist accumulates lots of brushes, pencils, chalks and other supplies so storage can become a problem. Adding a small table, a storage cart, or a book shelf will solve that problem.

Bulletin boards can become valuable for displaying work in progress and completed work. This can serve as a motivator to the artist.

One other thing, personalize your space. Decorate with things you love.

Okay, that is enough about the tangible requirements of an artist, now let us talk about the requirements that cannot be seen. These are the ones that the artist is either born with or he develops overtime. I am referring to the ability to notice details about his environment. Not only notice the details but remember them.

True artists can capture details of reality and enhance it. Artists can use their imagination as well. A photo can show us what is real but an artist can show us what feelings he felt as he experienced a dream, or a moment in time. True art makes us feel something.

That is the most important requirement of an artist!

Debbie Allen is a writer and internet marketer. She has written an ebook about drawing, “The Simple But Eloquent Art of Drawing”, to learn more about the book visit:
http://www.drawingspeed.com/ebook/ – or visit her site designed for women of all ages at: http://www.FitInsidenOut.com

Graffiti and urban are fast becoming one of the most talked about and controversial pieces of art since the picture of Mona Lisa.

The reason being is because of the new way to interpret images and successfully transfer them to canvas or paper. Urban artists in there own right are very talented and no longer is graffiti considered 100% as part of the underground.

The real greatness in urban art lies in peoples passion to design or draw not for a living but as a hobby. Now is the chance for urban artists all over the world to actually make a career out of there modern art form pushing the boundaries of the way that the current world perceives art.

What is art and urban art?
Some people would consider a lot of things art in this day and age, even the simplest stacking of cups has now taken an art form.

Urban art is where the truth really lies through fresh art born out of an artists mind and with no way to express themselves and there talent they turn to the streets.

Does urban art belong on the streets?
The simple answer is no and yes, urban and street art is just like any other form of art the only difference is that the people involved do not have the chance to show people there work so a place we are always likely to see graffiti is on the streets and walls. But not to say that it only belongs on the street graffiti is now a form of modern art and they have been used for social events to create a buzz and you can also find different forms of graffiti in galleries around the world.

Another major factor in why so many artists are turning to urban and graffiti is the simple fact that they will be able to identify themselves with a style and niche, they always bring something new to the table that people have not seen or experienced before unlike traditional art which is somewhat now classed as normal.

There is alot of courses and schools you can now also go, to study urban art and graffiti that’s how well it is doing. A lot of graffiti artists are now international stars such as banksy who not only uses the traditional aerosol paint but also performs graffiti art with stickers, stencils and tiling, his graffiti and many other world renowned artists have made it clear that for a fact, urban art is the new way of expression.

Urban Art – http://www.artflux.com

Upon my last visit to a recent art exhibition, I could not help but notice the abundance of large exhibition stands that took up the majority of the space in the exhibition hall. Considering the number of people that were attending, there was something disconcerting about walking around a closed in space with hundreds of people and watching the beautiful artwork being knocked about and nudged in complete disorder.

Art exhibition stands are generally meant to be spaced out allowing room for people to view the exhibits in an almost uniform manner rather than rushing through and barging past people just to get a glimpse of the next piece. Such was the case of my experience at this particular art exhibition, to which I was more shocked by the growing number of people who came purely for the free hors d’oeuvres and canapes.

Exhibition stands at a tradeshow exhibition, food show or recruitment fair are very different to an art exhibition stand. The idea of having an art exhibition is to literally put an artists’ work on display for purchase and to gain recognition and credibility for your skills. This in turn takes an immense amount of time and plenty of preparation. Many agents and sponsors are called upon for their support, with the press to publicise the works. This can often lead to well known museums offering to exhibit their work.

For people looking to set up their own exhibition, must know the difference in genres. Exhibitions are not merely there to display what you have achieved and accomplished, it is a great way to network and make contacts with potential clients or sponsors. This is how many businesses grow to become more successful. The main objective for a business tradeshow exhibition is to attract as many people as they can to build upon their profile and generate as much sales as they can on their products.

Many of these tradeshow business exhibitions require large exhibition stands, pop-up displays and impressive lighting to grab as many as they can to promote their brand and company. The location of these kinds of exhibition is imperative to getting the right number of people coming in. Making sure that people are able to find the location, manoeuvre their way round the room and are able to find your stand will enable more people to encounter you.

An art exhibition works in a very different way as this is intended to target a specific audience. The idea is not to reach a sales target but to make public of your work and skills. The location is very often set in a museum or public hall. The kind of preparations needed are things like making sure each piece is displayed in a spacious area, there is nothing obstructing the paintings so as not to damage them and that there are plenty of room for people to walk round and view the pieces.

Ideally, an art exhibition is focussed upon the artists work and how it is displayed. Having seen many art pieces the best ones are the ones that are kept simple and cater for one thing and that is satisfying the happy persons appetite for art appreciation. Generally there is no need for adding extra amenities such as lighting. The natural light balances of the room should be enough to capture the eye of your audience.

Anna Stenning has had plenty of experience with choosing the right exhibition stands and helping in setting up good exhibitions for her previous work. For more information visit http://www.popup-direct.com/

First impressions are lasting impressions.

In show business, the first impression can sometimes be the last impression. Producers, directors and casting directors are busy people. The deciding factor in giving an unknown (or even an experienced actor whose opportunities have been limited) a chance to read for a part is often based on first impressions.

Always have professional pictures of yourself, and be ready to show them without apologies or explanations. Your graduation picture won’t do, nor will glamour-gimmicked photos of the type displayed in night-club lobbies. The pictures should show you: some, headshots showing a fair range of moods; others, in various types of wardrobe.

Have extra prints of each picture. Your interviewer may want to keep one. Make certain that your name, address, phone number and vital statistics are written legibly on the back of each photograph. Don’t be misled into thinking that the pictures he rejects are “no good.”

Have a neatly typed, short outline of your background, qualifications and (if you’ve ever appeared anywhere, in anything) your credits.

Be honest. Don’t invent non-existent credits. You’ll only identify yourself as an impostor, a charlatan, or to use show-business terminology, “a phony.” “Any casting director can spot a phony every time” is a show-business axiom. If your only credit is a single appearance in the chorus line of a high-school operetta, say so. Everybody has to start out somewhere.

Perhaps your teacher will give you a card stating your credentials. Some teachers and coaches periodically give the not-so-fully-established actor a card stating how long he has studied and what, in their opinion, he is capable of doing at that time. These cards help the actor in getting interviews and protect the teacher, or coach, from false claims by overeager job seekers, who claim to be a client of theirs after one lesson.

Some of the first questions you’ll be asked are:

“Tell me about yourself.”

“What have you done?”

Tell the truth. If you have no film, say so. If you have no professional stage credits, say so.

However, there is a way out. Almost every casting director will help you. Ask for a chance to read for him, or to audition a scene you have already prepared. He’s looking for talent, and he’ll usually give you a scene, if you don’t have one. You can take it home, study it, then come back and do it for him. If he likes the way you do it, he’ll indicate the next move for you.

He may not need you today, but he will remember you tomorrow. He’ll remember how you read, how you handled yourself, and whether you were able to live up to your claims. He casts something every day and he knows better than anyone that there is a definite place for the well-trained beginner.

At the present time, all professionals must belong to at least one of the organizations in the “four A’s.” The four A’s are the Associated Actors and Artists of America. There are more than four now, but they are still called the four A’s.

Among them are AFTRA (American Federation of Television and Radio Artists), SAG (Screen Actors Guild), Equity (Actors’ Equity Association), AGMA (American Guild of Musical Artists), AGVA (American Guild of Variety Artists) and SEG (Screen Extras Guild), which is devoted primarily to the interests of people appearing as general atmosphere in motion pictures and in filmed television.

Under the Taft-Hartley law, a newcomer is allowed thirty days after his first professional performance before he is obliged to join one of the professional guilds or unions. The one he joins first becomes his parent union. There is a reciprocal arrangement among the four A’s that acts in favor of the performer who works in the various mediums under their jurisdiction.

When an interview is over, leave. Don’t drag it out, wasting the interviewer’s time – and yours. If you’ve left pictures, or a list of credits, with the interviewer, tell his secretary on your way out of the office. Give her an extra word of thanks when you say goodbye.

Most of all keep trying and never give up.

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